As with all the Greek auteur's American movies, this portmanteau picture is both unremittingly cruel and unstintingly self-satisfied
As with all the Greek auteur's American movies, this portmanteau picture is both unremittingly cruel and unstintingly self-satisfied, a trio of tall tales from the often-tiresome mind of Yorgos Lanthimos, shows the Greek auteur at both his best and his worst. At times, this portmanteau picture is riveting, only for the writer-director to squander his audience’s interest and goodwill through his particular brand of cinematic trolling.
To many, Lanthimos is a fearless film-maker blessed with the daring to go dark. To others, he is an adolescent edgelord who covers up his dearth of a genuine viewpoint by – a disarmingly audacious black comedy evoking the Josef Fritzl case – none of his Hollywood films have come close.
The movie does have virtues to offset its shortcomings: Lanthimos effortlessly generates intrigue and dread, gets laughs when allowing the humour to grow from the characterisation, and explodes even the growing monotony with some showstopping moments.is both unremittingly cruel and unstintingly self-satisfied.
Stone, who was the best thing about that Oscar-winning mess, has superb moments again here: planting pathos within the mandated deadpan delivery, frenziedly scrubbing herself in the bathtub after being assaulted, and negotiating the fallout from domestic violence using the language of abuse. But once more she is in a Lanthimos film that scarcely deserves her performance, because in the end he doesn’t care about his characters, and wants you to feel stupid for having done so.
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