Poor Things: A Review - A Funny and Fantastic Feminist Frankenstein

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.5 out of 5 stars

My Recommendation: SEE IT. An original and brilliantly eviscerating black comedy that features the best performance by an actress in recent memory.

Poor Things, the new film from director Yorgos Lanthimos and writer Tony McNamara, is a bizarre and beautiful, weird and wonderful, gruesome and glorious piece of cinema, and is among the very best movies of the year.

The film is a surreal, absurdist, feminist take on the Frankenstein myth, which stars Emma Stone as Bella, a beautiful and horny Frankenstein monster who is raised by her creator God (short for Godfrey – played by Willem Dafoe), and then goes on an odyssey of personal, sexual and ideological discovery when adolescence hits.

On her journey Bella is armed with a powerful naivete, an aggressive resistance to social customs, a sharp scientific mind and an insatiable sexual appetite…all of which lead to a plethora of comedy.

Director Yorgos Lanthimos’ films are definitely an acquired taste…and I have certainly acquired it. The first Lanthimos film I saw was 2015’s The Lobster, which starred Colin Farrell and Rachel Weisz. The film is an absurdist romantic black comedy, a true arthouse gem, and I adored it. But when I talked it over with friends of mine, they hated it with a visceral passion. I guess they didn’t get it…or worse they did get it.

Lanthimos’ follow-up film, 2017’s The Killing of a Sacred Deer, was another strange arthouse psychological thriller starring Colin Farrell and Nicole Kidman, but which I thoroughly enjoyed. I’ve yet to meet anyone else who saw the film never mind felt the same way.

Lanthimos’ next film, 2018’s The Favourite, was a period black comedy which starred Emma Stone, Rachel Weisz and Olivia Colman, and garnered a lot of attention and Oscar nominations. This was easily Lanthimos’ most mainstream and successful film, it too was funny but also very, very dark. Not surprisingly, I loved it.

Poor Things is more in line with The Favourite than with The Lobster, as it’s a bitter and black comedy, but it’s also broad enough to appeal to slightly wider audiences than just the arthouse…although to be clear, at its heart the movie is an oddball arthouse affair.

What is so interesting about Poor Things coming out this year is that it is an elegant and searing indictment against this summer’s blockbuster event Barbie, and is the coup de grace in the case against the overwrought argument that Barbie is quality cinema.

Poor Things is everything the banal Barbie and its simpleton sycophants claim it to be but isn’t. Poor Things is original, funny, smart, clever and unabashedly and undeniably subversive. Where Barbie is insipid, Poor Things is inspired. Where Barbie is trite, Poor Things is treacherous.

Like Barbie, Poor Things is fueled by feminism but it isn’t the insipid, Human Resources approved, freshman year gender studies feminism of Greta Gerwig’s billion-dollar, two-hour Mattel commercial.

Barbie’s feminism was nothing more than a blunt instrument used to bash men and raise a self-pitying pink flag of victimhood for women. Poor Things’ feminism is a pitiless, merciless wildfire that scorches everything in its path, be it men or women, capitalism or socialism.  

Everything about Poor Things is superior to Barbie, from the directing to the writing to the cinematography to the acting.

The script, written by Tony McNamara, is razor sharp, cutting and insightful. McNamara, who also wrote The Favourite and is the creator of the fantastic tv series The Great, writes with a wonderfully incisive wit and maintains a consistent pace and tone.

The beneficiaries of McNamara’s phenomenal script are the cast.

Emma Stone gives the greatest performance by an actress seen this century. Stone, who already has a Best Actress Oscar for La La Land, is far and away the best actress in movies (or anywhere else) this year…this of course doesn’t mean she’ll win the Academy Award again, just that she should.

Stone dives into the Bella character with copious amounts of bravado and skill. She bares her body and devours scenes with equal aplomb. Watching Stone expertly act like a toddler, then like a horny teenager and then a wide-eyed whore, is glorious to behold.

As cliché as it is to say, Emma Stone gives a masterclass in acting in this film without ever making you feel like you’re watching her act. The dance scene alone is worth the price of admission.

Willem Dafoe too does extraordinary work as the mutilated mutilator Godfrey. Dafoe, beneath a bevy of prosthetics, gives Godfrey a humanity – in all its glories and failures, that never rings hollow.

