स्टीवन, एक करिश्माई सर्जन, अपने जीवन के बिखरने के बाद एक अकल्पनीय बलिदान करने के लिए मजबूर है।स्टीवन, एक करिश्माई सर्जन, अपने जीवन के बिखरने के बाद एक अकल्पनीय बलिदान करने के लिए मजबूर है।स्टीवन, एक करिश्माई सर्जन, अपने जीवन के बिखरने के बाद एक अकल्पनीय बलिदान करने के लिए मजबूर है।
- निर्देशक
- लेखक
- स्टार
- पुरस्कार
- 7 जीत और कुल 53 नामांकन
- Dr. Larry Banks
- (as Barry Bernson)
- Doctor at Conference and Event Dinner
- (बिना क्रेडिट के)
- Bunraku Puppeteer
- (बिना क्रेडिट के)
- Conference Guest
- (बिना क्रेडिट के)
- Medical Conference Attendee
- (बिना क्रेडिट के)
- Conference Guest
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
From the opening shot, the film wears its tone not only on its sleeve, but also on its chest, face, and everywhere else: Its gonna make you uncomfortable. From the haunting score that seems to creep its way into every scene, to the awkward and robotic characters, to the downright scary Martin (played excellently by Barry Keoghan), the movie feels 'off.' We've seen this "seemingly perfect upper- class family has a darkness that tears them apart" type story before, but never so viscerally displayed as it is here.
If the characters' inhuman mannerisms, conversations, and actions aren't unsettling enough, the film also delivers enough on-screen gross outs to hammer home a truly affecting experience. The film is objectively well-shot, and delivers a capable, if slightly subdued plot, while building to a frightening conclusion. It's not a horror movie sort of frightening either, but more of a, "I can't believe I'm about to watch this" feeling.
I know that's a tough sell. The Killing of a sacred Deer is not going to make you feel good. The film is filled with an overarching, all-consuming darkness that lingers even after it's over. Still, it's a truly unique and deeply affecting film that's worth watching, even if only once.
As often is the case during a bad movie, my mind started to wander and I thought about Ed Norton's breakthrough film "Primal Fear", a suspense thriller featuring a memorable war of wills with Richard Gere. In "Deer" we have Barry Keoghan reminding me of Norton, but giving a rote, clumsy performance. For director Yorgos, niceties like believable acting, believable characters and attempts to help the viewer suspend disbelief are way too cornball for him to attempt, instead substituting his tiresome Theater of the Absurd antics.
In contemporary porn, wedded to internet streaming as the mode of delivery, a set-up for a scene/video lasts a minute or two to establish some dumb stag movie type premise, and then it's on to the races for a half hour or so of nonstop explict sex action. In "Deer" Yorgos takes an hour, fully half of the movie to shaggy-dog build up his absurd supernatural premise, during which the cast walks through their roles like zombies.
Nonsensical second half, with its absurd violence and ridiculous sexual innuendo (Nicole Kidman's off-screen hand-job for example) traps the characters with zero degrees of freedom, making their actions subject to "fate" or some pretentious appeal to Euripedes and Greek myth. It's not interesting watching them go through the motions and none of the scenes are credible. Under the guise of avant-garde filmmaking, we get hackwork. Oh, for a great filmmaker like a Sidney Lumet (with scores of great movies about conflict and war of wills, my favorite perhaps not the Pacino classics but Sean Connery in "The Offence"), not the trendy hacks of today's cinema.
Yorgos Lanthimos is an interesting Greek director who's been making English language films for a few years. The Lobster is so dry and oddball that I ended up kind of loving it. The Favourite I ended up loving because it was able to most effectively balance its weirdness with its characters (perhaps because he didn't actually write this script as opposed to everything else he's directed).
The Killing of A Sacred Deer is the movie he made in between the two listed above, and I think it might be the weakest of the three. Good instead of very good, that is.
