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Grimly hilarious, this mashup of black comedy, social commentary, suspense, and horror is sharp and stinging, with a haunting gut punch of a finale… and it’s Yorgos Lanthimos’s most accessible film yet.
A haunted house movie from the dog’s perspective. No cheap gimmick but an absolute marvel, strikingly original and deeply affecting. An interspecies love story without a lick of phony sentimentality.
A real aspect of boxing — dangerously fast weight loss — sports films have ignored becomes body horror we have not seen before. The genre’s motivational clichés get twisted, nastily and poignantly.
The dorm-room philosophy of the 25-year-old series is still pondering how wild it is that we all die, how fragile our meatbag bodies are. Now with gory dismemberments and squishy impalements in IMAX!
Wildly primal, big and bold, fueled by pain and rage, by community and family, throbbing with love and sex and joy, infused with magic. A sumptuously textured, unmissable howl of a passion project.
Sure, the humor may be bitter, the horror may be audacious, and the overriding genre may be “anti-romance.” But this hugely original, grimly delightful howl of feminine rage is actually kinda sweet.
A mad monstrosity of a movie: absurdist, enigmatic, perverse. Lanthimos’s typical grotesque humor is on full display. Yay for a film that actually attempts to capture how insane the world is today?
Uniquely fresh yet also deeply lodged in the history of cinematic horror, with a powerful breakout performance from David Dastmalchian. But its triumph is, ironically, marred by the use of “AI” “art.”
Unusually psychologically astute and utterly unnerving as it digs into the enigmas and anxieties of artistic creation. Style is substance in this challenge to the very concept of an “animated movie.”
The visceral meatiness of this demonic-possession–infectious-zombie combo hits like a blow. The social and political context for the grotesquerie is even more appalling, and so very pertinent.
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