The few missteps in the cast come from Mark Ruffalo, who plays Duncan Wedderburn, a cad who becomes enamored with Bella, and Jerrod Carmicheal as harry, an intellectual.

Ruffalo is miscast, and gives a very mannered performance that is at times uncomfortable to watch. Ruffalo is trying to be funny and it is this desire that suffocates the humor of his character.

Ruffalo also tries to speak in a very specific way and his mouth seems unwilling or incapable of cooperating with his brain’s instructions. The result is a muddled, mush-mouth performance that the film must fight to overcome…and thankfully, successfully does.

Carmichael, who is a comedian by trade, just seems to be a bad actor as he loiters in every scene he barely inhabits. He never adequately grasps the dialogue he is tasked with speaking and feels entirely out of place in the film.

Poor Things is, unlike its summertime counterpart Barbie, beautifully shot. Cinematographer Robbie Ryan is given a lot to play with and he makes the most of it. His use of black and white, and then a glorious cornucopia and dream like colors, is exquisite, and is substantially better than the flat visuals of Barbieland.

The production design, costume design and hair and make-up are all also extraordinarily well-done, and Robbie Ryan’s photography only accentuates the brilliance of the artists who created all of it.  

Poor Things is nominated for 11 Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay (McNamara), Best Actress (Stone), Best Supporting Actor (Ruffalo) and Best Cinematographer (Ryan). How many, if any, it will win remains to be seen but I will say this, if it wins them all I certainly won’t be angry about it.

That said, Poor Things is not for everyone. It’s a decidedly dark comedy and it features a plethora of nudity and sex…so if you have a puritan or Victorian taste and those things make you uncomfortable then I recommend you stay away. But if you have a cynical sense of humor and you can at least tolerate the nudity and sex and the arthouse weirdness of it all, then Poor Things is definitely worth a try as it’s an exquisite piece of cinema.

Follow me on Twitter: MPMActingCo

©2024

The Banshees of Inisherin: A Review – Journey to the Irish Heart of Darkness

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A flawed but well-written and well-acted dark comedic fable that speaks to our current hyper-polarized time.

The Irish are often caricatured by outsiders as a bunch of rosy-cheeked, pseudo-leprechauns blessed with a persistent good-nature and the relentless gift of the gab.

Nothing could be further from the truth.

The Irish are not jolly jig dancing leprechauns, they’re a complicated people inflicted with a deep-seated darkness and melancholy that confounds psychiatry and could swallow universes whole.

Yes, the Irish are blessed with the gift of the gab but they’re also cursed with the impulse to jab. Wherever two or more Irishmen are gathered, a fight is more likely than not.

Which brings us to The Banshees of Inisherin, the new dark comedic fable written and directed by acclaimed playwright Martin McDonagh which stars Colin Farrell and Brendan Gleeson, with supporting turns from Kerry Condon and Barry Keoghan.

The film, which is currently streaming on HBO Max, tells the story of Padraig (Farrell) and Colm (Gleeson), two men living on a small island just off the coast of civil war torn Ireland in 1923, as they navigate the end of their friendship.

The troubles (pun intended) start when Colm decides one day that life is too short to spend another moment in the presence of the dull and dim-witted Padraig. Fiddle-player Colm wants to leave his mark on the world by writing a great Irish song, and believes Padraig’s company is holding him back by taking up too much of his time. Colm would rather cut off his nose to spite his face than to spend another minute of his life chatting inanely with Padraig.

Padraig, who really is dull and dim-witted, is blindsided by this turn of events and simply can’t wrap his head around Colm’s behavior. Padraig is nice and only aspires to be nice, so Colm’s rather rude demand that they not be friends anymore is a shock.

The story of Colm and Padraig’s progressively uncivil civil war unfurls from there but I’ll refrain from sharing any more details to avoid spoilers except to say that things escalate to literally absurd extremes.

The Banshees of Inisherin has a lot going for it. For one, it is simply but beautifully shot, the setting is glorious and the costumes are sublime.

In addition, Colin Farrell gives a phenomenal performance as the doe-eyed dumb-ass Padraig. Farrell has discovered himself as an actor in recent years under the direction of both McDonagh and Yorgos Lanthimos (The Lobster and The Killing of a Sacred Deer). Hell, he was even terrific in the Ron Howard nothing burger that was Thirteen Lives from this past Summer.

