Author Topic: The Killing of a Sacred Deer  (Read 2070 times)

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wilder

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The Killing of a Sacred Deer
« on: May 19, 2017, 05:37:43 AM »
+1


A teenager's attempts to bring a brilliant surgeon into his dysfunctional family takes an unexpected turn.

Directed by Yorgos Lanthimos
Written by Yorgos Lanthimos and Efthymis Filippou
Starring Nicole Kidman, Alicia Silverstone, Colin Farrell
Release Date - October 27, 2017


« Last Edit: August 16, 2017, 04:54:47 PM by wilder »

wilder

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Re: The Killing of a Sacred Deer
« Reply #1 on: August 16, 2017, 01:21:00 PM »
+4


In theaters October 27, 2017

Jeremy Blackman

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Re: The Killing of a Sacred Deer
« Reply #2 on: August 16, 2017, 03:13:24 PM »
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YES. This looks incredible.  :yabbse-thumbup:
"Hunger is the purest sin"

polkablues

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Re: The Killing of a Sacred Deer
« Reply #3 on: August 16, 2017, 07:55:57 PM »
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That trailer is the best movie I've seen so far this year.
Now you're in the *spoiler* place.

Jeremy Blackman

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Re: The Killing of a Sacred Deer
« Reply #4 on: August 17, 2017, 06:11:12 PM »
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I have to watch this trailer at least once a day.

Also:

"Hunger is the purest sin"

wilder

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Re: The Killing of a Sacred Deer
« Reply #5 on: September 27, 2017, 01:19:21 PM »
+1

wilder

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Re: The Killing of a Sacred Deer
« Reply #6 on: October 28, 2017, 02:27:55 AM »
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One of the absolute scariest movies I’ve ever seen, makes it feel like the ground is moving out from under you. Barry Keoghan’s performance is all-time memorable. Yorgos is a goddamn genius.

samsong

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Re: The Killing of a Sacred Deer
« Reply #7 on: November 06, 2017, 08:09:21 PM »
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lanthimos's mastery of tone and immersive absurdism is as potent as ever here, but i found the whole thing to be hollow posturing and, when all was said and done, really goofy.  compares unfavorably to haneke in its forcible, forced, for-the-sake-of-it provocations and deliberate obtuseness.  it gets its hooks in deep but does next to nothing passed that. 

barry keoghan gives one of the most disturbing performances i've ever seen though, and for that alone i'd recommend seeing this. just curb your expectations. 

wilder

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Re: The Killing of a Sacred Deer
« Reply #8 on: November 13, 2017, 02:52:21 PM »
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SPOILERS

I don't agree with the interpretation that Martin isn't real, but I like this guy's articulation of what he symbolizes:

Quote from: Rututu
This is just my personal interpretation of the film, but I thought that Martin isn't a real person, and the whole story is very much a metaphor.

Martin represents the repressed guilt, alcoholism and emotional problems of the father. These problems occupy the father, making him neglect his children. This is shown by the father spending time with Martin instead of his family.

In the end, the fathers emotional problems end up "paralyzing" the children. They lose the will to eat, because they're living in an unhealthy home. The father cant rid himself of his problems (Martin) before something really bad happens and opens his eyes.

The whole love angle between Martin and Kim represents how girls with "dad issues" can act out sexually and look for a replacement for their absentee father in other men. The end shows us that Kim still has a risk of falling for a man for the wrong reasons. She hungrily eats the fries that Martin loves the most.

and this capsule review

Quote from: Brian Tellerico
A man who plays god meets a boy who plays devil.

The lighting in Sacred Deer is fucking gorgeous. It's like reverse key lighting on everything -- even the bushes outside the house! Like they waited for the fucking sun to move so that the interior/exterior lighting schemes matched. Unbelievable. I love this movie.

Something Spanish

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Re: The Killing of a Sacred Deer
« Reply #9 on: November 14, 2017, 04:36:19 PM »
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Really wanted to like this, seeing as the Lanthimos had me deep on the hook for about the first hour, but it quickly came apart in its randomness and monotony. The directing is stellar, as is the ambiance and performances, especially Kidman and Keoghan, but the story could not sustain its premise. It just never went beyond the paralysis incident or did anything interesting with it, just a lot of weird for the sake of being weird bits that are thrown yet never stick. Script needed some major development. Had high hoped for Sacred Deer, but ultimately a letdown.

Strangely enough, I'd still recommend it to those into more diverse films, if only for the sheer eeriness of Keoghan's role and the masterful direction.

wilder

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Re: The Killing of a Sacred Deer
« Reply #10 on: November 14, 2017, 05:53:52 PM »
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Continuing to think about this, and about both your reactions. It’s sort of similar to The Lobster in form, the more I do.


SPOILERS

In The Lobster, romantic interactions between people are reduced to hilariously simple schematics. The subtext of what people communicate is made text, to comedic effect (“we’re compatible because we find each other physically attractive, but we’re not too attractive to be out of each other’s leagues because we also have similar physical weaknesses…getting nosebleeds”). In the second half, those schematics are eschewed for a dramatization of what occurs when people who can’t find a compatible partner escape the compound.

Most times I’ve rewatched the The Lobster, I enjoy the first half more than the second, maybe just because it’s funny, but also because it’s really interesting to me how Yorgos communicates the obvious in non-obvious terms. Or maybe makes the so-obvious-it’s-invisible even more obvious, through them. I think he’s doing something similar, here, but to terrifying effect, on a more subconscious kick-you-in-the-gut level, and that the lack of a really big turn in Sacred Deer's third act is for thematically sound reasons.

In The Killing of a Sacred Deer, the familial damage that occurs as a result of Dr. Murphy’s alcoholism, and of his denial of his alcoholism, is transmuted into allergorical, supernatural happenings the same way The Lobster transmutes romantic interactions into simple schematics, and Dr. Murphy is brought to some awareness of the suffering he's causing his family by way of his interactions with Martin. It’s a partial journey from darkness up into light.

This movie has a similar ticking time bomb as The Lobster (30 days until you’re turned into an animal / soon you’ll be paralyzed), but the dramatic evolution that occurs towards the end of The Lobster isn’t there because Sacred Deer has a far more tragic end. In the former, Colin Farrell manages to escape his fate — it’s why the thriller-like third act in the forest exists — whereas here, Dr. Murphy's hubris and denial perpetuates. He knows Martin is a problem, but never recognizes why. His blaming and scapegoating persists ("An anesthesiologist can kill a patient, but a surgeon never does..."), so the lack of plot progression works, in my view. Ironically, in kidnapping Martin, Dr. Murphy is going after the symptom, not cause, of ailment, betraying the medical prowess he insists he has.

 

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