The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.

The Wiseau One: Review of The Disaster Artist

The Disaster Artist

Director: James Franco

By Alex Watson

Tommy Wiseau's 'The Room' is a movie that was truly awful. Savaged by critics, it opened on one screen and was expected to disappear into obscurity. Since 2003, a cult following has ensued and the movie holds a special place in the 'So Bad its Actually Good' category. The making of his picture was another story entirely and James Franco has come up with one of the funniest pictures of 2016. The Disaster Artist feels like the Ed Wood of the 21st century and Franco gives us the most offbeat character in Wiseau.

Greg Sestero (Dave Franco) is a semi-talented actor living in San Francisco. One day during acting class he witnesses the bizarre yet utterly fearless Tommy Wiseau (James Franco). From this, an unlikely friendship is born. Both attempt fame and fortune by moving to Los Angeles, but their severe lack of talent and contacts extremely hinders them. Frustrated by the Hollywood machine, Wiseau decides to create his own movie titled 'The Room'. His lack of experience behind the camera and his strange script will ruffle more than a few feathers though.

The Disaster Artist faithfully adapts Sestero's memoir. The story of the worst movie ever made is one that is a lot of love and respect. When we first meet Wiseau, he's a character with instant magnetism yet you feel a great sense of unease. Sporting an obvious Eastern European accent and looking like he's half asleep, question marks hover over him throughout. Where precisely does he get his seemingly endless supply of money? How old is he? Wiseau can give us laughs from the strangest of places "Don't look at robot crab, he shy!" Franco beautifully sums up his lack of talent and presence acting-wise. Frequently quoting and overacting Shakespeare, at one stage a famous producer (Judd Apatow) angrily tells him "You because you want it, doesn't mean it's going to happen!" suggests he become a villain. He may lack any kind of acting gift, but Franco respects his determination and his desire to become a star really draws us to him.

Sestero is a man with his own issues- although totally faithful to his friend this putting a strain on his relationship with girlfriend Amber (Alison Brie). Wiseau emerges as an insane genius during filming and Franco brilliantly recreates some The Room's most infamous scenes. Making full use of his heavily accented voice- the dreadful dialogue has never sounded better "URR TARRING ME APART LEESA!" From day one its apparent that this movie is a real stinker. Script supervisor Sandy (Seth Rogan) is the weary and frustrated voice of the crew as he picks apart some of the movie's many glaring errors. Fans of The Room will no doubt delight at this aspect. From Wiseau weirdly laughing during a supposedly serious scene to his awkward love scene where his 'position' makes everyone squirm. Although everyone tells Tommy to stop and to give up- he refuses to give in. The cast and crew are suspicious of this picture throughout and question and are confused what the movie is even about? Acting pro Carolyn (Jacki Weaver) is quick to point out that the infamous breast cancer reveal "Never comes back!"

Seemingly realizing his production is doomed- Wiseau soon becomes a tyrant on-set. Showing up late, refusing to provide air conditioning or water and now extremely jealous and petty with Greg. Tommy soon alienates everyone. Although he acts like a jerk we do hold a small amount of pity for him because he knows this is his one shot and it's going up in flames. The comedy aspect of The Disaster Artist is put on the backburner during the third act as Franco shows us the pain of art being misunderstood and the bewilderment of failure. He does provide us with an ending which is glorious in its failure. Showing us the disastrous premiere and the hilarious reaction of the audience members to this awful film. Franco also captures the spirit and the affection that filmgoers hold for this movie. A financial and critical failure upon its release- but despite this Tommy Wiseau has achieved his dream!

You couldn't have chosen a better Tommy Wiseau than James Franco. Superbly capturing his bizarre voice and his weird persona, this role fits Franco so well it hurts. Effectively channeling his softer side along with his more toxic one- this character comes across as a man with no quit in him. Coming up with moments of comedic gold, Franco is able to get laughs from audiences wherever possible and this might just be the funniest character of 2017. Brother Dave Franco also impresses as the more rational but equally talentless Greg Sestero. Against the unpredictable and often volatile Wiseau, Greg is the calm voice of reason whom his friend slowly grows to resent.

