Austrian writer-director Michael Haneke has made many a masterpiece – and his latest, Happy End, isn't one of them. Yet this cinematic poke in the eye about an upper class family imploding still exerts a perverse fascination. From early provocations like The Seventh Continent (1989) through later boundary-pushing works like The Piano Teacher, Cache, The White Ribbon, Funny Games (both the original and it's English-language remake) and Amour, the fillmaker specializes in the toxic indifference that can kill a family or society as a whole. He offers no easy answers. As the...
- 1/4/2018
- Rollingstone.com
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