Though the visual style (which is far more striking than that displayed in any of his other films) does invoke Kubrick (actually invoking more for me fellow Kubrickian Jonathan Glazer, whose BIRTH this made me think of), Lanthimos has w/ SACRED DEER full-on channeled the particular vein of theatre of the absurd pioneered by Ionesco. It is both very funny and deeply malicious, the tone slopped on a mite too thick.
A far more entrancing outing than "The Lobster" - partially because this time around I was more prepared - "The Killing of a Sacred Deer" arrests with its sterile visuals and unpredictable camera-angles. Thematically, it can be viewed as everything from the tough choices of parenthood to a slowburn tale of revenge. Regardless, I still think Yorgos Lanthimos' films would be more successful at a medium-length.
It's as though Lanthimos absorbed the entire filmographies of Kubrick and Haneke and saw them not as an influence but a provocation - a dare to see who could produce the most cold, clinical, and off-putting tragedy possible. While I'm not sure this film has a point of view beyond its extreme pessimism, and "The Lobster" certainly felt more unique, there's no denying "Deer" displays a filmmaker in complete control.
This is an intense psychological thriller that is well acted and staged. This film is equal in tone to The Shining with its brilliant use of music to give you an unsettling feeling and keep you on the edge of your seat and the camera movements that move so fluidly and focus so much on the awkward intensity that this film evokes. Truly a disturbing and riveting film that will make you think.
Yorgos Lanthimos' stylistic choices, from abrupt and often awkward dialog to seemingly unpurposeful camera movements, propels the restlessness permeating throughout the narrative, and sets the stage to yet another twisted, metaphorical tale. Here, the Greek filmmaker and his co-writer, Efthimis Filippou, ask difficult questions about unwanted parenthood, co-dependence and the nature of revenge and guilt.
(2K) why does the camera moves meaningless all the time (traveling traveling zoom zoom) ? what is the boring-displaced and ever-present music trying to give — is it offering some emotions ? what the hell is Colin Farrell doing, or not doing — learn how to act, dude ! and who the hell is Yorgos Lanthimos, why is he wasting my time
Lanthimos and Filippou have taken things to a whole new level of deadpan absurdity here. At times the subtext is shrouded so deeply in mystery it's impossible to figure out what's happening. I saw two of the sacred deers being killed here were the notion that 'science is god' and 'disability is not to be laughed at' 3.5 stars
Lars von Trier once said: "A film should be like a rock in the shoe." Lanthimos seems to have latched onto this advice, producing a film so wildly ridiculous and horrific that you can almost hear the crew laughing at the audience. Imagine David Lynch inviting Gaspar Noe and Michael Haneke over to his pad for a couple of bottles of rum and a brainstorming session.