Why was this billed as a "Drama" and not Horror? This seems to only happen with arthouse-horror; are distributors afraid that arthouse audiences won't go to it if they know what it really is? I HATE being tricked into seeing a horror film. People bleeding from the eyeballs & forced to be killed by a parent due to a weirdo stalker with supernatural powers IS a Horror Film. I'm not watching any more films by Lanthimos.
Lanthimos and Filippou's pitch black script gives us a clinical and cold horror film mixed with the darkest of Greek tragedy that results in a mesmerizing film that tries one's patience getting to its eventual outcome. Casting is spot on with Farrell and Kidman both excelling and young Raffey Cassidy making a very strong impression.
Digital, 0. This is very, very, very(...), pretentious, fake and unbearable. Perhaps it can be justified by the brief moment in which the pale Australian star is seen wanking off in a car with that queasy face that she never lost- which for the "daring" Lanthimos must have been the film's punctum, if not, it was for me. The rest is immensely laughable- or nauseating, according. Now i'm ready for Aronofsky's last.
If I want to watch Pasolini, I'll watch Pasolini. If Haneke, I'll watch Haneke. Bit disappointing, but the tracking shots were lovely, especially those low and high angles that looked like they came directly from an 80s slasher movie.
Phenomenal psychosomatic metaphysical parable about retribution and vengeance in a morally bankrupt world. Lanthimos' robotic deadpan dialogues work better in Greek than English and I wish he'd go back to the motherland instead of succumbing to the forces of the marketplace. Loved the Grand Theft Auto camera work, the unsettling score, the lack of oxygen in each scene, the re-reading of Pasolini's Theorem. Deer/dear.
With its wide-angle lenses, tracking shots & slow, penetrating zooms, 'Deer' seems a masterpiece of cinematic form. Distorting Greek tragedy with allusions to Pasolini's Theorem & Hanake's Cache - as a stranger subverts the order of bourgeois existence; conspiring with a family to punish the father for a personal transgression - the story's moral conundrums & exclusively allegorical form are both rich & unsettling.
The Lobster made me feel like I was being scolded by an old man, but "Sacred Deer" felt like an honest reflection of the society we live in currently. I loved the tracking shots, and, wow, that handy was something special.
Bothers me on soooooo many levels. They talk as if the're in Gilmore Girls. Flat. No emphasis. No pauses. No emotions. After a while I just couldn't make the connection with any of the characters. Because there aren't any. They're just here to tell a story. Not even a good one. A medium one. And with everyone praising the cinematography, I could as well agree, but the ONE handheld shot, out of the blue, bothers me.