A love letter to the worst movie ever made The Disaster Artist is a picture that shows that sometimes even failures can make an impression. Remember to bring your spoons though!

Life on the Farm: Review of God's Own Country

God's Own Country

Director: Francis Lee

By Alex Watson

Against the windswept and grey plains of the Yorkshire Moors- debut director Francis Lee has created 2017's most affecting love story. Unfairly labeled 'The British Brokeback Mountain', God's Own Country was a surprise hit at this year's Sundance Film Festival. With a minimal use of words, the sexual tension bubbles all around. Lee also delves deeply into male insecurity and coming to terms with your identity.

Twentysomething Yorkshire lad Joe (Josh O'Connor) is a hard-drinking farmhand who has little in the way of meaningful relationships. Aside from the odd casual male hookups, Joe lives a busy life of keeping the farm together. His father (Ian Hart) is a cold and distant man recovering from a stroke and his nan (Gemma Jones) is simply trying to keep things together. Desperate for help, the family hires Romanian immigrant Gheorghe (Alec Secareanu). As a result, Joe's world is turned upside down.

The way God's Own Country explores relationships is brilliantly observant. Joe's doesn't have much in the way of interaction- the first scene we see him rising and puking his guts out from a night at the pub. A man who expects nothing out of life expect work- we see him going about his isolated existence against the harsh yet beautiful landscape. Lee excellently emphasizes the bleakness and the continually grey sky seems to reflect his mood. While alone we see him kindly tending to the cattle on the farm and lovingly stroking a pregnant cow's body. Here we get a sly glimpse of the love that Joe is capable of giving and in this one moment, he can be something more. Unexpectedly we soon see him engaging in rough sex with another guy in the back of a cattle trailer. The way Joe casually disposes of him afterward says volumes. He prefers to keep things quick and distant as its the only way he knows how. His relationship with his father is limited to orders and him constantly berating him for his failings. Love is a luxury that cannot be afforded so Joe expects nothing in return for his efforts.

Gheorghe's arrival is at first interpreted as a threat. Few words are spoken between the pair- but Lee makes sure each feeling fills the winds in the air. The tension and unspoken desire is almost unbearable at first. Joe treats his new colleague with a barely concealed contempt. When a reaction is finally provoked from Gheorghe, Lee breaks the hostility. For the first time in his life, Joe is treated with a kindness which is completely alien to him. One tender moment sees Gheorghe lovingly treating a graze on his hand- in this one moment you can almost feel Joe's heart swelling. Gheorghe's comes across as a gentle and heartfelt soul which Joe is unaccustomed to seeing in these parts. The way he desperately tries to save a runt sheep from dying is a truly uplifting moment. This man is the answer that Joe has been seeking- yet he refuses to acknowledge it. Lee fills his picture with wonderful little moments which are so simple yet cause the biggest waves. Gheorghe's setting the table for a meal seems to open up a new world of possibility. 

At its purest God's Own Country is a movie about how love can change a person. There is a notion of racism and xenophobia- particularly during the pair's opening scenes where Joe degradingly refers to Gheorghe as 'Gypo'. Post-Brexit, this is all the more relevant and believable. But Lee doesn't see the need to portray their love as a forbidden romance. This movie is more about someone being unable to come to terms with the possibilities in front of them. Joe believes in simply getting things done and is unable to return love or affection because he is unaware how to. Slowly the hearts of the audience are torn to shreds as we see our hero struggling against accepting something wonderful. Slowly as his world opens up, Lee's movie starts to radiate joy.

