A Fúria

The acting is fine, but the movie resorts to cheating the audience by pretending to be something it is not. The ending does not make me ponder anything, except why? Up to that point, the film was for the most part believable, and it was totally unnecessary to jazz up the ending. Reality plays far better than conjecture, so the confusing conclusion was out of place. You can watch "He Was a Quiet Man" as many times as you want, to speculate. I on the other hand would have preferred simple entertainment, which until the end, this movie was. My conclusion ...................................This movie is good for awhile, but the ending drags the whole thing down a couple notches. - MERK

Frank A. Cappello, writer and director of He Was a Quiet Man, is a man with something to prove, having written the hilariously bad Hulk Hogan vehicle Suburban Commando, and directing the wholly disappointing Constantine. He Was a Quiet Man, whilst not an unqualified success, is one of the underseen gems of 2007.

The film is essentially an amalgam of A History of Violence, Falling Down, and Office Space, with a pile of quirks to boot. Bob Maconel (the hilariously disguised Christian Slater), a despondent office worker, decides that he is going to perform a murderous rampage at his work office, yet before he can do so, a fellow maniac beats him to it. However, Bob, in protecting the one person that he cares about, the beautiful Vanessa (Elisha Cuthbert), guns down the assailant, and inadvertently becomes a hero.

Bob is unashamedly similar to Michael Douglas' "D-Fens" character from Falling Down, kitted out in a shirt and tie, and even further, seeks moments of reflection in the great outdoors, although in this instance, there are no Mexican gangsters attempting to rob him. The similarities do, thankfully, stop there – this film is born of something else, with its CGI traffic whizzing by at astronomical speeds as Bob dawdles along, illustrating the drudgery of Bob's life without an ounce of subtlety. Whilst the film as a whole is overly reliant on visual curiosities such as this, the animated, talking fish which eggs Bob on to kill his colleagues is delightfully colourful, and mildly amusing to boot.

As one can gather from the above paragraph, He Was a Quiet Man is very surreal in a hilarious sort of way. Essentially, if you gave David Lynch a funny bone, you'd probably end up with something remarkably similar to this. Despite the aforementioned reliance on visual effects, the film is unquestionably carried by the barely-recognisable Slater who, despite his recent collaboration with tragically awful director Uwe Boll, proves that he is still worth something in Hollywood, with comic timing that is nothing short of spot on.

Bob is essentially revered by everyone around him for his "heroic" actions – he is given a new job, his colleagues no longer think of him as a schmuck, and the sexy office bitch wants to have sex with him, yet the film's real point of contention is Cuthbert's character. Vanessa is left paralysed following the shooting, wishing that she was dead, and moreover, she wishes that Bob, who saved her life, would kill her.

A surprisingly understated (until the climatic scenes) conundrum surfaces as an aside to this drama – Bob still finds those around him utterly repugnant, and he considers whether or not to carry out what the other gunner started, as well as putting Vanessa out of her misery, of course. The film carries these questions very well – it is at times predictable, and occasionally not so, yet it never ceases to lose its sense of intrigue. The film's examination of the way in which humans operate is not intricate, and verges on syrupy at times, yet what is most entertaining about He Was a Quiet Man is its surreal spirit. Furthermore, even in its sweetness, the film explores the lives of disabled persons with a surprising level of insight and honesty . It may be exaggerated, and at times, even humorous, yet its approach is undeniably refreshing, particularly in relation to how the disabled manage to still engage in an active and healthy sex life.

He Was a Quiet Man never remains comfortable, constantly fidgeting and posing new questions for both ourselves and Bob to consider. The film follows through with an insane close, yet it is the most manically reasoned, and therefore, perhaps the most realistic end possible (although term "realism" is a very tenuous one in a film as twisted as this). The ending comes very abruptly, and little is done to satisfy viewer curiosity, yet we are given the vital answers, even if they aren't wholly satisfying, and are a tad questionable. We are left to ponder several things, yet when the preceding ninety minutes are so intentionally devoid of poignance, the film may simply leave your mind as the final frame does.

Christian Slater's latest and greatest effort (at least for a while) is A History of Violence without the graphic violence, Falling Down without the social commentary, and Office Space without the sagacious humour. Yes, it is a blend of all three films, at the cost of diluting each of them. The film's worst crime may be never allowing us to particularly care for Bob (or anyone) as much as we did for D-Fens in Schumacher's film, yet even despite its relative superficiality, He Was a Quiet Man remains a thoroughly entertaining, inventive and quirky film that will have nihilists the world over utterly dumbfounded (myself included). Elisha Cuthbert pulls out a career best (in that she is above tolerable, and even "good"), William H Macy plays the corporate yes-man with glee, and Slater, with great aid from his fabulous make-up department, looks and acts with great hilarity. It is unfortunate that this film, embracing its flaws as it so flagrantly does, has yet to find a large audience, and as such, it instantly becomes one of the indie staples of 2007.

Well, by camera work I really mean all visual effects as well as the cinematography, set design... it's a visual treat. The effects used to dramatize Bob McConnell's sense of isolation and loneliness were intriguing.

Also great acting by Mr. Slater, as usual. I like this guy's work.

It's nice to see William Macy in a different type of role than I usually see him in, but anyone could have done that turn -- not much there for him to do, but he ably supports, which is a fine thing, since that's what his role here should be...

In some ways, it reminded me of Fight Club.

Saw this on an airplane today, and now I'm kicking back and looking it up.

I quite enjoyed it.

...that a human mind is capable of creating such intriguing plot - so terrifying and captivating this movie is. Frank Capello is obviously a man of genius. But he is not nice and gentle to his audience. The movie is sharp-straight, honest and pretty cruel to a person watching it. It doesn't compromise. Don't expect it to comply with general drama movie rules.

*** BE AWARE OF SPOILERS BELOW ***

After you ve seen 50% of it or so you think it's pretty common drama, quite predictable and possibly happily ending one. Well, its not. Not at all. And so shockingly not.

Cast is perfect. I would never think Slater could fit into the role of Bob. W.Macy would fit better, I thought. But these thoughts faded away.

The movie is not open-ended despite what some people say. You just have to think harder than you usually do while watching a regular movie. Be more attentive or watch it again.

Capello makes you think. If you want to know what really happened analyze the details. There are answers.

I give 9 out of 10, because Capello rudely and savagely ruined my hopes for the better ending :)

A Dark Character Study that is a well Crafted, superbly Acted, smartly Directed, Offbeat, and somewhat Depressing Film. Christian Slater plays against Type and does so with intense, uncanny Verisimilitude. This should have been a second wind Career changer, but His Performance and the Movie were ignored, dismissed, and unrecognized.

To this Day it collects dust on shelves everywhere and exists anonymously wherever Discs are Rented, Sold, or exchanged. It deserves so much more because although the Story maybe a bit familiar and its Twists not as Fresh as they used to be, it is still a gripping Psychological Study that is Timeless and Relevant.

It goes about its Therapeutic Theme with Style and Insight. The Ending has taken the brunt of attacks from those who have seen it as ambiguous and unsatisfying, but it is not all that. In fact, it is a straightforward conclusion and rests on the inevitable Fate of the Failure of a Quiet Man and His frustrating existence in the cold Cubicle World of the Fortune Five Hundred that has no place for a Man who just wanted to be acknowledged for nothing more than being.