Crustacean, or everlasting love? Trust me, not as easy as you’d think.
After being dumped by his wife, David (Colin Farrell) has to find a mate in 45 days, or else he’ll be turned into an animal of his choosing. And to help him find the best possible mate, he gets taken to a fancy resort of sorts where he meets and hangs around with fellow other single people, all looking for that special someone before they too, turn into animals and roam their Earth as they so please. While there’s a few people David sets his sights on, eventually, he turns to the neurotic, but awfully fun woman (Rachel Weisz) who doesn’t really have a name, and no other discernible features, other than that she’s near-sighted, just as he is. The two eventually fall for one another and start to sense something real and passionate between one another, but there’s a bit of a problem. See, because they exist in this world where they have to prove their love to the rest of the world, they constantly have to battle with the conglomerates around them, that can either range from evil, controlling hotel managers, to evil, controlling rebellion leaders.
Take your pick, ladies.
Though I saw it nearly three weeks ago, I can’t seem to get the Lobster out of my head. It’s the same feeling I had with co-writer/director Yorgos Lanthimos’ last movie (Dogtooth), but for different reasons. With that movie, I couldn’t get out of my head the fact that I was so disturbed and surprised by it, that even a thought of its twists and turns, just absolutely shook me to my core. The more and more that I begin to think about that movie, the more I’m quite confused about whether I liked it (which I think I did), or I loved it for its brash boldness (which I think it was).
With the Lobster, I have the same thoughts running through my head, where I don’t know if I love the movie (which I come very close to doing), or if I just think it’s a tad better and more focused than Dogtooth (I don’t know).
If anything though, it should be noted that the Lobster is unlike any other movie you’ll see this year, for better, as well as possibly for worse, depending on who you are. The Lobster is a very odd hybrid of a movie that’s a combination of sci-fi, comedy, drama, romance, action, and murder, all of which come into play throughout the movie in some very effective doses and it’s hard not to get interested by each and every step that Lanthimos takes with it. On the surface, the Lobster likes to poke jokes at this world, the people in it and how it would never, ever happen, but at the same time, Lanthimos himself takes it quite seriously to where we actually get a feeling for the world we’re thrown into and constantly learn more and more things about it as it goes along.
There’s an small bit of detail concerning why there are so many animals walking around in shots in the movie and once it’s revealed to us why this is the case (in an incredibly subtle way, mind you), it not only takes on a whole new life as something tragic, but downright tearful. Lanthimos makes to show his characters for being the absolute worst that they can be when it comes to obtaining love and/or using it as a way to live another day as a human, but at his very core, he’s still a human being that also wants to appreciate these people for what they are, and the fact that they all have hearts, feelings and emotions, just like you or I. Even the whole angle of how everyone seems to fall in love with one another through superficial ways is, yes, played-up for laughs, but sooner than later, starts to get far more serious and telling, as people actually start to react to love in different, sometimes horrifying ways.
Of course, Lanthimos plays mostly all of this dark material up for laughs and you know what? I laughed.
I hated myself for it, but there’s something just so darkly sinister about all of this material, that it’s almost a joke how far and willing Lanthimos is to let this material get as pitch black as it can be, while still maintaining some sort of humor in the process. Sure, everything and everyone here is so screwed-up and disturbing, but hey, sometimes that can be a little fun; Lanthimos, like I said before, takes this material seriously, but also enjoys trying to poke holes in it, as if he was so in love with his creation, that he also wanted to destroy it so he didn’t seem like too much of a pretentious crap.
Basically how anyone eats on a first date.
And I got to give it to Lanthimos for assembling a solid cast here, all of whom probably read this script and had no idea what the hell to expect, but we’re still so interested that they probably thought, “Hey, it’s an experience, right?” Colin Farrell is hilarious to look at as David, the chubby, pathetic protagonist we come to know, love and sympathize with, even when it seems like he enjoys doing terrible things; John C. Reilly shows up as a very sad man with a lisp who has barely any chance of finding his true love, but because he’s John C. Reilly, it’s hard not to hope and wish for the best; Ben Whishaw plays an overly aggressive man with a limp who will do anything to find true love and I do mean anything; Olivia Colman plays the seemingly fake hotel manager who orders so many people to fall in love, that you wonder if she actually is herself; Léa Seydoux plays a leader of the rebellious group who stays in the woods called “the Loners” and is as steely and as mysterious as they come; and yes, there’s Rachel Weisz, stealing the show as Short Sighted Woman (and no, I’m not making that up).
Weisz is great in just about anything, but here, she really delivers. For one, she’s playing a character that we’re never too sure about, but makes it appear as if she does have some semblance of humanity, that once her and David do start to connect and come together, in awfully hilarious ways, it is, believe it or not, quite romantic. The two do have chemistry and even though they’re placed in some obviously awkward situations, they both make it work and have us believe that true love in this world does exist, even if it all seems to make everyone go mad and do terribly evil things to one another.
But hey, maybe that’s how Lanthimos pictures love as: It makes people go insane and act out in ways that they’d never have done so before.
Still though, despite all of my clear love and adoration for this flick, there’s a part of me that wants to be angry at Lanthimos for not allowing for the Lobster to go any further than it could have.
In the last-act, the movie becomes very plot-heavy and starts to feel as if it’s really building up to something big, but then, well, sort of ends. Lanthimos does this quite a couple of times throughout, where it feels like he’s going somewhere with a certain idea, or plot-thread, but then, all of a sudden, backs away from it; I don’t know if he’s doing that on purpose to toy with us, or if he just gets bored easily, but its noticeable and can get a tad annoying. However, the way the movie end, while interesting, definitely leaves a lot up in the air and really, I don’t know if it needed to be. The movie was never really about a mystery – it was more about whether or not true love could exist in this world where it seems all so calculated and made-up from the very beginning.
Whether or not Lanthimos knew or thought that, is totally up in the air.
Consensus: For what it’s worth, the Lobster is unlike anything you’ll see all year, with a heartbreaking and hilarious script that doesn’t always deliver like it should, but in the off-chance that it does, it’s extremely effective.
8.5 / 10
It’s like True Detective season 2, except holy cow, so much better.
Photos Courtesy of: Indiewire