Metacritic-Rezensionen

Abounding with nasty women, The Origin of Evil could have easily been flattened by the weight of a feminist objective. Untethered from such neat messaging, this decadent murder-movie takes the online credo, “be gay, do crimes,” and runs with it — to delicious results.

It’s a feast for the eye and for the mind, done in a nonchalant way that would make the most seasoned filmmakers jealous.

With the exception of Stéphane, who becomes more intriguing and less likable with each secret unpeeled, the main characters are a little schematic and two-dimensional. It’s fortunate, then, that the always impressive Calamy is on top form.

A rich and powerful patriarch faces the end with a household full of women scheming against him in “The Origin of Evil,” a clever and twisty French thriller that’s a little bit “King Lear” and a little bit more “Sucession.”

The web spun by The Origin of Evil arguably features one twist too many, but the viewer is in for more than a pound by the time it happens. Largely thanks to Calamy’s rock-solid performance.

The Origin of Evil is ultimately Calamy’s show as a calculating and desperate woman seeking love and acceptance in all the wrong places.

Marnier could have taken another pass at the film’s secondary characters (the upcoming thriller “Saltburn” has the same problem with its dysfunctional clan), and whatever notions he’s trying to put across about the patriarchy don’t quite land. But he has a star in the sparkling Calamy.

Without a doubt this is easy entertainment, never dull, and it has some shrewd things to say about class and money – though the satire might have been sharper and the running time shorter by a good 20 minutes.

The Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.