The House That Jack Built - Movie Reviews - Rotten Tomatoes

The House That Jack Built Reviews

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½ January 20, 2019
A dull, masturbatory, overlong, self serious art house serial killer film, The House That Jack Built continues Von Trier's swing and a miss streak. I am something of a 'murderino', so I was actually fairly excited to watch this one. But the fact that Von Trier essentially made himself as the director the obvious comparison to Jack the serial killer, rendering Jack's character ultimately totally unrealistic. The script is also quite clunky, though the performances - particularly from Dillon - are strong enough to still sell it. It's too bad the rest of the film lets them down.
½ January 19, 2019
This film is largely about von Trier himself. Controversies about how von Trier treats women in his films has been brought to attention in the past. This film appears to be a response to those accusations. The first four of the five incidents are primarily focused with killing women. Certain ways he handles those scenes such as having one of his female victims come off as disagreeable and insulting or remarking "Why is it always the man's fault?" (implying that the women were asking for it) seem highly questionable at first glance. One could call this film misogynistic, but the fifth incident serves as a counter point to that criticism. If the film is misogynistic, how can you explain the addition of the final act? Personally, I don't think this film goes too far, neither in its portrayal of its violence nor its implications regarding the nature of the killings. Rather, my issue with this film is how its less focused on the characters and more so on von Trier himself. Jack isn't a particularly interesting or memorable character, because he feels less like a real person and more so like a piece of evidence von Trier's trying to use to defend himself from backlash. Many characters feel this way. Certain banal scenes such as Jack explaining to Verge how he kills men and women equally does nothing but scream von Trier. I'm not a fan of using yourself as the subject matter of your films, because, while it's certainly unique, it can also indicate a lack of other various crucial story elements which can either make or break the film depending on who's watching it. I don't think this film is without its strengths though, because I think the final 20 minutes are actually pretty interesting. Also, in addition to some cool technical aspects, the cinematography is quite excellent. As a whole, however, this film is pretty underwhelming.
January 19, 2019
Another haunting film from Lars that will stay with me for years to come. I 1/2 1/2 1/2 1/2 1/2(TM)m sure there is lots to analyze in this film. Matt Dillion is excellent as the title character. Really enjoyed this film, though it 1/2 1/2 1/2 1/2 1/2(TM)s a little hard to take much of the time.
January 16, 2019
9 9 9 9 8 9 8 8 8 8 = 85 (12/29, 2018)
January 16, 2019
Raw, weirdly fun, dark, yet very artistic if I may say. We see a renewed Matt Dillon, capable of transmitting Jack's obsession, delight, sickness. A masterpiece within the Lars Von Trier universe, and as any other LVT film, not made for everyone to enjoy.
½ January 14, 2019
The House That Jack Built is not the fan expected return from Lars Von Trier, although its artful form and meditations over existence will please its most ardent fans - while shocking all the others.
Super Reviewer
January 11, 2019
SUBTERRANEAN GROSS AND SICK BLUES - My Review of THE HOUSE THAT JACK BUILT (4 Stars)

The films of Lars Von Trier have definitely earned their polarizing status, always swinging for the fences with their provocative, unflinching portrayals of...well, I think his films are about death, the ugliness of human nature, and ego. Many will view his latest, THE HOUSE THAT JACK BUILT, as an epic-length, high body count, exploitative, serial killer film with little to no redeeming social value. I found it to be a whip smart, sickly funny exploration of our souls. To each their own.

Matt Dillon, in a hypnotically disturbing performance, plays Jack, an architect with over 60 gruesome murders under his belt. We hear him first in a voiceover conversation with a mysterious man named Verge (Bruno Ganz) as they discuss five incidents in Jack's troubling "career". They also delve into Jack's childhood, which includes one particularly traumatizing image, Jack's endless pursuit of building his own ideal home, odd clips of the pianist Glenn Gould, shots from Von Trier's prior films, and Jack flipping cards filled with various words much like as in Bob Dylan's "Subterranean Homesick Blues" video. It all adds up as a strange treatise on the nature of art and what defines it. Even sick minds such as Jack's, Von Trier appears to argue, contain the soul of an artist.

