O Lagosta

I had heard reviews of The Lobster and, while sounding interesting, it also sounded odd enough to delay me in getting round to seeing it. Like many have said, the plot is weird; single people are sent to a hotel and given a period of time to find a match or else they will be turned into the creature of their choosing and released to the wild. Those struggling can add days to their stay by being successful on hunts for those singles who have broken free and live as collective individuals in the woods.

The concept is cleverly constructed so that it is weirdly convincing despite its utter absurdity. Within this the film satirizes relationships, singles – in particular the extremes of those two situations. The push for companionship, with its common ground, and its rituals, and the digs at elements of life such as children distracting from conflict. Perhaps it hit a bit too close to home with its regimented rituals, and awkward neediness. On the other side the extreme version of singlehood is also dug at once we are in the woods. It is not as clever as some would tell you, nor as smart, but it is certainly interesting, darkly funny, and pretty engaging throughout. It doesn't pull it off totally, but I enjoyed it from start to finish – its oddity runs through from the ideas, the performances, down into the specific dialogue. Having such a great cast helps, but the tightness of creative vision throughout is what holds it all together. As odd and slightly unsuccessful as it is, it is still well worth watching.

The Lobster is a surreal deadpan comedy about the strangeness of social pressures and modern relationships.

The setting is a bleak, tightly controlled hotel on the coast of Ireland. David (Colin Farrell), a recently divorced Architect, is given 40 days to find a partner or else be transformed into an animal of his choosing; in this case, a lobster. Sound strange? That's just the first 10 minutes. Guests of the hotel are subjected to routine trips to shoot 'loners' with tranquillisers, and awkward high-school dances to entice singles to mingle. As David's days start running out, he decides to feign common interest with a heartless woman in order to escape his fate. But can he pull it off?

Farrell really hits the mark with this role, displaying awkward machismo and fragile humility in equal measure. His comedic timing is matched only by his supporting cast that includes John C. Reilly, Ashley Jensen, and Olivia Coleman. Rachel Weisz is also spot-on as the short-sighted woman.

The Lobster has just about everything you'd want from a film. It's unpredictable, it's offbeat, and it's laugh-out-loud funny. But it's most impressive feature is the subtext - it manages to reflect how odd our own modern-day social pressures are. How loneliness is feared, how individuality loses out to the mainstream system, and how relationships have to be deemed 'legitimate' by some higher order. There's plenty to talk about with this film, and I'll definitely be seeing it again to delve a little deeper....

The Lobster is a curious film with shades of the Coen Brothers or Grand Hotel Budapest (the fact that so much is set in a hotel is incidental, or hotels in movies are places to be avoided). Dysfunctional characters drift through, delivering their lines with humorous lack of awareness and emotion, strange rituals are performed to bond the guests, and all the time the clock is ticking - find a partner, become a couple, within 45 days or be turned into an animal of your choice.

The first part of the film is amusing, quirky and entertaining. The style is pleasant and interesting, despite some nasty moments. Some of the shots drag a little, but it adds to the curious atmosphere. The dry, deadpan dialogue is perfectly delivered, Colin Farrell as the main protagonist shows he really is a fine actor.

Then the film changes. New characters are introduced and the mood becomes much bleaker. No longer is this humorous, the stakes have changed. It is hard to identify with the new characters as we had already invested emotion in the earlier ones. And it gets worse, leading to en ending that is as unclear as it is unpleasant.

The Lobster cannot seem to make up its mind what kind of a film it is, is it simply saying that we are all venal and craven in the end? If so, why the humour at the beginning? And if we are capable of love, is it really so shallow as to be broken by people saying things?

I loved the beginning, I didn't like the end. This was one fish dish that left a bad taste.

Senseless, not funny and worse than mean and sadistic. It was frightening listening to the audience laughing at scenes from a realistically depicted suicide's bloody body after it fell to an equally realistic dead and beaten up bloody dog.

As a critique of current romance one wonders what kind of personal hells the people who wrote this monstrous movie have gone through. They would have been far better going through psychotherapy than writing this adolescent crap.

Even more frightening than the bloodied dead dog and suicide's bloody body were the high ratings this movie received. What are critics and people thinking?

The movie and the audiences reaction to it were so upsetting we walked out.

Good lord, where have we come?

The Lobster is a surreal and darkly satirical film that explores the absurdities of modern relationships and societal expectations. Set in a dystopian future where single people are forced to find a romantic partner or be transformed into an animal, the film follows a recently divorced man's quest to find a partner. With its unusual premise and unconventional storytelling, "The Lobster" offers a unique and thought-provoking commentary on love, relationships and societal norms. The movie is very unique and definitely will not be everyone's cup of tea. The lyrical ending also provides the viewer with the "you'll love it or hate it" aftertaste.

I personally enjoyed the movie, but I can't say that its unique style was really my thing.