A History of Violence Movie Review:


Known more for his offbeat character examinations that play better to a niche or art-house crowd, David Cronenberg (The Fly, Dead Ringers) tries his hand at mainstream family drama with A History of Violence. While far from art-house, the film still has that Cronenberg touch as a deep, dark and disturbing exploration of people and things that aren't what they seem. Even the film's title is a bit misleading, considering that the film appears to be a back-porch apple pie tale set in the middle of the American heartland. After all, what act of violence could possibly occur in Millbrook, Indiana, right?

Taking a cue from Hitchcock, Cronenberg tells the story of an innocent man mistaken for someone else by some very bad people. When this happens, the man's entire family, as well as the audience, is dragged into a bottomless pit of deception and danger. In this case, it's Tom Stall (Viggo Mortensen), a Main Street restaurant owner who takes matters into his own hands by killing two men who attempt to rob his diner. Millbrook is a lot like Andy Griffith's Mayberry where everybody knows everybody, so Tom's actions make him a locally celebrated hero. But everyone, including his wife (Maria Bello), daughter (Heidi Hayes) and son (Ashton Holmes) knows Tom as a peaceful man who wouldn't harm a fly. So, how was he able to whip the asses of two heavily armed robbers? The first cracks have appeared in the façade of Tom's seemingly innocuous life.

This is the point where things begin to turn bad for Tom, but delicious for the audience. The proceedings have advanced to this point with a deceptive calm, save for a bloody opening scene that sets a dark and uneasy tension beneath the peace and quiet of Millbrook.

Along with Tom's local celebrity comes the unwanted attention brought about by National news broadcasts covering his heroism. After seeing his mug plastered all over the TV, a black-suited Carl Fogaty (Ed Harris) accompanied by his oafish henchmen, shows up at Tom's diner insisting that Tom is actually Joey from Philadelphia. Insisting the man is mistaken, Tom demands that he leave immediately.

As the rest of the movie unfolds, Tom's world spirals into a swirling mass of shocking revelations and unexpected twists. The performances are nearly perfect, including a short but memorable contribution by William Hurt as Richie Cusack an Irish mob boss. I always questioned Judi Dench's Oscar win in Shakespeare In Love due to her scant five-minute appearance, but my concerns will be vindicated if Hurt is recognized for his performance here. He's not on the screen very long, but he takes advantage of what he gets with a chilling portrayal of a demented character that could have used a bit more screen time.

To reveal any more of the story would violate the studio's request that we refrain from revealing the film's dramatic plot twists or character developments. So I won't. But I will tell you that typical with his reputation, Cronenberg successfully mixes violence with sex, complacency with discomfort, and beauty with repulsiveness. But atypical of his style, the film is more narrative-driven than anything he has done before. Things unfold in a very easy to follow linear string, but the messages are anything but simple. You'll have to do some thinking on your own, but then again, it's much more rewarding when we can think for ourselves.

A History of Violence gives us a very realistic and disturbing look at exactly how complicated things can become when lives are touched by violence. The repercussions can be staggering. The film presents a graphic illustration of what might have happened had Charles Manson visited Mayberry …only darker!



Frank Wilkins

It's impossible to overstate how important this powerfully engaging drama is, reaching deep inside to confront us with our attitudes toward violence and aggression.

Tom Stall (Mortensen) is a cafe owner in rural Indiana, living an idyllic life with his wife (Bello), teen son (Holmes) and young daughter (Hayes). When two thugs (McHattie and Bryk) try to rob him, Tom reacts with shocking precision, drawing the attention of the press, which in turn catches the eye of a Philadelphia mobster (Harris) who insists that Tom is actually someone else. Even as Tom insists he is who he's always claimed to be, everyone around him begins to have serious doubts.

Based on a graphic novel, Cronenberg and Olson develop this story meticulously, keeping every step of the astonishing plot solidly within the realms of believability. The characters react to the events in bracingly authentic ways that really get under our skin--we keep thinking how we'd react in the same situations. It's such a raw, provocative story that as it develops and takes us into some fairly mind-blowing territory, we aren't sure we want to travel this path. Which is precisely the point.

Performances are remarkable. Mortensen finally explodes on screen with all the promise of his previous roles; this is a staggeringly well-balanced, muted portrayal of a man whose life is pulled out from under him. Bello is amazing as well; their scenes together are a jolt of chemistry and connection. Harris is terrific as the shady, scarred gangster; while Hurt really lets rip with attitude and menace. And Holmes holds his own in this formidable company with a fully rounded character who has an internal journey all his own.

This is elegant, simple, profoundly intelligent filmmaking that gauges the story impeccably. It's mysterious without ever trying to trick us, surprising without being over-clever, witty and funny and sexy and terrifying when it needs to be. And more than that, it forces us to grapple with our own attitudes and feelings. It's essential viewing for adult moviegoers who want to engage both their hearts and minds.

