The House That Jack Built - Movie Reviews - Rotten Tomatoes

The House That Jack Built Reviews

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April 21, 2019
I recommend to see this movie before you read the media reviews, it's way more than what the reviews will tell you
April 19, 2019
Controversial movie, I like it
April 16, 2019
Having pondered over this movie for the past two days, I can finally say The house that Jack built is a pretty solid movie. It gracefully became this darkly hilarious journey that opened the door to Jack's mind, a glimpse to how he thinks, to why he does the terrible things depicted in the film, and how he evolves throughout the movie. Lars for sure goes for the ''shocking'' factor, focusing more on the raw and uncomfortable experience. A thought-provoking and poetic in a way experience filmed in an old fashion way that gave it a superb atmosphere, anchored by unique editing, which added more depth to the 'incidents' being described by Jack. Yet, this is a perfect example that sometimes less is more. In the final act, it tries to overreach and fails to make its heady themes work, making it kind of fall apart. However, The house that Jack built is still a great and unusual movie with fantastic performances from every member of the cast that is worth watching.
April 9, 2019
It was dificult to watch, yet i couldnt look away.
Sure the director is so far up himself he can see out his mouth but he makes some solid points in this film.

And the ending left me very satisfied.
Overall its worth a watch, but trust me if you watch the uncecsored version you will not be the same
½ April 2, 2019
Sadistically brutal and definitely not for the faint of heart. However I enjoyed it with its interesting story and artistic twists.
April 2, 2019
Perhaps my favourite from Lars von Trier? Matt Dillon is excellent
March 24, 2019
A Casa que Jack Construiu (2018) #MovieReview 2,0 ‚≠?Ôł? Serial Killer narra sua est√≥ria para algu√ (C)m com quem dialoga enquanto passa seu passado e presente. Lars Von Trier. Isso posto, a opini√£o pode passar de sublime a tosco no mesmo filme.
March 22, 2019
I'm skeptical about movies with 5 star and no star ratings with few in between.

This is definitely a low in between.

Apart from the obvious rants people will have about misogyny and the pacing of the movie, the real issue with this excessively long movie is that it delivers some subtleties of barely relevant information pretty well, and in an interesting way, but glosses over some details that would have been interesting or helpful to know.

The details about hunting order, for example. As well as the varieties of wine growth methods. Those are interesting concepts this film manages to blend with the otherwise unrelenting psychotic murder fest throughout the film. Had these little details been more consistent, it might have made the pathology of the serial killer, and the progress of his improv skills a lot more interesting.

Instead, we get a lot of sob stories about his boring past and chop scenes that omit the how or why of many of his decisions, along side a narrative that overlays various art images so as to impress upon you that his obsession is his art... we get it. You don't have to be an art house fan to understand what this film is trying to convey.

In the end, we have a long movie with a one song sound track and a bunch of increasingly gross murder scenes that lead up to a finale of nonsense that leaves you bored long before you see it, and then immediately cease to care.

I only give it 2 stars for the little factoid tangents it delivers. Those are interesting. The rest is just snuff.
Nate Z.
Super Reviewer
½ March 17, 2019
I believe I'm ready to cast Lars von Trier in the same dustbin I've consigned Terrence Malick and Michael Heneke. I think I'm done with him and his films. The man has obvious talent but is often his own worst enemy, given to self-destructive impulses and excessive cruelty meant to be daring and challenging but is mostly perfunctory. The House That Jack Built is distasteful by design but also heavy-handed, obvious, and vacuous to a fault.

Jack (Matt Dillon) narrates his life as an American serial killer in the 1970s and 80s. He's traveling through the afterlife with the help of Verge (Bruno Ganz), a supernatural guide and easy listener. Jack divides his murderous exploits into a series of five key incidents: Lady 1 (Uma Thurman) being picked up looking for car help; Lady 2 (Siobhan Fallen Hogan) as a suspicious neighbor answering the door; Lady 3 (Sofie Grabol) as a mother with kids who is taken hunting and then literally hunted; Simple (Riley Keough), the one who tried to get away; and finally the last scenario where Jack tried to kill multiple men with a single "full metal jacket" bullet. Along the way, Jack talks about the frustrations of his boyhood and adulthood, living with OCD, and the implications of his life's legacy.

