Carnage review

Nancy Cowan: At least our kid isn't a little wimpy-ass faggot! 
Penelope Longstreet: Yours is a FUCKING SNITCH! 

Director: Roman Polanski
(2011)

Its films like Carnage that I'm almost instantly drawn to. I mean what's not to like? A world class director in Roman Polanski, 4 wonderful actors in the form of Kate Winslet, Jodie Foster, Christoph Waltz and John C. Reilly and a trailer that is simultaneously engaging and humorous. While Carnage is an enjoyable, dialogue heavy film, the fact it’s based on a stage play has caused some severe negatives on its transition to the screen.

The premise for Carnage is a basic, yet effective one. Penelope Longstreet (Jodie Foster) and her husband Michael (John C. Reilly) invite Nancy Cowan (Kate Winslet) and Alan Cowan (Christoph Waltz) to their Brooklyn apartment after their sons get into a playground fight that results in the Longstreet’s son losing a tooth. The opening credits aside, the entire film takes place solely in the apartment as the 2 couples go about solving the issue that their respective children have caused them. Soon enough, the civilised behaviour rapidly spirals out of control.

Despite its limited setting, what keeps Carnage engaging is a strong script that's rammed with conflict and confrontation. While the meeting between the couples starts off with some awkward back and forth, small incidents build up to an emotional breaking point where the childish sides of both parties are shown in their full glory. Alan is constantly on his phone, Penelope makes snide, unneeded remarks and Michael agrees to disagree with every argument. This comes to a head with Nancy vomiting, truly setting events into motion. The quarrel quickly strays away from its initial issue of the 2 boys playground fight into a variety of other topics, from Michael’s mother to Penelope’s emotional breakdown. Everyone sides against her, until the hate transfers solely onto Alan. Just minutes later Michael comes to his defence, it’s this shift in dynamic and the opinions of the characters that gives the film an unpredictable and gripping edge.

While this is easily the film’s best aspect, not even Polanski’s direction can save Yasmina Reza’s script (based on her own play) from running out of steam at the end of the second act. The final third runs solely on the fumes of the films great earlier scenes as the characters get drunk on scotch and slur their words to the point of incomprehensibility. Even the consistently ace Winslet shows her average side here, her attempt at being drunk ranks as one of the lowlights on offer. The films climax came far too early and the resulting scenes feel like the aftermath; the dreary calm after the vicious storm.

Still, such an ambitious and restricted idea would fall flat on its face if the performances from our four leads weren’t up the necessary standard. All pull their weight, yet it’s a shame that the characters they embody are borderline stereotypes, from Fosters incredibly liberal approach to proceedings to Waltz’ work obsessed, uncaring husband, there's nothing that we haven't seen before. Carnage begins awkward before hitting an enjoyable sweet spot right through to the vapid and redundant final third. This damages the film to the point of not being recommendable, but its dialogue heavy approach to dramatic comedy has its moments amongst the carnage.

6