This hugely disturbing, disgusting movie is likely to turn on film buffs with its clever cross-cutting, but it's ultimately a pretentious waste of time.
Dog Days (2002)
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Reviews Counted:33
Fresh:16
Rotten:17
Average Rating:5.4/10
Consensus: A relentlessly disturbing, depressing work.
Theatrical Release:Aug 22, 2003 Limited
Synopsis: DOG DAYS is a scathing satire, exposing the ugly underbelly of contemporary suburban mores. It is the first dramatic feature of notorious documentarian Ulrich Seidl (ANIMAL LOVE). With a keen... DOG DAYS is a scathing satire, exposing the ugly underbelly of contemporary suburban mores. It is the first dramatic feature of notorious documentarian Ulrich Seidl (ANIMAL LOVE). With a keen visual sense and lacerating wit, Seidl weaves together the sordid tales of a large group of people in suburban Austria during a heat wave. There's the Greek divorced couple who continue to live together, miserable and haunted by the memory of their young daughter's death. There's the alarm system salesman who has to find a scapegoat when the cars in a housing complex that he has serviced are vandalized. There's the desperate older woman whose sadistic boyfriend brings a friend along to watch him humiliate her. There's the elderly control freak who weighs every item he's bought at the supermarket when he gets home. Tying them all together is Anna (Maria Hofstatter), who hitches rides to nowhere, verbally assaulting those who pick her up with a constant barrage of inane top ten lists, advertising jingles, and embarrassing personal questions. Seidl gets solid performances from his cast, many of whom are not professional actors. For those who can stomach it, he offers a compelling glimpse of hell on earth. This film was included in the 31st New Directors/New Films 2002 series presented by The Film Society of Lincoln Center and The Department of Film and Media of The Museum of Modern Art in New York City. [More]
Starring: Maria Hofstatter, Christine Jirku, Victor Henneman, Georg Friedrich
Starring: Maria Hofstatter, Christine Jirku, Victor Henneman, Georg Friedrich, Alfred Mrva, Erich Finsches, Gerti Lehner, Franziska Weiss, Rene Wanko, Claudia Martini, Victor Rathbone
Director: Ulrich Seidl
Director: Ulrich Seidl
Screenwriter: Ulrich Seidl, Veronika Franz
Producer: Helmut Grasser, Philippe Bober
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Reviews for Dog Days
The film does generate a unique level of intensity, and even the most harrowing scenes contain grace and humour.
Stylistically void, intellectually vapid, narratively coarse, and exploitative of its actors in the worst possible way, the film is an abject failure on every level.
This is one of those productions that is easier to admire than it is to like.
'People can be so cruel,' one character says after finding a poisoned animal. Judging by Dog Days, so can movie directors.
Just because something is degrading and disturbing, doesn't mean it's art. This dog doesn't deserve a day.
Missing ... is any real feeling of compassion towards these forlorn individuals, any sense of the humanity that lies beneath the grotesque façades.
What some detect as cruelty in Dog Days is in fact a bleak but deeply felt humanism -- a yearning that we might all learn to better love our neighbors and, perhaps more importantly, ourselves.
No one here is beyond redemption. What leads one to suspect that Seidl is far more than a cold sensationalist is his ability to find that flicker of humanity in even his most wretched characters.
This is a lament on the human condition, free of scented roses and free of solemnity.
Oddly compelling, disturbing -- some might say disturbed -- look at suburban life, Austrian style.
The voyeurs in the film respond with predictable repulsion and sarcasm to Seidl’s lower middle-class cartoons.
Dark, probing, and truly disturbing, Seidl's astonishing feature debut explores angst, anomie, and alientaion in Vienna's upscale suburbs in visually audacious mode that goes beyond Todd Solondz and Todd Haynes.
This startling debut fiction feature goes to great, hectoring lengths to prove its final line: 'People are so cruel' -- a judgment from which the filmmaker himself is presumably not exempt.
A loser in almost all respects, boasting a parade of nudity that you don't want to see, and over two hours of conversation yielding nothing of interest.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
| 57% 57% | 9 |
| 44% 44% | Jennifer's Body |
| 58% 58% | A Perfect Getaway |
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