The trailer for The Lobster gives the impression that Wes Anderson decided to make a horror flick. Sadly, that day is yet to come.
The Lobster is a comedy about romance (not a romantic comedy) set in a dystopian near-future where all single people are taken to ‘The Hotel’ which follows a strict regime complimenting the aim of ‘The Hotel’ where you must find a romantic partner within 45 days or else you are turned into an animal (of your choosing) and sent into the wild. Colin Farrell plays the main quirk of the film who’s dead-set on being turned into a lobster if he ends his stay single (hence the title) who’s also socially awkward (as are the rest of the residents).
The thing I love most about The Lobster is it’s endless originality. The Lobster is not only the most fascinating and intriguing concept of the last decade, but it is also filled to the brim with examples on how Yorgos Lanthimos can add extraneous detail to a fictional world and make it believable.
Coupled with it’s stand-out writing is it’s sheer technical brilliance. The Lobster contains great cinematography to subtly push the feeling on you that the characters are forced to conform to the most systematical emotion of all; Love. Hint the sarcasm. With great use of color and scenery, The Lobster does give this undeniable feeling of excellence that should describe the entirety of the film, yet it doesn’t.
The first 70% of The Lobster is a charming comedy in an absolutely masterful setting with great social commentary whereas the last 30% becomes this awkward setting with much less comedy and more emphasis towards the masterful concept.
However the first 70% of The Lobster is enough for it to be one of my favorite films of the year and it’s such a shame that The Lobster isn’t getting as wide a release as it should. But if you manage to know any cinema near you that’s playing it, watch it now before it leaves.
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