So, let me talk about the weirdness. Everything about this movie feels stilted and mannered. It's off putting, especially at the beginning when you're trying to figure out what on earth the movie actually is. As the story progresses, though, it's easy to see the nefarious undercurrents running through every scene. We spend the first half of the movie trying to figure out where this unease originates from, and the fact that everyone is delivering unnatural dialogue unnaturally heightens the feeling.
I've seen so many complaints of unnatural dialogue over the years. The one example strongest in my mind is around the movie Juno. The complaints of the mannered way in which characters spoke seemed to be a mask for complaints about the rest of the movie that people couldn't figure out how to express, so they picked on the dialogue. I'm not saying that criticism of such writing is invalid or always misdirected, but that did seem to be the trend I noticed and continue to notice in such criticisms. Just because dialogue isn't reflective of how people actually speak (I like to think of Mamet), that doesn't mean that the dialogue is a failure. Oftentimes, it's that way for a reason.
Anyway, back to the movie. The sense of unease that permeates the film is great, and I kind of loved the film for about the first three-quarters. However, once the plot began to unravel and resolve, I felt like the movie lost some of its edge. When the main character is presented with his great moral choice (and his blackly comedic method for resolving it), I felt more removed from the choice than I should have. The build up is what works best in this movie, while the resolution just simply doesn't gel as well.
Still, the movie's an odd but entertaining little thriller.
While The Killing Of a Sacred Deer will be dismissed by the mainstream, for it's very unconventional acting, pacing, and plot, for other's it offers a discomforting conversation on the dark reality of nature and justice. You aren't supposed to ENJOY it, you are supposed to appreciate it.
The intentionally cold and flat reactions from it's characters will turn many off, but give insight into empathy and trust. The subtraction and skewing of emotion allows us to get a closer look at ourselves and our expectations for coping with threats and loss. It's maddening and incredibly uncomfortable to watch, but that is it's aim and success. You have to stop wanting the movie to be what you want it to be, and start wondering why it is the way it is, if you want to take something away from it.
While the movie doesn't meet it's impact potential by missing some opportunities for heavier moments and more character development, it is still fascinating, challenging, and rewarding for an open mind.
For people that appreciate brain teasers like 2001: A Space Odyssey, Mulholland Drive, Borgman, Under The Skin, and Sleeping Beauty.
क्या आपको पता है
- ट्रिवियाHeart surgery scenes in the film are real. They were filmed during an operation on a real patient who was undergoing quadruple bypass surgery which Colin Farrell attended.
- गूफ़When Martin talks about his father's favorite film, Barry Keoghan's Irish accent can be heard on the word "father"
- भाव
Martin: You know, not long after my dad died, someone told me that I eat spaghetti the exact same way he did. They said what an extraordinary impression this fact had made on them. Look at the boy, look how he eats spaghetti. Exactly the same way his father did. He sticks his fork in. He twirls it around, around, around, around, around. Then he sticks it in his mouth. At that time, I thought I was the only one who ate spaghetti that way. Me and my dad. Later, of course, I found out that everyone eats spaghetti the exact same way. Exact same way, exact same way. This made me very upset. Very upset. Maybe even, um, more upset than when they told me he was dead. My dad.
Martin: I don't know if what is happening is fair, but it's the only thing I can think of that's close to justice.
- साउंडट्रैकStabat Mater D383: I. Jesus Christus schwebt am Kreuzel (Chor)
Composed by Franz Schubert
Performed by Michel Corboz
Licensed courtesy of Warner Music UK Ltd
टॉप पसंद
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइटें
- भाषाएं
- इस रूप में भी जाना जाता है
- El sacrificio del ciervo sagrado
- फ़िल्माने की जगहें
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- US और कनाडा में सकल
- $22,91,901
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $1,15,120
- 22 अक्टू॰ 2017
- दुनिया भर में सकल
- $69,38,106
- चलने की अवधि2 घंटे 1 मिनट
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.85 : 1