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A History of Violence
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CREATORS OF "A History of Violence"
A History of Violence
CRITICS OF "A History of Violence"
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Looking Closer
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December 10, 2015

Hopefully [it will] encourage a sobering sense of responsibility and a more truthful perspective on identities (individual and national).
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Wall Street Journal
Resource

April 15, 2013

This peculiarly predictable picture has been calculated, or miscalculated, to set up certain expectations, fulfill them, and then do the same thing again, thereby giving us a chance to see what's coming and, at least in theory, be shocked.
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New York Magazine/Vulture

May 12, 2006

A remarkably convincing examination of heroism, hero worship, and the seductive allure of villainy.
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Associated Press
Resource

April 15, 2013

The less you know about this movie before seeing it -- and you really should see it -- the better.
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RogerEbert.com
Resource

October 07, 2005

The film, based on a graphic novel, has a crackling sense of visual tension.
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Metro Times (Detroit, MI)
Resource

April 20, 2011

Without conceding any of his iconoclastic vision, Cronenberg has turned a genre film with classic Western overtones into a gripping psychological drama that examines the duality of man and his infatuation with the art of violence.
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Cinema Writer
Resource

August 16, 2010

While it weakens in its final stretch...A History of Violence succeeds enormously thanks to the strength of its direction and performances.
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Empire Magazine Australasia

November 07, 2012

With A History Of Violence, Cronenberg uses the pulp gangster genre - as opposed to, say, sci-fi horror -- to draw us into a dialogue on our relationship as voyeurs to violence, both real and cinematic.
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Lyles' Movie Files
Resource

October 04, 2013

A fascinating exercise in cinematic restraint resulting in a captivating, not to be missed film.
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Cinema Crazed
Resource

June 23, 2010

A truly entertaining and engrossing study of violence, family, and our pasts eventually coming back to haunt us...
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New Yorker

April 15, 2013

Cronenberg's direction, mirroring the split in Tom, is alternately measured and frighteningly explosive, and, as always, he gives the movie a nasty underlay of sexual perversity.
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Atlanta Journal-Constitution

October 02, 2005

A model of clean, lean storytelling.
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