"The End of Violence" is a clutter of stick figures wandering through a messy story about some sci-fi "big brother" government project being tested in Los Angeles. The film trades interesting characters for interesting situations, connects the dots too late revealing too little, and ends in a self absorbed coma about as flat as warm beer. Nonetheless, the film has a respectable cast, a garnish of neo-Beat poetry, a brooding noir feel, a good soundtrack, and some husky-voiced philosophical narration by Pullman making it a par watch for the needy couch potato. (C)

Bill Pullman is okay as Mike Max, a veteran Hollywood producer who's made his name with a succession of violent action pictures. One night, he is carjacked by two hoodlums, only to escape and spend time hiding out with the family of his Mexican gardener. He doesn't seem THAT interested in finding out what truly happened that night; meanwhile, the film also follows Ray Bering (Gabriel Byrne),a lonely man operating a high-tech surveillance project out of Griffith Park Observatory. A young detective called "Doc" (Loren Dean) tries to make sense out of the Mike Max disappearance.

The intentions of celebrated German director Wim Wenders are certainly good, as he and his screenwriter Nicholas Klein set out to examine, and ruminate over, the "psyche of Los Angeles". His desire was to paint a multi-faceted portrayal of a city beset by paranoia and violence, a city which fascinated him. Given that Wenders himself is not fond of the proliferation of violence in cinema, "The End of Violence" shows us very little. Unfortunately, this picture of his suffers from a slow pace and a sometimes meandering nature. It's really not that involving, with very few characters we can genuinely care about.

Among its assets are the widescreen photography (this was Wenders' first film shot in 2.35:1),and the excellent, flavourful soundtrack composed by guitar great Ry Cooder.

The wonderful assemblage of acting talent helps to maintain interest even when the story doesn't. Traci Lind is a standout as a lovely stuntwoman being groomed for a career in acting. Andie MacDowell is barely passable as Mike Max's neglected wife. A sombre-faced Byrne does get to share some scenes with the legendary filmmaker Sam Fuller, who plays his father. Sadly, Fuller would pass away shortly after production wrapped. Other familiar faces include Rosalind Chao, Pruitt Taylor Vince, John Diehl, Nicole Ari Parker, Daniel Benzali, Marshall Bell, Frederic Forrest, Udo Kier (a hoot, as always, as a film director),Henry Silva, Peter Horton, Michael Massee, and O-Lan Jones.

Ultimately, style triumphs over what little substance there is in this forgettable feature.

Six out of 10.

Director/Writer Wim Wenders is One of Those...

A "Personal" Film-Maker.

A Rare-Breed of Artists that Refuse to Allow Outside Influences to Taint the Precious Artistic-Vision in any Meaningful way.

Robert Altman and David Lynch Immediately come to Mind as Part of that Crowd.

Though Crowded the "Club" of the Fanciful Film-As-Art is Not.

Divided it Stands among Critics and Audiences Alike.

Wenders Movies are Nothing if Not Ripe for Ripping Apart.

Because He is so Unorthodox, Unconventional, and Unrepentant about His Craft.

A Good Cast Usually Inhabits Wenders-World.

Here it is...Bill Pullman and Gabriel Byrne with Support from Henry Silva and Udo Kier.

With a Surprise Appearance from the One and Only Sam Fuller.

Thoughtful, Tantalizing, Beautiful Look at Hollywood, Crime, Black-Ops Surveillance, Artists, and Immigrants.

Just to Name Some of the Ingredients in this Stew.

A Rich Blend of Savory Story-Telling with Plenty to Digest.

Innumerable Bits of Worthiness in this Rambling, Focused, and Far-Reaching Exploration.

On so Many Things Bursting with its Head-Spinning Allure.

Like All Wenders Films it Won't Appeal to Everyone.

But it is...

For Those on His Wavel-Length.

For the Curious and the Exploratory Movie-Lovers.

For the Saturated, Over-Dosed on Main-Stream Cinema Fans.

This may be just what the Dr. Ordered.

To Cleanse the Palate before Returning to the Endless Offerings of that Other-Thing.

Movies for the Masses.