It could be reasonably argued that the first ten weeks of 2008 coincide with the worst extended stretch of movies that Hollywood has ever produced. The effects of this dismal run are compounded because we were spoiled with one great film after another in the final three months of 2007. Nevertheless, it boggles the mind how there could possibly exist any movie producer on Earth who could take imbecilic flicks like Never Back Down or Step Up To the Streets and actually say, “fuck yes, let’s spend millions and make that movie!” Welcome to reality, folks. Fortunately, however, a film of considerable substance has finally sprung forward to save us from the wretched vile that has flooded theaters this year. Yes, leave it to famed German filmmaker Michael Haneke to re-make (and Americanize) his own cult classic for our amusement and, above all, education.

From the trailer, Funny Games gives off the vibe that it might just be yet another Stanley Kubrick rip-off through its premium blend of gratuitous violence and subtle sophistication (not to mention use of classical music) that so many young filmmakers currently favor. But make no mistake, Haneke isn’t young per se, he’s 66 years old; and his sparkling reputation as a German auteur supersedes any notions of filmmaking plagiarism on his part. Indeed, it doesn’t take long for Haneke to effectively ply his trade in a film that turns out to be quite a bit more than just a story about two preppy-looking guys who delight in torturing an innocent family in their own home. No, it becomes abundantly clear very early on that Funny Games is a film of appreciable clarity through its unrelenting social criticisms of so-called “civilized” culture.

Ann and George Farber, played by Naomi Watts and Tim Roth respectively, delight in vacationing at their upscale lake house along with their son, Georgie (Devon Gearhart). Barely have they had a chance to unpack their clothes and launch the boat before noticing that their golf buddy neighbors are acting very strange; not to mention the fact that they have two unfamiliar young men residing at their house. It doesn’t take long before the two young men knock on the Farber’s door, politely requesting a loan of four eggs. Trouble is, the young men, both clean-cut and donning white polo shirts and shorts (as well as golf gloves), refuse to leave. Playing Peter and Paul, the Ivy League miscreants, are Michael Pitt and Brady Corbet. Both turn in bone-chilling performances, especially the supremely talented Pitt (Last Days, The Dreamers). Always hiding behind a mask of congenial courtesy and good manners, Peter and Paul quickly commandeer the household and make a wager with the Farber’s that they will be dead in 12 hours.

The violence in Funny Games is extreme but absolutely necessary. Many have compared it to A Clockwork Orange, but thematically it is more reminiscent of American Psycho, Dogville, and Manderlay; perhaps falling somewhere in between. Implicit in Haneke’s film is the notion that misperceptions of power play key roles in defining the violence and hypocrisy that permeates Western culture. It is not the Tony Soprano’s of the world who should be feared; rather it is the well-dressed Ivy Leaguer’s who are perceived as being “good” that often come to represent the greediest and most dangerous of all societal prime-mover’s. Peter and Paul are wonderfully effective allegorical manifestations of the George W. Bush’s and Karl Rove’s of the world who hide behind their wealth, status, and impeccable reputations while waging funny games of their own. You know what I mean.

One of the more memorable scenes in the film is when Peter (Pitt) tells Ann (Watts) that if she can successfully recite a prayer, any prayer, this will signify that God is on her side and she can then determine “what will happen next.” The political overtones in this film are amazingly subtle; and perhaps that is the strong suite. There will be large numbers of people who watch this film that never even realize it’s meant to be a political statement. And that is a tribute to Michael Haneke’s craftsmanship. Brutal honesty is his mantra here and he does not hesitate for one second to consistently defy cinematic conventions. As a warning, this is not a feel good film so if you are looking for happy endings, maybe you should opt for Never Back Down so you can see the protag kick his enemy’s ass a la Daniel Son in The Karate Kid. If you want a challenge and a slap in the face, Funny Games is your Huckleberry.

By Chris Virnig