The Lobster Reviews
The Lobster also has one of the most effective uses of voice-over narration in recent years. With a stiff and composed tone lacking emotional weight, the voice-over significantly enriches the film´┐ 1/2(TM)s narrative, particularly for setting its gloomy and dreary tone that seems as if it came out of a dystopian novel, and it's definitely crucial to carry the film´┐ 1/2(TM)s development from start to finish.
It's also impressive that both different halves of the movie have worked pretty well; the first half, with its sarcastic and dry sense of humor, and the second half, with its more serious, focused and extremely intelligent less-is-more storytelling. The movie almost scuppered by the major tonal shift between its two halves, and became very tepid, since its humor lost its bite almost completely. But it picked up almost instantly, and became as, if not more, intriguing and riveting as it was in its first hour.
An instant classic, The Lobster is a highly original dystopian black comedy that proves that Yorgos Lanthimos is one of the most talented and idiosyncratic filmmakers working today. I can't wait to see more of his films!
Having built up this series of intrigues, it then fails to resolve any them using that same stylistic cinematic method, instead reaching deep into the pseudo-surrealist and absurdist cinematic traditions and thereby merely betraying the popular premises promised resolution in that first half and thus disappointingly failing to pull off anything amazing at all. leading the average viewer into a complex confusion having abandoned any real world logic at all. Hence the critics delight and the general sense of betrayal and indignance in the general viewer. Why is this? It's because you can't have it both ways, that is, promising to fulfill a supposed real world scenario by clearly detailing the reasoning behind its every machination (which is exactly what any popularist director should understand their average viewer is pleasantly expecting, since it's their job to set these premises up in the first place) only then to change the rules and divert the focus of the material onto a mish- mash of conveniently selected allusions to allegiances to other genres as a justification for the film's divergence into a lack of resolution.
I won't say it a third time, because who's listening? Yes, I was half asleep when watching the second half and this 'review' represents my immediate knee jerk reaction to something I found distasteful when I had previously been under the impression that it would be somewhat lighter in content than it turned out to be, (there, I said it again (!), but the news is the fact that in this day and age, the average massive bulk data fed human mind will not instinctively concentrate its later return meditations onto the subject matter of a film such as this that has left them feeling exploited in the manner 'The Lobster' quite clearly has done, and so, any post viewing realisation revelations claimed or expected are therefore only null and void as a philosophical justification for the divergent nature of its content.
*** WARNING: 'SPOILER' ***
Plus, (and perhaps this is the most symbolic clue in regard to the nature of this film as a potential 'let down' of a viewing experience); there never actually was, in any portion of the film, any lobster (or lobsters) featured in it!