Rich Cline

Family man Tom Stall (Mortensen) becomes a local hero when he foils a robbery at his diner, killing both of the assailants. Not wanting any fuss over want he has done, Tom returns to his wife Edie (Bello) and his two children. But when Carl Fogaty (Harris) comes to town a few days later looking for Tom, he asks the question why Tom was quick and efficient when he took out the robbers, making Edie question if Tom is who he says he is.

Every time director David Cronenberg makes a movie, the film world takes notice and with ‘A History of Violence’ they should do.

Based on a graphic novel by John Wagner and Vince Locke, this latest movie by Cronenberg is a potboiler that simmers away until it boils over. A character based drama, this is a movie that builds up the main players and then twists them around. This is where the film succeeds. By taking a small town, family man and turning him into some who may or may not be a killing machine makes for intriguing premise and one that keeps you engaged throughout.

The ensemble cast is extremely strong and well suited to bring these complex characters to life. Viggo Mortensen continues to show that he is an actor with real promise as he continues to choose interesting roles after his Lord of the Rings adventures. Tom Stall is a complex and extremely interesting character that Mortensen sinks his teeth into. Maria Bello also continues to impress as she takes on other demanding role. This is a powerful performance from an actress who is really starting to make waves in independent films. Ed Harris and William Hurt bring some class to the movie with two very memorable performances of which both of them seem to revel in. There is also a good performance up and coming actor Ashton Holmes as Tom’s son Jack.

As with most slow burning, character based dramas this is quite slow moving film that some viewers may find hard going. As you might have gathered from the title, this is also quite a violent movie that at times can be quite disturbing. Cronenberg makes it very realistic and uncompromising, but never glories the violence, as it is a means to an end and integral to the story.

‘A History of Violence’ might be hard going and quite slow but it is intriguing throughout. With excellent performances from a first class cast, this is a movie that is compulsive viewing for Cronenberg fans and movie aficionados. With hard hitting violence and a story that just doesn’t let go, this is Cronenberg back to his best.

Jamie Kelwick

There has been a lot of talk and commentary about “A History of Violence” from director David Cronenberg. The remarks focus primarily on how powerful and thrilling the film is on the angle it takes on an all-to familiar story. I disagree and this is why.

The film tells the story of your typical “heartland” family who own the town diner and are friends with just about everybody in town. Tom Stall (Viggo Mortensen) is the patriarch of that family with his wife, Edie (Maria Bello) and their two children.

All is just perfect until one fateful night, two gunmen stumble into the Stall’s diner just when Tom and his staff are about to close for the night. In the blink of an eye, Tom saves the day and is crowned the town’s local hero that in turn brings the media to cover the story. But the media isn’t the only thing interested in Tom Stall.

It so happens that this quiet family man has a deep dark secret that has garnered the attention of two gangsters (Ed Harris and William Hurt). Could it be true?

“A History of Violence” is one of those redemption stories where all is perfect until a deep dark secret emerges to threaten the peace. We have seen it all before and quite often it is a western. And basically that’s what David Cronenberg’s new film is primarily. It is a modern-day set western.

The problem I had with “A History of Violence” was that Cronenberg went through the whole film with one mood, rhythm, tone and theme. He didn’t stray from the path or ever ante up the action or tension in any of the scenes. The only real tension in this film is the firing of a gun but the tone is so down that gun-fights seem like they are stuck in slow-motion.

From what I had gathered from trailers and such, “A History of Violence” was being marketed as a razor-sharp psychological thriller where the theme of violence raises havoc with a small town family. It just isn’t so.

I have to hand it to Viggo Mortensen, he has no problems about doing different kinds of films. But I really think that there needed to be a more complex actor in the title role of this to give the audience more of a look inside who this man is. See the conflict in his face and show us the internal debates going on inside the man. I just didn’t feel any raw emotion from Viggo.

I really did like Maria Bello in this film because it seems to be her most honest and deepest portrayal to date. If it wasn’t for her dynamic performance I think it would have been hard to follow this film. She is the polar opposite to Viggo and it makes for an interesting conflict in a lot of the more everyday situations.

I also really didn’t get what Cronenberg was trying to accomplish with his rather awkward love scenes. I guess he was trying to touch on desperation verses love and devotion but I never felt it was poignant enough to make an impact.

I wanted so much more from “A History of Violence” and I am probably in the minority but I was disappointed. The film isn’t thrilling because the tone is done on such a low note I guess it is powerful in some scenes but not enough to carry the film. But as a whole I just don’t get it.



So Says the Soothsayer.

Dean Kish

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