Padraig’s character arc gives Farrell a great deal to sink his teeth into and he makes the absolute most of it. I would assume that an Oscar nomination is in his future and he’s definitely deserving of a win.

Brendan Gleeson too is superb as the determined yet despondent, gruff but good-natured Colm. Gleeson is a fantastic actor and the more we get to see of him the better. Make no mistake, The Banshees of Inisherin is Colin Farrell’s movie, but none of it is possible without the subtle and sublime work of Brendan Gleeson.

Kerry Condon plays Siobhan, Padraig’s sister and she is captivating as she perfectly captures the tortured and tormented existence of the Irish woman stuck on an isolated island with the hell that is Irish men.

Barry Keoghan gives an uneven but at times spectacular performance as Dominic, the lonely and desperate son of the local brutish policeman. Keoghan sometimes gets lost in histrionics, but when he slows down and stills himself, he is capable of immense dramatic power and that is evident in his work as Dominic.

I’ve enjoyed Martin McDonagh’s plays but I’ve not been a huge fan of films. I thought In Bruges (2008) was good but not that good, and found his most recent effort, Three Billboards Outside of Ebbing, Missouri to be a steaming pile of donkey shite.

The Banshees of Inisherin is by far his best film as it tells a bleakly funny, layered and complex allegory about the nature of men, Irish men in particular, and the perilously polarizing nature of our fractious time.

Men like Padraig and Colm, are designed to communicate shoulder-to-shoulder, whether it be in a foxhole, the fields, an assembly line or at a bar. Shoulder-to-shoulder. The problems start when Colm forces a face-to-face discussion, which is unnatural to men. When men are face-to-face, they’re squaring up to fight…and that’s what occurs with Colm and Padraig…and with all men who attempt to deny their masculine nature no matter how suffocatingly self-destructive it may be.

As for the more current notions addressed in The Banshees of Inisherin, the recent trend of celebrating the banishing of friends or family over the differing of opinions, is front and center.

Nowadays as a cold civil war rages in America, disagreement over politics, of all stupid, fucking useless things, is punishable by exile, which is lustily cheered on by the cacophony of clowns manning the echo chamber of social media.

Like Padraig I’m a dim-witted dullard, and like Padraig I’ve been cast out of the garden by friends. Unlike Padraig, I don’t give a flying fuck. Like Colm I prefer to be alone, and do not want to waste my time or disturb my peace with inane chit-chat with dopes, dipshits and douchebags.

This is part of the brilliance of The Banshees of Inisherin as Padraig and Colm are two parts of the masculine Irish psyche that are forever in and out of accord with one another. Colm’s newfound, fear-of-being-forgotten inspired ambition and Padraig’s yearning for comfort coupled with his fruitless hope to be remembered as nice, are the two clashing desires in the heart of all Irishmen, and maybe in all men.

Ultimately, what Martin McDonagh understands is that the thing to remember about the Irish is that they are the best friends and the worst enemies. They’re happy to talk your ear off or rip your head off, either one, you decide. They have short-tempers and long memories and they don’t hold grudges, they ARE grudges.

The Banshees of Inisherin understands all of that and all of the darkness in the Irishman’s heart, and that’s why it’s both amusing and gloriously insightful that this movie feels like a prequel to some epic grudge inspired feud that will burn the fictional island of Inisherin to the ground in the years and decades to come…which is a wonderfully Irish thing to do.

The Banshees of Inisherin is possibly the best movie of the year, but to be clear, it isn’t a great movie. It’s good, and interesting, and insightful, but it isn’t great. But in the current cinematic drought in which we suffer, I guess I’ll have to drink from the well of the pretty good while I dream of greatness past.

If you’re Irish or of Irish descent, you’ll probably recognize yourself in The Banshees of Inisherin. But regardless of your connection to the Emerald Isle, be forewarned, The Banshees of Inisherin is a subtle but dark…very dark…comedy. If that’s not your thing, then this is won’t be your thing.

©2022

The Favourite: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.35 out of 5 stars

My Recommendation: SEE IT. A very dark, arthouse comedy set in the early 1700’s that speaks to the absurdity of the world in which we live today.

