THE FILM:

Pretentious is a word thrown around a lot to criticize movies with big ideas. A film can have lofty goals and heavy subjects, and, if executed correctly, be quite successful. I think pretentious is a fine word to lob at The End of Violence, a badly misguided misfire from German director Wim Wenders (Paris, Texas). This way-too-long rumination on social isolation recalls David Lynch but lacks his mystery and style. The antsy narrative pops into the lives of several Los Angelinos and back out again at random. The whole affair is strangely detached, and I did not for one second buy into the film's ramblings on redemption and human interaction.

Hollywood producer Mike Max (Bill Pullman) has spent a career releasing crass, cash-grab flicks without artistic or thematic merit. Max barely speaks to wife Paige (Andie MacDowell), who cannot muster the courage to leave him, and lives life barking commands into his now hilariously oversize cell phone. After he is abducted and nearly murdered, Max decides it is time for a change. Across town, Ray Bering (Gabriel Byrne) uses telescopes to observe other people instead of stars. Ray is helping the government develop a surveillance system meant to cut down on crime, and begins to worry about the possible ramifications. He observes Max's abductors, both of whom are later shot. Max becomes the prime suspect in that double homicide. Elsewhere, actress Cat (Traci Lind) and Detective Dean Brock (Loren Dean) discuss Max's probable innocence.

Wenders shoots a disjointed, unfocused film. At once an attempted critique of Hollywood, homage to film noir, and reflection on human nature, The End of Violence fails to entertain or enlighten. There is a heavy component of voyeurism here, but most of the subjects are tedious and grating. Without character development, Wenders leaves his cast in a bind. I did not care about any of these characters. Simply mimicking noir elements does not excuse a lack of character motivation or an incoherent plot. All the chatter and odd editing are about as fun to watch as a random couple lunching at Chateau Marmont.

The acting is often atrocious, too. MacDowell might have been on Xanax throughout the shoot, and both Pullman and Byrne appear bored. It is telling that the third, supporting story is the most interesting. Unfortunately, Lind and Dean cannot carry the entire film. If The End of Violence is making an argument about violence, it is buried under mountains of other nonsense. If watching grainy surveillance footage over a moody score is your thing, then you might enjoy parts of this movie. You can even walk out of the room for five minutes and not miss a thing. That is not a complement. At the credits, I felt like I had attended a bad community college film class. Cut.

THE BLU-RAY:

PICTURE:

The 2.35:1/1080p/AVC-encoded transfer from Olive Films is good. There is some nice filmic detail here and a decent grain structure. There is some print damage and skin tones run a little hot at times. Black levels are good, and there is plenty of texture in fabrics and landscapes.

SOUND:

The 2.0 DTS-HD Master Audio mix handles Ry Cooder's score well, though an expanded mix might have opened up the sound field a bit. Dialogue is clear and without obstruction. No alternate tracks or subtitles are included.

EXTRAS:

Only the Trailer (2:26/SD).

FINAL THOUGHTS:

A really weak outing for Wim Wenders, The End of Violence is an unfocused film with weak performances and a confusing narrative. Olive Films brings the film to Blu-ray with decent A/V specs but no extras. Skip It.

William lives in Burlington, North Carolina, and looks forward to a Friday-afternoon matinee.