jamshedarslan The movie shows how parents can indoctrinate their children into anything. Some people find it odd, but consider the mythological indoctrination all around us, I think this movie presents a highly plausible scenario.

riven-yuki This is my first review here. Now, as the title says, just because we can do it, doesn't always mean we should every weird ****** idea in a movie. the 3/10 I gave was because the message was good and new. But it's portrayed in the weirdest way possible. The movie talk about the dangers of keeping children from the outside world for the sake of "protecting them", but you don't need nudity, extreme sexual themes and animal violence to do that. If you really want to express sexual desires, you can do it just by showing vague stuff(like actors taking off their shirts and hen cutting) that imply what you want. People will understand your message and you won't have to show all these adult scenes, which are just scarring really and not fun in any way.

chloewinns After seeing both The Lobster and Killing Of A Sacred Deer, I wanted to go back and watch some of Yorgos Lanthimos' previous films. Dogtooth (or Kynodontas) was both unsuspecting and incredibly put together. Never have I felt so uncomfortable yet intrigued and satisfied by a film. There were moments within it that I definitely wanted to turn it off, but I couldn't, I had to keep watching. Saying that I got enjoyment out of this film would be difficult, it was more a sense of confused gratification at its content and outcome. Most definitely in keeping with the rest of this directors films.

framptonhollis O...that was...sure something... So, Yorgos Lanthimos has officially become one of my favorite filmmakers working today and perhaps of all time. He relishes in the kind of absurdity, unpretentious artiness, dry black humor, and disturbing horror/tragedy I love so very dearly, and these elements can all be clearly found in 'Dogtooth', his third and first truly notable film. Here, many important motifs of what has developed into the Lanthimos style can be found and are really mastered. While I personally find 'The Killing of a Sacred Deer' to be the better film, I can definitely see some arguments for 'Dogtooth' being the man's masterpiece thus far. It is an original and gross and totally compelling work that kind of feels like what would have happened if the first half hour of 'Bad Boy Bubby' was stretched out to fill up the length of the entire film and just replaced the rest of it all together (if you've seen 'Bubby' you might know what I mean; if not, it's less likely but you still might know what I mean (I hope (I guess))), and, since 'Bad Boy Bubby' is far and away one of my favorite films, any possible comparison to it that is not directly meant to showcase how the non-'Bubby' film is absolute trash in one way or another is a very high compliment. However, I feel like a film like this one should come with some kind of warning. Even for the guy who made stuff like 'The Killing of a Sacred Deer', some of the scenes in here are genuinely shocking. The sexual explicitness far exceeds that of your standard film (American film in particular), and many of the sex scenes do not feel simulated. Now, if you're like me, this is, if anything, a mild-to-moderate plus on the film's part, but if you're a Catholic nun or something I do not recommend it. Anyone else with an open mind and enough patience to sit through an arthouse drama with a slower pace should see this whenever they see fit. It's definitely a unique and, for weirdos like me, somewhat enjoyable (please don't take my usage of that word in the wrong way; I mean, I seriously think the movie is at least a little entertaining, there's plenty of weird, off putting laughs to be had and it is unnerving enough on a minute by minute basis that I was almost always glued to the screen) experience that I'd like to mention also has a very subversive-sort-of visual style, as many of the camera angles are intentionally awkward and just slightly off in some way in order to add to the overall mood of the piece, which is another little motif of Lanthimos (although it is nowhere more apparent than it is here, as many of the shots in a film like 'The Killing of a Sacred Deer' (exemplified for the third time in this single review, nice going me) are beautiful to look at and do not feel awkward or off at all and instead are incredibly perfect and necessary, but still do have some uncomfortable atmosphere about them, of course) that I find absolutely fascinating.