Josh O'Conner is a revelation as Joe and as the young lad, he gives a performance of extreme depth. A character of few words, O'Connor says more in his silence than dialogue ever could. Giving a raw depiction of a man finally experiencing love, O'Connor is simply brilliant. Alec Secareanu is the picture's beating heart though and as Gheorghe, he brings a loving and sweet side. His simple gestures to Joe are what makes this picture widen. Secareanu has a presence that is undeniable and he makes full use of this character's soft side but is unafraid is to be tough when called upon.

God's Own Country is quite possibly the best piece of British cinema that 2017 can provide. A love story that will make its audience feel the entire spectrum of emotions.

We Gotta Get Outta This Place: Review of Lady Bird

Lady Bird

Director: Greta Gerwig

By Alex Watson

Greta Gerwig emerges as a talent to watch behind the camera. Lady Bird is a picture that sparkles and gives a deep yet hilarious look at the angst of youth. Dealing with people experiencing an identity crisis and the typical back and forth arguments between mother and daughter- Gerwig's movie feels refreshingly real. Although alongside the laughs there is a heavy emotional core that will audiences all the way to the bone.

Sacramento teenager Christine 'Lady Bird' McPherson (Saoirse Ronan) is a high school senior who desperately wants out of her modest California life. Eager to leave home for illustrious college's on the East Coast, Lady Bird continuously bickers with her mother Marion (Laurie Metcalfe) over her future plans. Her family is facing a crisis since her father Larry (Tracy Letts) has been laid off. Although she is capable- Lady Bird must do far better to reach her dreams.

Early on in Lady Bird, Gerwig gives a close-up example of the problematic relationship between Christine and Marion. We first see the pair returning from a college tour crying over an audio tape of 'The Grapes of Wrath'. Initially, the pair lovingly reflects on it. Within moments, Marion is nagging her daughter over her apathy about her future which soon descends into her berating her to the point where Christine physically jumps out the vehicle. Marion is a character wracked by self-doubt and anxiety and her failure to inspire or connect with her daughter pains her. By no means is either character completely likable-Christine is a fiercely independent creature who chafes under the rule of her underbearing mother. Desperate for life on the East Coast where 'writers live in the woods' Christine attempts musical theatre as a way of boosting her college prospects.

Set in 2002 during Bush's America, money and wealth is also a talking point in this picture. The McPherson's are a family barely holding their head above water. Larry has struggled with depression and being out of work has put a huge financial strain on them. Despite this, he is still willing to help his daughter with her financial aid forms. When Christine befriends wealthy and popular Jenna (Odeya Rush) she pretends she lives in a big luxurious house in an affluent neighbourhood. Gerwig puts a good spin on the pain, angst, and joy or teenage crushes. Danny (Lucas Hedges) appears to have it the complete package- wealthy, handsome and from a close-knit Irish-Catholic family. However, in one subtle yet brilliant reveal, Gerwig superbly shatters Christine's portrait of him. Dreamy rocker and wannabe philosopher Kyle (Timothée Chalamet) is the boy who seems so wrong to us but a figure of aloof desire to her.

Lady Bird is heavily inspired by Gerwig's own experiences before going off to college. This is the element that makes her directorial debut feel so raw and real. Christine and Marion are the driving force of the movie and this is possibly the most realistic mother-daughter depiction you will ever see. Marion only wants the best for Christine- but that doesn't stop her from continually observing her flaws and picking her unrealistic expectations. Christine is also blind to just how much work her mother puts into keeping the family together. Though Gerwig is always careful to remind us how each insult comes from a place of affection. Few debuts are as assured or genuine as this one- being the best-reviewed movie on Rotten Tomatoes in 2017 speaks volumes

Irish actress Saoirse Ronan once again is on firecracker form as Christine. Perfectly channeling her character's desperation to be something other than ordinary, Ronan is well cast. One of Hollywood's strongest young actresses, the 23-year-old never seeks for us to love this character- only to understand where she is coming from. Laurie Metcalfe should be the favourite on every person's supporting actress list. Known to audiences from her time on Broadway and as Sheldon Cooper's mother in Big Bang Theory. Metcalfe gives a supporting turn of sheer power and immense depth. Her Marion is a character that is always criticizing her daughter's choices. Through Metcalfe, we come to realize her words although cutting are actually being said of out love. 