It's not that a serial killer film, whether it be a psychological examination or gnarly genre thrill ride, can be without artistic merit, but von Trier settles for empty provocations. He's using the nature of the movie serial killer to essentially terrorize the audience and make them question what entertainment value they ever saw in these kinds of figures and stories, or von Trier's films at that. I was expecting an unsettling experience given the nature of the subject and the reputation of the filmmaker, but what made the situation all the more oppressive and disquieting is how obvious and heavy-handed everything comes across. The central metaphor could not be any more transparent for any person familiar with von Trier's back catalogue of punishing feature films. Jack views himself as an artist, specifically an architect, and his art is via terrorizing women for personal satisfaction. In case you needed it further spelled out, Jack is von Trier, a filmmaker who makes movie after movie featuring a central heroine being abused and exploited with no cosmic justice. A von Trier film experience is all about unchecked suffering and systemic abuse from the patriarchy. Sometimes this can be a condemnation that elicits strong emotional responses like a Dancer in the Dark, and other times it feels like von Trier wallowing in flip nihilism, like the conclusion of his two-part Nymphomaniac opus that undid the preceding four hours. Jack kills women for his art; von Trier tortures women for his art. There you go. With that central metaphor established, you'd expect the movie to become an introspective and excoriating probe into von Trier as a notorious filmmaker who often shocks and appalls. Oh how wrong you would be. The House That Jack Built is the same stale slog only with a slight meta twist.

For no better example of how heavy-handed the movie is, simply observe its unnecessary framing device where Verge/Virgil is literally leading Jack in the dark toward the subterranean bowels of Hell and the two are digressing the long walk. My friend and filmmaker Jason Tostevin said he was watching The House That Jack Built with a "scrunched-up face" for its majority until the last thirty minutes when he accepted it as a morose comedy, and then it started playing better for him. That might just make sense, considering von Trier's overwrought pitch-black sense of humor and overall belief that life is a joke. I did laugh out loud once Jack and Verge are floating in bubbles. It also provides some, not much, context to scenes like Thurman's, where she keeps needling Jack about what a bad serial killer he would be based on his decisions. It's almost like von Trier is trying to say that Jack took the psycho killer plunge because a bossy woman kept annoying him and pushed him into it. The early sequence of Jack stumbling into being invited into a woman's home has a clumsiness that almost invites a degree of wicked comedy, especially after Jack tries to treat the woman who seems incapable of dying. There's also the absurd conclusion of the 'house" Jack actually finally constructs. However, even as a supposed "comedy," The House That Jack Built is an obnoxious experience that will make you feel worse by the end of its painfully lugubrious 150-minutes.

Nate's Grade: C-
March 16, 2019
Lars von Trier sure is an odd one. You can feel his presence throughout the movie. Matt Dillon is amazing, I liked the plot and the dark humor behind it but it was too weird for me, I'd rather watch something simply brutal and enjoy it more.
½ March 10, 2019
what i didn't expect was for this to be funny in spots.
½ March 10, 2019
This movie is garbage. No merit at all. The director should be in prison. Disgusting waste of money
March 9, 2019
Zzzzzzzz! If Matt Dillon's career depended on this film he would never get out of the gate. It may be entirely possible you need to ingest some sort of helucinagenics before watching this film to fully enjoy or understand it. The last 1/2 hour became the freakiest part, made absolutely no sense what-so-ever and almost made my head want to pop off. Way to go Matt, I m afraid to watch your next film!
½ March 9, 2019
L'ultimo film di Lars von Trier richiede uno sforzo cognitivo piuttosto accentuato e non sempre il nostro intelletto ne ricava degli insegnamenti particolarmente motivanti o positivi, e questo risulta essere l'aspetto sia positivo che negativo della pellicola. Se da un lato vediamo scene disturbanti al limite della comune sopportazione, dall'altro abbiamo un'opera che analizza in modo molto approfondito aspetti umani complessi e mai scontati, con svariate riflessioni sull'arte, sulla religione e sulla vita umana in generale. E' un film azzardato e coraggioso che scivola in un finale decisamente troppo ambizioso e non del tutto convincente: il risultato finale e' comunque apprezzabile e si intuisce il prepotente sforzo di alzare ancora una volta la qualita' della filmografia di questo discusso regista.
March 9, 2019
Wow. Disturbing and wild movie.
½ March 8, 2019
Doesn‚(TM)t disappoint
March 8, 2019
Yet another great film!
March 6, 2019
Awesome look.into a murders mind.
½ March 6, 2019
There was a Trier who knew how to use aesthetics to probe ethics, now remained a provocative, useless and ineffective Trier, who bends ethics or false and farcical immorality for aesthetic or anesthetic purposes, hoping to make believe that, "Jenseits von Gut und Bose", he is still talking about art and anthropology: "They are the kingdom of evil and I portray it" ("I put in scene the obscene", cit.). But his hell, like those of Dante, Blake, Dore, is vacuously unclean. Needless to say, for the Cahiers it is the eighth best film of the year.
(Mauro Lanari)
½ March 5, 2019
Lots of blood and violence but that's about it.
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