All family’s are screwed-up.
Dr. Steven Murphy (Colin Farrell) is a renowned cardiovascular surgeon living in Cincinatti and not having to worry about too much. He loves his wife, Anna (Nicole Kidman), and their two children, Bob (Sunny Suljic) and Kim (Raffey Cassidy). Both of whom are getting a little bit older so they are starting to show some signs of rebellion, but nothing too much. When he isn’t performing surgeries, however, Dr. Murphy normally spends his time with Martin (Barry Keoghan), a fatherless teen who insinuates himself into the doctor’s life in many ways. At first, it’s just casual hang-outs that no one feels weird about, but then, it begins to change and Steven has to soon try and cut the chord between him and Martin. However, this decision results in some awful things happening to his family and it’s now up to him, to not just make a choice, but think of the rest of his life, in retrospect.
Ascent into darkness. That works, right?
The Killing of a Sacred Deer proves, once again, that when it comes to building and creating worlds/universes full of our weirdest imaginations, co-writer/director Yorgos Lanthimos really can’t be stopped. Mostly all of his movies, while obviously taking place on planet Earth, all seem to live in these sort of odd realities, where people act, speak, and get by in randomly weird ways. Whereas the Lobster was literally about a whole world being changed, the Killing of a Sacred Deer still takes place in our day-to-day world, where single people aren’t being turned into animals, but instead, people say and do weird stuff.
And unlike the Lobster, the Killing of a Sacred Deer is a pretty downtrodden and dark movie. Whereas the former was much more comical in its darker-efforts, the later is an out-and-out horror flick that feels a little smarter and interesting than that genre usually represents. Lanthimos and co-writer Efthymis Filippou don’t really seem to be making fun of anyone, or any one thing in particular, but instead, showing us how humans act, when their backs are up against the wall and have to think quickly, and in ways, correctly.
As you can tell, I’m being very cagey about what this film’s actually about and what it’s premise eventually turns into, but that’s for a good reason: It’s best to see this wide eyes and ears.
But that’s also one of the main issues that seems to be holding the Killing of a Sacred Deer back: That it’s almost too much plot. After the first hour or so, once Lanthimos has built-up his characters, the conflicts, and the world in which they live, he sort of just sits there and lets it all play-out, rather than just going from one plot-point, to another. In a way, the Killing of a Sacred Deer ultimately comes down to being about one situation, but stretched-out to a whole hour and you can start to feel it; it’s still compelling and interesting to see just where it all goes, but mostly, it also feels like it’s just another case of Lanthimos loving his creation too much, he never wants to leave it.
Instead, he lets it settle, which can sometimes make the movie feel like a slog, especially when it shouldn’t.
But still, Lanthimos gets by on never letting loose of the tension that it’s in the air and because of that, the movie is always worth watching. You never quite have an idea of where it’s going to go, how dark it’s going to get, or even who’s going to be alive by the end of it, and that makes Lanthimos one of the far more dangerous directors out there. It’s something that we don’t too often see in modern-day cinema and it’s why it’s nice to see Lanthimos get some mainstream exposure, so that he can continue on his awfully deprived and sickening ways.
How envious I am of that perfectly bushy beard.
It’s also nice to see Lanthimos play with the big-leagues because he also gets the chance to work with an incredibly talented ensemble. Colin Farrell, returning for another outing with Lanthimos, works very well as the tight, straight-laced everyday man, Dr. Murphy. Farrell’s Irish, in case you didn’t know, but he’s always had to hide it in American-accents – but as Dr. Murphy, he’s Irish full-and-through and it’s kind of jarring. But hey, it also kind of works. We’re never explained too much about his backstory, or why an Irish doctor is over in the states, with a wife, kids, nice house, and seemingly never lost his accent, but that sort of stuff doesn’t matter because when it comes to playing slow-burning nuts, Farrell’s one of the best. He’s so devoid of any personality, that it’s almost funny and it’s why Farrell works so well here.
Same goes for Nicole Kidman who, once again, seems to be playing another suburban mommy with darker-edges surrounding her. But really, it’s Barry Keoghan as Martin who steals the show, seeming as if he’s just another sweet, rather innocent kid, who may also be something of an evil, despicable psychopath. There’s always questions surrounding him and his relationship to this family, which also works in favor of Martin who never seems to tell us exactly what’s on his mind, or what his next bit of action is going to be, but man, it’s so hard to look away from him.
Sort of like all teens out there, am I right?
Consensus: Less comedic than Lanthimos’ previous-ventures, the Killing of a Sacred Deer is also a tense, upsetting, and incredibly well-acted look at family-life and the decisions we all have to make. I think.
8 / 10
Just make-out already and be hot! Please! We need it here the most!
Photos Courtesy of: Indiewire