Lady Bird is more than just a critic's darling this award season. Few indie efforts feels as polished or emotionally engaging as this one. Another hit for A24, who have been the studio to beat this year.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

Mississippi Burning: Review of Mudbound

Mudbound

Director: Dee Rees

By Alex Watson

Dee Rees' Mudbound is a movie that is unafraid of tackling a dark point in US history. Among the muddy fields of Mississippi, the racial tension simmers. However, Rees also makes the human struggle element clear because this story is about how one piece of land causes a great divide among families. There is also a notion of brotherhood and two characters although worlds apart are drawn together by a terrible experience. The end result is an emotionally engaging piece.

Henry McAllan (Jason Clarke) leaves his idyllic city life in Memphis to pursue his dream of owning a farm in Mississippi. The move is hard on his wife Laura (Carey Mulligan) who struggle to adapt to living in a shack with no running water or electricity. She is also drawn to his war hero brother Jamie (Garrett Hedlund) who is affected by his combat experience. At the other end of the spectrum is sharecropper Hap (Rob Morgan) who has five children with wife Florence (Mary J Blige)- their son Ronsel (Jason Mitchell) has also returned home from WWII but faces another war altogether.

While six different characters providing narration does feel like overkill in places, there are few complaints to be had about Mudbound. Rees is able to draw us to each individual characters and bring them into their innermost thoughts. There is an unspoken sense of order through the early stages of this picture and from the moment Henry's family arrives, Hap knows their place in the world. His family has worked on the land for generations even though the land will never become his. " this character continually wonders about his place. While Henry is never outright hostile or unkind, his Pappy (a delightfully evil Jonathan Banks) is very much upfront with his hostility. Refusing to even sit next to Hap in the front of their car, his blunt hatred causes friction whenever he appears.

Jamie's arrival is one that stirs the pot. Permanently drunk and suffering from PTSD, he is saddled with a deep-seated guilt over the soldiers he failed to save in WWII. Laura is drawn to his kindness as he seems to embody everything her husband isn't. When meeting Ronsel for the first time, the pair do not see black or white but a fellow combat vet. Their friendship blossoms because they both understand the horrors of war. Sadly it also ignites a furious reaction from Pappy and what transpires is truly horrific. At the height of segregation, this friendship becomes the movie's heart and soul.  Laura's story is also one that brings a sadness to our hearts. A woman trying to make the most of the soggy and mud-filled land she occupies, she also chafes under the dominance of her unlikable father in law and her distance husband.

Rees's takes her audience into a time that most American audiences wish to forget. In 1940's deep south, there was an obvious social ladder and Hap and Florence's family unwittingly found themselves on the bottom rung. The intense hatred and hostility are at times also unbearable to watch. Especially during a tense sequence where Ronsel attempts to leave via the front door of a shop. Pappy and his equally racist pal are quick to ensure he knows to leave through the backdoor "I don't know what they let you do over there, but you're in Mississippi now!" Hap and Florence are bravely trying to build their own dream despite the odds being stacked against them. The notions of losing and keeping faith are strongly enforced- Laura is continually losing hope over her husband's perhaps foolish intentions.

While Carey Mulligan gives a stand-out turn as the struggling Laura, she is almost a background player in this story. Garrett Hedlund is outstanding in a strong supporting role and firmly captures a man wrestling with his conscience. Dismissed as drunk by both his brother and father, Jamie carries a burden few men understand. Hedlund is definitely Oscar-worthy here. Jason Mitchell's Ronsel is the character who will capture your heart. A brave soldier, he comes home to find the old problems that plagued his life are still there. Mitchell's barely contained disgust is mesmerizing to watch and on merit alone, he deserves to rewarded. Mary J Blige is the one tipped for Oscar glory and as in a powerful and less showy turn- she thoroughly lives up to the hype.