Much like Michael Haneke's FUNNY GAMES, this film plays with the discomfort victims feel when facing their killer. With such victims as Uma Thurman, as a woman stranded on the road unlucky enough to hop into Jack's van, or Siobhan Fallon Hogan as a widow who lets Jack into her home, we experience painful interactions which show Jack trying against his instincts to portray a relatively normal guy. With Thurman, he can barely control his rage as she jokingly discusses that he is probably a serial killer. With Hogan, he repeatedly changes his story, first as a cop and then as an insurance salesman...anything to get inside and kill her. Other scenarios show him with a mother and her two children, a young woman he dubs "Simple" (Riley Keough) because he frankly thinks she's an idiot, and an extremely gruesome HUMAN CENTIPEDE-esque experiment with a group of men in a walk-in freezer. Throughout, Jack collects his "trophies" in said freezer, posing them for grotesque photos, trying to find his artistic "voice".

Von Trier takes things a step further by giving Jack the best luck of any killer in history. Not always even trying to cover his tracks, Jack barely hides in plain sight, allowing his victims to scream as loudly as they wish, or in one incredible sequence, watching in awe as Mother Nature literally washes away any evidence. It makes for a challenging theme, inviting the audience to not exactly root for Jack, but to conspire with him. We may not want Jack to make the perfect artistic statement or build his perfect home, but it's fascinating to find out what it is nonetheless. I'm gonna subtract a few points from this film for cribbing so obviously from Bryan Fuller's great HANNIBAL series with its Hieronymus Bosch-like corpse art. It was shocking to see then, but not so much now. Jack should have come up with his own ideas!

Even Von Trier isn't content to just show one killing after another. He wants to make a grand statement. The films runs over 2 1/2 hours after all. As such, he takes the final act of the film, an epilogue of sorts, to a truly dark place. It's a wild leap to take us into such a special effects-laden environment, especially considering the naturalistic way the rest of the film comes across, but it's in keeping with Jack's curious nature. He's always looking for a way to wriggle out of any situation or to take advantage of weakness. He argues that killing and death are art forms. As decent human beings, we may heartily disagree, but THE HOUSE THAT JACK BUILT has a good time making its case. Although much of the violence appears offscreen, a few moments are absolutely sickening. Still, I think it does a great job of putting us into a serial killer's mindset, giving it a type of morbid value. Most will disagree and find this an irredeemable, endless bore. Serial/Cereal I say!
January 11, 2019
Absolutely fantastic film. Artsitc masterpiece by Von Trier and steller performance by leading man, Matt Dillion, no where near as disturbing as people claim (or maybe that's just my cynical nature) there are a few parts that may effect certain people but if you can stomach it...do. Very worthy of the standing ovation it gained at Sundance. A must watch for everyone before you die wether you be a horror fan or not.
½ January 11, 2019
It's an interesting story, it just feels like something is missing
½ January 7, 2019
Crude and tasteless, Lars Von trier is self indulgent and a sick POS.
January 7, 2019
Lars von Trier thinks there is no story that does not deserve to be told. Starting from this premise, the Danish director, one of the exponents of the Dogma movement, walks through the most obscure places of the soul in search of the rottenest in humanity. "The house that Jack built", can be seen as a summary of everything that has been his cinema in the last decades. It is also 2h35min of a movie that only he would reaffirm his critics' view of his sickly misogynist behavior and his flirtations with extremism, and remember that Von Trier has already stated "to understand Hitler", which made him expelled from Cannes when the "Melancholy" (2011) was released.

"The house Jack built," can therefore be seen by at least two prisms. Let's start with the first one.

Von Trier's new film can be seen as an exercise in evil without consequences. In the story, Matt Dillon is Jack, an engineer with ambitions to be an architect who dreams of building a house so perfect that it always seems impossible to build it. But Jack is also a serial killer, who in 12 years killed more than 60 people without ever being caught by the police.

Throughout the film, Jack is developing a theory in a conversation with an entity called Verge (Bruno Ganz) about how artistic his life of crime is. He argues that art comes from pain and evil as Verge understands art as the fruit of love. This dialogue of oppositions is mapping the whole film to each increasingly heinous act of Jack, always accompanied by the attentive but placid look of Verge, a character that only in the end we understand what the role is. And it is curious that this character was made by the same actor who played Hitler in "Der Untergang" (2004). Hard to believe it was a casual choice.

With each murder of Jack, Von Trier goes on to illustrate how evil is banal and how desperate each one is so lonely and finds no echo and no solidarity. He is the Lord Sophistication and develops perfect crimes as long as the population inoperative around and the slowness of the authorities.

At the same time, Von Trier develops the thesis that the serial killer is an individual who is born with evil in him and always leaves clues to every crime. For he wants to be found, discovered. There is a vanity in this fight of cat and mouse, because the killer at some point wants to be discovered to have his "work of art" finally disclosed and gaining public and notoriety.

