The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (24)
| Top Critics (5)
| Fresh (20)
| Rotten (4)
It (self-evidently) does not have the humour of those movies by Lanthimos and Tsangari and by that token, less of their richness and inventiveness. But its force can't be doubted.
From the not-so-happy birthday that opens the film ... up to the harrowing final revelation, Miss Violence fulfils the grisly promise of its title.
Avranas's opening employs the rigorous aesthetic that dominates the work of his Greek compatriots, signifying that the characters live in a realm of cultivated artifice.
A precision-tooled portrait of a hermetically closed family unit.
Committed tone and immaculate craft should ensure ample fest exposure for the pic's predictable perversions.
Though people may be tempted to frame this story in the context of Greece's debt crisis, it's important to remember Miss Violence is about power not about money.
Ever since Yorgos Lanthimos' Dogtooth wowed audiences back in 2009, Greek cinema has become the new Michael Haneke.
Even fans of chillingly oblique new Greek cinema (see Dogtooth and Alps) will find this pitch-black drama utterly terrifying simply because it doesn't look like a horror movie.
The audience are made to suffer through scenes that range from the uncomfortable to the unwatchable.
Miss Violence is a grim tale of family dysfunction that also stands as an allegory about moral and economic decline in Greek society.
Deeply unnerving, yet it borders on a salacious exploitation of the everyday horrors it means to condemn.
Patriarchy rules and revulsion offers little escape in this sickly Haneke-esque modern Greek tragedy.
This awfully disturbing film is careful to introduce us without haste to its characters and their dynamics together before starting to dig up what lies beneath their tight family discipline - which is reinforced by Avranas' rigorous direction and even a beautiful ten-minute long take.
Entirely unconvincing and illogical film that thinks it's the next "Dogtooth" or "Funny Games" (it has none of the former's wit or intelligence). Performances range from the blank to the comatose and, though the aim presumably is to shock, it's a dull slog despite some nice camera work.
The heritage of Greek tragedy is seen in this unerring depiction of the worst of human nature, with a depth and economy beyond anything modern or shakespearean. The makers of such a film face the question of whether it should be made at all, because of the risk of voyeurism, or complacency. What result does it have? Still, the exploitation, graphic enough, is exactly within the film's contempt for the rapist. He wants and needs to feel reassured, that he is accepted by the victim. Instead, he is hated and despised. There is no consent, even if there is compliance. A profound point arrives when a girl loses all belief in the man she thought of as her father. The film will be upsetting to anyone who has experienced such crimes, and shocking to others. It often breaks the fourth wall, demanding that the viewer acknowledge their witness. Artistically, the film is brilliant, the acting exceptional. As a document of male inhumanity, it shows a harsh reality.
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