Mudbound is a movie that captures the struggles of everyday people trying to live a dream. It is also a powerful voice about a dark era of US history.

A Stranger In My Home: Review of The Killing of a Sacred Deer

The Killing of a Sacred Deer

Director: Yorgos Lanthimos

By Alex Watson

Colin Farrell and Greek helmer Yorgos Lanthimos are becoming the new odd couple. After collaborating on the bafflingly brilliant picture, The Lobster, once again they strike gold. The Killing of a Sacred Deer is a bold, brave yet disturbing feature film. Lanthimos may confuse some people with his mixture of sadistic humor with high tension. Those who are familiar with his style will be blown away by one of the best movies of 2017.

Steven Murphy (Colin Farrell) is a successful surgeon who is bonding with troubled teen Martin (Barry Keoghan). Happily married to Anna (Nicole Kidman) with two children, everything seems pretty rosy. However, Steven was also the surgeon who operated on Martin`s father when he died. One day, Martin reveals he has placed a curse on the family and now Steven must kill one of his own family to balance the scales.

There is an eerie and distorted feeling from the very first moment of The Killing of a Sacred Deer. Kicking off with a bizarre conversation between Steven and colleague (Bill Camp) about watches- Lanthimos clearly intends to take us in all different directions. Steven`s relationships with others are put under the microscope early. Barry seems to have an almost mentor friendship with him, despite the deliberately strained conversation. There is also a heavily sinister undertone and Martin is always showing up unannounced at the hospital. Anna is a loving and doting wife and willing allows him to explore his fetish of having sex with her while she pretends to be asleep. Although everything is picture perfect on the outside- Martin slowly exposes the flaws the family has and pretty soon things become tense.

Quickly Martin asserts his dominance over Steven's daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). One moment sees his daughter get undressed in front of him, only for him to casually reject her. Guilt is another factor that is heavily implied throughout Lanthimos' picture. Steven carries a burden from the night Martin's father passed away. His refusal to acknowledge his potential liability marks him out as prideful and stubborn. During the early stages, we are never sure whether Martin is toying with Steven or is genuinely interested in bonding with him. During a freaky dinner at Martin's, his mother (Alicia Silverstone) makes a bizarre pass at his 'beautiful hands' and the rejection that follows seems to be the catalyst for what follows. In a shocking yet brilliantly underplayed sequence, the young man reveals the terrible truth. In a nervous and overly fast voice, Steven is informed that if he doesn't kill one of his family, they will all become paralyzed and slowly die.

From this point on The Killing of a Sacred Deer transforms into pure psychological horror. Thanks to the terrific camera work of Thimios Bakatakis we are drawn into every father's worst nightmare. Out of nowhere, his children get sick and no solution can be found. Steven transforms from a cool and collected being to becoming a wounded tiger. Soon he resorts to increasingly desperate measures to try and salvage a no-win situation. The moral implications of what he will have to eventually do are almost sickening. Lanthimos drags his audience through the whole spectrum of emotions and we all know that we cannot look away.

Colin Farrell demonstrates that with the right director he can be a revelation. Carrying the movie's emotional and mental core- Farrell shows a side of his acting we have seldom seen. Some may still sneer at his ability (particularly his big-budget failures) but its impossible to deny that he is Oscar-worthy here. Nicole Kidman also gives strong support as the suffering yet committed Anna. Almost the Lady Macbeth figure, later on, she is the one behind the scenes keeping it together. Newcomer Barry Keoghan almost steals the picture from Farrell with a menacing turn as Martin. From the moment he enters his permanently monotone voice is immediately unsettling. Keoghan is a star we need to watch closely.

Some may find The Killing of a Sacred Deer extremely unsettling, but Yorgos Lanthimos is very different kind of director. On tension and style alone, this is brilliant filmmaking.