At the same time, the director exposes that we, as spectators, worship these stories and adulate murderers. It is when the director exposes the images of dictators and mass murderers like Hitler, Mussolini and Stalin.

The film, however, ends up dripping in the end by a long biblical strand that seemed to disagree somewhat with the initial proposal. Had he kept the subtlety of the conversations between Jack and Verge with a less long ending, he would have something better to offer.

But it is impossible to see "The house Jack built" on another prism. A of von Trier's misogyny. In the film, Jack says he murdered all kinds of people, but it's the story of six women he decides to tell Verge, the ones who give him some pleasure. One of them, he considers his great work of art, when he treats a mother and his two small children as a hunt and drops them in a field just to play with them. But it is the woman he decides to torture psychologically before offering her a tragic end.

Von Trier is a well-known torturer of women and seems to have no problem in exposing this. In a passage of the film, when Jack is about to kill Simple (Riley Keough), name that by itself is a great aggression and reductionism to the woman that he said until liking, the director comes to expose a subtext in the script speaking of the injustice that is always blame men for everything, while women are always victims. In times complaints of harassment and a necessary call to female protagonism, Von Trier comes to tell us that he does not care about this. So that does not expose a need to be controversial only by the controversy in something that adds nothing to the film?

Simple is verbally assaulted, humiliated and has the most dreadful and sadistic of deaths. And that reverberates during the film, because Jack turns one of his breasts into a wallet.

But as I said, von Trier is a well-known torturer of women in the movies. Nicole Kidman is humiliated beyond the limit in "Dogville" (2003), causing a huge nuisance. Chalotte Gainsbourg is also taken beyond all boundaries in "Antichrist" (2009) and in the two volumes of "Nymphomaniac" (2013). Bjrk is also humiliated in "Dancing in the Dark" (2000). The Icelandic singer, even, had problems of relationship with the director. And in "The House Jack Built," Von Trier exposes his women to the utmost of pain and horror. Not just with Simple or one of the nameless women, but also with the first victim (Uma Thurman), murdered with a monkey blow while the director makes a point of exposing the huge hole in the head of the character caused by the car part.

Some might say, and it is a valid argument, that it is all the art of Von Trier. That the actresses keep bumping into working with him and in the case of Charlotte, they make even more than one movie. But when it comes to stop being something punctual to become a brand, and an uncomfortable brand, as it is not a style trait, but a hate speech imputed in their work, becomes a problem.

Thus, "The House Jack Built" does not add anything too new to Von Trier's biopic, which continues releasing its Dogma-style sparks to film, and making their stories follow the same narrative looping of earlier works. Interesting is Dilon's work in the leading role. If there's a spark of value in the film, it's in the sadistic-boring look he set for his Jack and the benefit he had from the ironies of the text to use in his character. But still, "The house Jack built" is far from the best works of Von Trier.
½ January 7, 2019
Bloated...vile ...but not unwatchable for some very dark laughs
½ January 6, 2019
Even with an interesting narrative and gorgeous visual, I feel like this movie fails to stay in the lane of its story, falling in a quite selfish vision of what Von Trier wants to say, without any real link to the theme and subject of the movie.
½ January 4, 2019
Lars est afrontoso! Matt Dillon, eu te amo!
½ January 4, 2019
oh dears... wtf... that is movie? I found the alternative to watch movies. I am using now Boxxy Software. Maybe anyone know about that app?
January 4, 2019
Probably too complex in terms of narrative and morally questionable for this to appeal to a wider audience. I liked it, except for the weak finale that just felt very out of place from the rest of the film.
January 3, 2019
terrible, dont see any horror in it and very plain and not interesting at al. 2 hours of my life waisted. that you think this movie is worth watching. noooooo not at all. just terrible. the whole movie line is terrible en the background at the end becomes faker and faker. even the whole concept of hell. just terrible to watch. soory but i dont believe in a hell or heaven. en you make it look like there is one in a terrible animated way. stop making these movies because it had no purpose or message or anything at al.
½ January 2, 2019
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January 2, 2019
Lars von Trier continues to be an exciting and provocative filmmaker. A lot of critics seem to have missed the point - it's not like the director didn't underline what he's reflecting upon. .This is a great piece of work and has stayed and resonated with me since I saw it. Highly recommended.
½ January 1, 2019
I wasn't expecting much with this one, but it was truly exceptional. Matt Dillon pulled off a stunning performance with this one.
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