Michael Haneke directs this shot-for-shot, English-language remake of his shocking home invasion thriller 1997 film, Funny Games, about two cunning young men who terrorize a vacationing family of three.
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About this Funny Games US - and that goes for Clockwork Orange too - I dislike violence, violence made to women, ultra violence etc. So even if they're both good movies ...... they're not my cup of tea.
The only reason to appreciate this US remake (by the same director as the original) is to trick the audience into believing that they will watch a rote popcorn munching horror flick. It seems like a remake which satirises the whole notion of remakes and undermines the process of 'Americanizing' internationally renowned film concepts.
This hurts. Because it's not confortable. It's thrown at me. It is not a thriller, not a genre movie, not a horror movie, meant to frighten and entertain. It's to question my own sadism, and put me against the wall, witnessing my own violence, my own playfulness as a viewer. It plays with me, it plays against me. And alows me to think, when usually I'm just having fun, looking at blood and dead bodies. It hurts.
I don't understand the hate this film gets. I can see why it could be seen as pointless to remake it, but the fact is....he remade it!!!! So now lets look at it as a film. As a film its bloody great!
Quit your hatin'!!!
He actually said that he wanted to do an anti-Tarantino, an anti-Pulp Fiction of sorts.Think he did just that. The Austrian-German version is a tad more cold. This is way more spooky because it's with "people" we "know". Great casting and the best shot-by-shot remake/re-hash I've seen. Van Sant's Psycho shot-by-shot wasn't actually this incisive; he did take a few liberties (the use of colour photography for one).
I really enjoyed it the first time I watched, then I found out the 1997 original and I'm feeling a bit uncertain with this one. Yes, it's as good as the first, but merely a copycat with different cast for an american approach. Can't see what's the point with that, Haneke.
Superior performances, crisper, eerily sterile cinematography and a timely application of the original film's themes to the early 2000's phenomena of the violent, star-studded Hollywood thriller make this the version I've come to prefer. I like to imagine Haneke chuckling with glee at all of the couples who rented this expecting it to be Naomi Watts and Tim Roth in some bullshit like "Derailed" or "Wicker Park."