Dobermann (1997)

Perhaps the cinematic equivalent of being beaten with a stick, stuffed in a trashcan, and thrown off a cliff, the image that may best exemplify the irreverent and antisocial attitude of Dobermann is when one of the Dobermann's revolting henchmen, after relieving himself in a canal, substitutes the comforts of toilet tissue with a page from Cahiers du Cinema, specifically an article on "the new auteurs of French cinema." A surreal, blood-drenched cross between Jeunet and Caro, with a dash of Luc Besson and a heaping helping of John Woo, Dobermann has been harshly criticized for its overabundance of tasteless imagery and remorseless violence -- a criticism that in this case is entirely justified. Set at a breakneck pace, with an emphasis on hyper-violent visuals and cartoon action, Dobermann's rancid attitude is likely to appeal to those with strong stomachs and a jaded sense of humor, and is absolutely certain to become a poster-film for those screaming that movies have become too sensational in their glorification of violence. There are no good guys in the world of Dobermann, and it's difficult to single out the least despicable bad guy. Make no mistake about it, Dobermann certainly has a mean streak, but its over-the-top visuals and jet-black humor make it hard, if not impossible, to take seriously. ~ Jason Buchanan, All Movie Guide