Colin Farrell plays with a cardiologist made to make a dreadful choice in The Killing of a Sacred Deer, a psychological thriller that may have been a more conventional feature if it were not led by Yorgos Lanthimos, the Greek manager behind movies like The Lobster and Dogtooth. If you have seen his previous films, you realize what you are getting into here. But Sacred Deer ratchets up the seriousness of Dogtooth dials that the absurdity of The Lobster down way, and contributes to what might be the manager's greatest film to date.
That is not to mention that the film is not rife with weirdness; robotic dialogue between figures from the movie's early scenes play out like recorded by an alien without a comprehension of how people interact, and unworthy buys about a wristwatch armband - that occupy no less than three individual scenes - which are conveyed with extreme urgency.
The movie also keeps us at bay since we don't have any idea why Cincinnati heart surgeon Steven Murphy keeps secretly meeting with youthful Martin at a variety of places: in a cafe, a abandoned lot from the Ohio River, also in the hospital Steven works in. But we know something is up since the movie keeps dropping subtle clues on who Martin is and the way Steven understands him, something that he appears to lie about both to spouse Anna and co-worker Matthew.
Since Martin inserts himself farther into Steven's life - linking with his two kids, teenaged daughter Kim and youthful son Bob - and tries to coerce Steven to a larger role in his very own together with his mum, what comes into a catastrophic mind about halfway through the film. Sacred Deer completely shifts gears using the show of its Twilight Zone-like show at the midpoint, and it is something which audiences will either go together or not.
It is said that each film can comprise one single amazing part - in the outrageous apology into an alien assault - without straining credibility, but Lanthimos might have burnt that bridge having some audiences awarded Ms's oddball character up until the show.
The next half of the movie becomes a almost unbearably intense medical-cum-family drama, punctuated by uneasy beats of deadpan gallows comedy. A lean soundtrack weaves in terror film stingers with classical compositions along with also an a capella rendition of Ellie Goulding's Burn by Cassidy, whilst cinematography by longtime Lanthimos collaborator Thimios Bakatakis beautifully captures the Cincy atmosphere from downtown landmarks into exude exude calmness.
Wallpaper from the movie: