CREDIT: Jima (Atsushi Nishijima)/A24
This review was originally posted on News Cult in October 2017.
Starring: Colin Farrell, Barry Keoghan, Nicole Kidman, Bill Camp, Raffey Cassidy, Sunny Suljic, Alicia Silverstone
Director: Yorgos Lanthimos
Running Time: 109 Minutes
Rating: R for Bluntly Presented Gore and Nudity
Release Date: October 20, 2017 (Limited)
Yorgos Lanthimos’ specialty as a writer and a director of actors is strange and disturbing dialogue delivered bluntly and clinically. Given the setting and characters in The Killing of a Sacred Deer, it makes a kind of sense that this behavior is typical (due to a combination of professional desensitization and psychopathy), but it is never not unnerving. It works to provide a sense of foreboding for what initially presents itself as a slice-of-life tale that will soon give way to a domestic thriller. But really, what we are being primed for is much more sinister and much more terrifying and in fact qualifies as full-on horror.
Steven Murphy (Colin Farrell) is a cardiac surgeon who takes under his wing Martin (Dunkirk’s Barry Keoghan), the teenage son of a patient who died on his operating table. Martin seems interested in medicine himself, spending significant amounts of time shadowing Steven in the hospital. Steven invites him over to the house for dinner, where he charms his wife Anna (Nicole Kidman), becomes friendly with his son Bob (Sunny Suljic), and grows romantic with his daughter Kim (Tomorrowland’s Raffey Cassidy). The Murphys seem to notice Martin’s odd behavior, but they never fully acknowledge it. For a while, it seems that this film is just taking place in a world of lunacy, where announcing statements like “our daughter just started menstruating last week” are perfectly natural to declare in public. But once Steven recoils at Martin’s mom’s (Alicia Silverstone) attempt to seduce him by aggressively licking his fingers, it becomes clear that this is terrifying for both the audience and the Murphys.
The foreboding is realized hard and unsettlingly, as Bob and then Kim become paralyzed from the waist down without any clear physical explanation. Martin reveals in great detail to Steven what is going on, apparently confirming that he is the source of this ailment. He could be poisoning them, but it is so supernatural that “hex” or “plague” would be a better word. The obvious motivation here is revenge for the death of his father, but Martin’s unflappably flat speaking voice makes it impossible to get a perfect read on him. Lanthimos may or may not be speaking in metaphors; if so, I am not sure what the message is, but if not, the film is disturbing enough that it works on its own terms.
Ultimately, though, The Killing of a Sacred Deer might end up too untethered from its starting point to be an unqualified success. Indeed, it begins to lose me around the point that Steven is firing a shotgun at his family with a bag over his head. That particular scene – and others like it – are filled with fantastic tension, but they feel like Lanthimos is just filling his thirst for demented horror set pieces instead of focusing on the premise he has already established. Maybe that dissociation is the point, but sometimes the heightening of scares can use a firm direction.
The Killing of a Sacred Deer is Recommended If You Like: The inexplicableness of The Happening but not the cheesiness, The Lobster, Funny Games
Grade: 3 out of 5 Bleeding Eyeballs
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