The Favourite, written by Deborah Davis and Tony McNamara and directed by Yorgos Lanthimos, is the story of palace intrigue in early 1700’s England as two cousins, Sarah Churchill and Abigail Hill, conspire to out do one another in an attempt to be the favorite of Queen Anne. The film stars Emma Stone as Abigail, Rachel Weisz and Sarah and Olivia Colman as Queen Anne, with a supporting turn from Nicholas Hoult as Robert Harley.

As I have said repeatedly over the last few weeks, 2018 has been a rather tepid year for cinema, but finally, after the recent ill-exectued visual art house bombast of the highly anticipated At Eternity’s Gate and the messy mainstream misfire of the even more highly anticipated Widows, I have come upon a film worthy of my cinematic attentions and affections. That movie is The Favourite.

Director Yorgos Lanthimos has directed two previous films that I have seen, The Lobster (2015) and The Killing of a Sacred Deer (2017), both of which were exceedingly dark, at times laceratingly funny, uncomfortably insightful and strikingly original. Lanthimos’ ability to make the off-beat and absurd, not just palatable but penetratingly profound, elevated those two movies onto my list of best films of the year.

Thankfully, Lanthimos is up to his old tricks with The Favourite, as he coaxes deliciously powerful performances from his three leading ladies, Stone, Weisz and Colman, all while putting on a master class in verbal sparring, physical comedy and visual storytelling.

The crazy thing about The Favourite is that it made me laugh out loud on occasion due to the absurdity of it all, but it wasn’t until after seeing the movie and reading about the story, that I discovered it is based on a true story…which makes it all the more absurd…and also makes it extraordinarily prescient in regards to our current political moment.

Watching Stone’s Abigail and Weisz’s Sarah jockey for position and using ever more outlandish tactics to get their way in order to have the Queen’s ear, made me think of the pervasive palace intrigue of Trump’s soap opera White House. Sarah and Abigail could be Ivanka and Kellyanne or Jared and John Kelly or Sarah Sanders and The Mooch or any of the myriad of other miscreants who, in an attempt to warm their hands at the hearth of presidential power, have latched themselves onto the mad king currently sitting on the throne.

Speaking of which, Olivia Colman gives a deliriously Trumpian performance as the rabidly insecure, emotionally incontinent, childless and widowed Queen Anne. Queen Anne is blissfully uninformed, ill-informed and disengaged when it comes to politics and governance…sound familiar? Colman’s Queen Anne is, for all intents and purposes, an entitled basket case (again, sound familiar?), so for Sarah and Abigail, manipulating the erratic sovereign takes a deft hand and a decidedly strong stomach.

The Favourite is also relevant not just for political reasons but for cultural ones as well, as Queen Anne’s court and kingdom have a glaring lack, and a desperate need, for traditional masculinity…there are no warriors here, only connivers. The women, such as Sarah and Abigail, are the ones with power, close to power and jockeying for power, while the men, all impotent and effeminate dandies, are little more than pieces on a chess board for the women who rule the roost to manipulate. These “men” are not only emasculated but embrace their emasculation, and are thus reduced to being second rate women as opposed to first rate men, this is evidenced by Nicholas Hoult’s small but truly stellar performance as Robert Harley, 1st Earl of Oxford and Earl Mortimer.

The sex in The Favourite, whether it be in the court of Queen Anne or in a filthy brothel, is, in keeping with the grander theme, entirely transactional. Even when men are involved there is no actual penetration when it comes to consummation, for the fairer sex prefers to keep these perfumed and powdered geldings literally at an arm’s length during carnal interactions. In the female dominated world of The Favourite, the only body part used for penetration is the tongue…and it is very effective.

Lanthimos and cinematographer Robbie Ryan do a masterful job using light and darkness to illuminate the rich sub-text in The Favourite. Ryan’s use of candles is particularly sublime, as he creates a crisp vision of light dancing in a sea of darkness, symbolic of the perils of swimming in the black oceans of power where danger lurks just out of sight and where your humanity, your name and your future can be snuffed out at a moments notice.

Ryan’s framing and Lanthimos’ embrace of animals as sub-text and storytelling devices work hand in hand and are both extremely well done. For instance, Lanthimos’ and Ryan wisely use the symbolically vital seventeen rabbits in Queen Anne’s room as notable backdrops for certain important scenes and although it is very subtle, it is extremely effective.

The performances in The Favourite are stellar across the board. Stone, Weisz and Colman all deserve Oscar nominations for their complex and thoughtful portrayals of what could have been caricatures in lesser hands.

As previously mentioned, Colman is particularly mesmerizing as the petulant Queen who fluctuates between being a tantruming toddler and a vengeful tyrant. Colman gives Queen Anne a remarkable depth, and makes her clownish antics both pained and somehow poignant.

Rachel Weisz is a force to be reckoned with as Sarah, and make no mistake about it, she literally and figuratively wears the pants in Queen Anne’s court. Weisz’s Sarah is the cunning and compelling brains behind the throne. Weisz’s impeccable use of her physicality to convey Sarah’s strength and determination brings a forceful element to the power dynamic of the Anne-Abigail-Sarah narrative.

Where Sarah is vulnerable though, is where Emma Stone’s Abigail strikes. Stone’s Abigail is more feminine than Sarah, but equally vicious when it comes to getting what she wants. Stone’s performance is beguiling as she taps into a darker and more overtly sexual side as Abigail than we have ever seen from her before, and it suits her nicely. Stone’s natural charm makes her Abigail all the more adept at manipulating the Queen and in turn, the audience.

I would argue that The Favourite may be Best Actress Oscar winner Emma Stone’s greatest performance to date. I also think Olivia Colman deserves to be nominated and maybe even win a Best Supporting Actress Oscar, for her remarkable work as Queen Anne. I wouldn’t be surprised if one or both of Stone and Weisz get nominations as well as they are certainly worthy.

Politically The Favourite teaches us that being a slave to your ambitions ultimately leaves you a slave. I think Jared Kushner, Don Jr., Michael Cohen and the rest of the Trump bootlicking groupies will understand this film more than most as it highlights the degradation, humiliation, inherit myopia and associated dangers involved in doing anything and everything to gain favor with power. As the film and the actual real life events that inspired it show, the long game, if you have the strategic mind, testicular fortitude and vigilant patience for it, is a much more complicated, complex and ultimately rewarding venture than just being a sycophantic ass-kissing lackey.

In conclusion, The Favourite is a dark and delightful treat of an art house film. I believe the film is worthy of your time and energy to see in the theatre in order to enjoy not only Colman, Stone and Weisz’s performances but Robbie Ryan’s exquisite cinematography. I also think it is worth seeing for no other reason than to get a glimpse of what is no doubt the absurdist black comedy playing out behind the scenes right now in the epicenter of buffoonery known as the Trump White House.

©2018

The Killing of a Sacred Deer: A Review

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

Estimated Reading Time: 5 minutes 17 seconds

My Rating: 4 out of 5 stars

My Recommendation : SEE IT. See it in the theatre but be forewarned…THIS IS AN ART HOUSE FILM THROUGH AND THROUGH…if your tastes run toward the more conventional, skip this movie because you will hate it. 

The Killing of a Sacred Deer, written and directed by Yorgos Lanthimos, is the story of Dr. Steven Murphy and his family as they grapple with a strange young man who has come into their life. The film stars Colin Farrell and Nicole Kidman along with Barry Keoghan, Raffy Cassidy and Sunny Suljic in supporting roles. 

The Killing of a Sacred Deer is Yorgos Lanthimos’ follow up to his extraordinary film The Lobster, which was a brilliantly absurdist and dark comedy from 2016. Unlike The Lobster, The Killing of a Sacred Deer, although it has funny moments, cannot in any way be described as a comedy, it is more a stylized mythological and psychological horror/drama. 

The Killing of a Sacred Deer is, like The Lobster, unquestionably an art house film and to those more inclined toward standard Hollywood fare it will seem impossibly avant-garde. I absolutely loved The Lobster (it garnered 6 nominations and one win in 2016 at the most prestigious cinema awards on the planet…The Mickey©® Awards…and ended up #4 on my top ten list for the year), but I know other people who hated it with a passion. I find Lanthimos' writing and directing style to be very original and tremendously effective, while others I know found it contrived and idiotic. 

