The Killing of a Sacred Deer

It would be boring if all A-list filmmakers were normal. A disruption of a cold, perfectly rational world by an irrational force, a demon that cannot be defeated. Not as eccentrically intellectual as The Lobster, but with more viewer-friendly content, The Killing of a Sacred Deer is basically a genre movie for more discerning viewers. However, it is also unique in its execution. It is hypnotically slow, with brilliant shots and Bernard Herrmann-style horror music, while also being emotionally restrained and hellishly cruel. Colin Farrell is a chameleon and Nicole Kidman perfect as always, both as an actress and in her underwear. And the young Irish devil Barry Keoghan looks promising. [Cannes] (26/05/2017)

After his weird period, Lanthimos activated internal Greek fate and combined residential horror and ancient tragedy with Efthymis Filippou. A camera that hovers over the heroes like a vicious threat, unmistakably mechanical acting, demonic Barry Keoghan and a morally borderline second half that is the cruelest (and least satirical) of all Lanthimos's films. What used to come from within strange communities is now incomprehensibly imposed on the heroes from above. The unraveling and meaning of this brutal clinical version of Sophie's Choice will probably be discussed at length - the fact remains that the tone and depressing atmosphere make The Killing of a Sacred Deer a real horror. Trier with an acute attack of sociopathy. (27/05/2017)

The end of the year is approaching and soon I'll be sharing my top picks, which will definitely include the oddity called The Killing of a Sacred Deer. The film is definitely not for everyone and is similarly controversial to the recent Mother!, but Greek director Yorgos Lanthimos definitely has talent (his previous films Dogtooth and The Lobster are also weird). The film is very disturbing from the start and we get the sense that something is not right. The dialogue and the actors' strangely theatrical speech is already odd but effective, and from the main twist onwards the film takes a decent turn and at times is not pleasant to watch. If you have kids you'll sympathise with the main character even more. Anxiety, unease, chills, breathtaking moments, impressive performances, bold dialogue and decent technical aspects make The Killing of a Sacred Deer a unique affair that despite its artsy form surprisingly suited and entertained me a lot. For me, a great recommendation, but I can understand the negative reviews. Naked Nicole Kidman is still gorgeous. 80%. (25/12/2017)

Saw for intellectuals. The Killing of a Sacred Deer is a cruel, disturbing and, in filmmaking terms, precise morality tale and perhaps even class satire (rich people destroy the lives of the poor and refuse to accept responsibility for it), but I found its second half to be monotonous in terms of both the characters’ suffering and style (slow dolly shots, overhead shots, close-ups of faces, unpleasant atonal music, over and over again). I understand that the mechanical nature of the structure and the acting is part of the director’s malevolent concept (forget about gradation or catharsis), but it deprives the film of dramatic tension and gives the impression that it doesn’t develop along with the characters, while also weakening the message. I didn’t get the impression that the film had anything else to say after the central dilemma had been revealed (which was possibly why Mirka Spáčilová providentially left the press screening after the scene in which Farrell forces a donut on his son). Instead, it distances itself from reality and thus diminishes the power of its message. The similarity to Kubrick or Haneke is mainly external, not in the effect that the film has on the viewer. 70% (30/10/2017)

What drew me to watch the film was the cast. The bearded Colin Farrell was almost unrecognizable, only his eyes gave him away, and Nicole Kidman appeared slightly older, although her youthful charm couldn't be denied. It is the story of a cardiac surgeon who made a mistake during an operation in the past, which led to the death of a patient, whose son is now seeking revenge. An eye for an eye, a tooth for a tooth. However, you have the option to choose: sacrifice one of your children or your wife for the death of my father. Although it was somewhat cold and emotionally devoid in terms of acting, it was brilliantly filmed. I was fascinated by the eerily disturbing music that crept through the plot and greatly enhanced the depressing mood of the film. Barry Keoghan, playing the vengeful teenage son, portrayed his role so repulsively that I swallowed it hook, line, and sinker. (75%) (11/03/2020)