The LEGO Movie 2: The Second Part
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All Critics (15)
| Top Critics (5)
| Fresh (12)
| Rotten (3)
With its parade of finger-pointing vloggers, picture-posting stalkers and hijab-wearing, smartphone-clutching schoolgirls, "Pig" ("Khook") makes it savagely clear Western society hasn't cornered the market on selfie-centered behavior.
The filmmaker and his work deserve to be better known, and Pig is an ideal introduction to both for American audiences.
It is rare for a film to put forth so boldly precise a vision of society; it's also rare to find a satire that hardly ever falls into mere ridicule or pathos.
At the very least ... this blizzard of oddity marks Haghighi out as the joker in the Iranian auteur pack, and every gang needs a wildcard.
Although it seems almost buried in the colorful shenanigans, Pig's political message is there, and this is what the film will be chiefly remembered for.
The film is rich in absurdist humour and intermingles character-based comedy with sharp observation.
By the time it reaches its frenzied conclusion, its comic exaggeration offers biting insight into what creative suppression must feel like.
Haghighi seems to take many cues from the Coen Brothers in his juggling of philosophical nihilism, veritable slapstick violence, and genre pastiche.
Pig is perfect fodder for those who have an image of Iranian cinema as nothing more than melodramatic art-house borefests.
"Pig" displays a satiric look at a group of narcissistic filmmakers utilizing mock-horror absurdist comedy that works more times than it does not.
Wild satire isn't what we've been taught to expect from Iranian cinema, but Mani Haghighi...kicks off the restraints in this tale of a celebrated but blacklisted director.
Pig is an unpredictable and surreal exploration of an artist's vanity that completely loses itself in the third act, leading towards a conclusion that's as dark as it is unearned and out of place.
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