The narrative of the film is very loosely based on a modern day re-telling of the Greek myth of Iphigenia, in order to not give anything away I won't go into detail about the myth of Iphigenia, and if you plan on seeing the film I recommend you skip reading up on it as well until after seeing the movie. The film also contains biblical references and metaphors ranging from the Garden of Eden to Cain and Abel to Abraham to the plagues of Egypt all the way up to the crucifixion. The film is also riddled with intriguingly meaningful symbols including watches (time and things going clockwise or counter-clockwise), pristine hands, dog walking and watering plants and even the Bill Murray movie Groundhog's Day. The film and its symbolism tell both a personal and collective story of karmic justice that contains a very subtle political and cultural message if you care to look for it (for instance, look at the film's poster at the very top of this posting…the curtained window of the room looks an awful lot like the World Trade Center…I have a definite opinion on the subject, but I will let the viewer determine what that may mean for themselves).

Yorgos Lanthimos has a distinct style to his direction of actors where he has them speak in an awkward, stilted and lifeless monotone. This acting style can be off-putting to some people, but Lanthimos deftly uses this approach as a commentary on the modern world and also uses it to encourage the audience to suspend their disbelief and embrace Lanthimos' created universe that is at once both very believable and entirely impossible. 

Colin Farrell has found a career renaissance working with Lanthimos (he won the incredibly prestigious Best Actor Mickey®© Award last year for The Lobster) and part of the reason for this is that he has mastered Lanthimos' unorthodox, uncommon, and almost inhuman, acting style. Farrell is an actor who was born blessed with a raging furnace of frenetic energy that emanates from his every pore on-screen. Most actors would kill to have what comes naturally to Colin Farrell. But what makes Farrell so good in Lanthimos' films is that he is forced to contain that signature frenetic energy to such a degree that it could dance on the head of a pin. This energetic concentration and containment allows Farrell to never have to contemplate whether he is being charming, good-looking, charismatic or funny, instead it allows him to just mechanically say the words he is supposed to say and mechanically move where he is supposed to move. Some actors, Colin Farrell included, find the blessing of their charisma and magnetism to be an artistic curse and so when those chains are removed, as they are in Lanthimos' unique acting style, the actor is then free to simply BE…and when Colin Farrell is simply "being", he is truly remarkable. 

What makes Farrell's performance in The Killing of a Sacred Deer so effective, is that his Dr. Murphy is dead-eyed and monotone going through the motions of his life…until he isn't. There are rare moments when the fire in Farrell's eyes returns and he is so filled with a palpable life energy that he literally shakes. The unleashing of Colin Farrell's natural power in those few moments are what make his performance, and Lanthimos' direction, so sublime. 

Much to my pleasant surprise, Nicole Kidman takes to Lanthimos' style with ease as well. The reason I was surprised by Ms. Kidman's adaptability to Lanthimos' style is that, similar to Colin Farrell and his natural frenetic energy, Nicole Kidman naturally emanates with a fragile, yet palpable humanity. In The Killing of a Sacred Deer, Kidman is able to contain her powerful but delicate humanity and embrace the stylized lifelessness of Lanthimos' approach. Kidman's performance is striking for its precision and meticulousness. Again, just like Farrell, there are specific moments when her humanity explodes through her lifeless veneer, and those moments are extremely dramatically satisfying and speak volumes to Kidman's skill and mastery of craft as an actress.

The supporting cast is stellar as well with Barry Keoghan in particular giving a stand out performance. Keoghan is creepy and compelling as a mysterious young man who starts at the periphery of the story but soon becomes its center. Keoghan's performance is seductive, menacing, magnetic and unnerving. The first time I saw Keoghan was this past summer in Christopher Nolan's Dunkirk, and after seeing his attention to detail and specificity in The Killing of a Sacred Deer, I look forward to seeing what lies ahead for him in his career. 

Raffey Cassidy and Sunny Siljic also do outstanding work in supporting roles as the Murphy children. Cassidy, in particular, does a solid job of creating a specific and multi-dimensional character where other actresses would have embraced the generic.

The Killing of a Sacred Deer, just like The Lobster, is not a film for everyone. I am someone who reeks of the art house, so it was right up my alley. Others with less adventuresome and more conventional cinematic tastes will probably dislike it a great deal. I believe that Lanthimos is a a true auteur  creating original and important films that are cinematically, if not revolutionary, then at least evolutionary. 

The Killing of a Sacred Deer is an admittedly weird, but fascinating and ultimately satisfying film that I wholly recommend to those daring enough and willing to make the leap into the deep, dark waters of the art house. If you love cinema, The Killing of a Sacred Deer is for you, and it is well worth spending the time and money to go see it in the theatre. 

©2017