MPAA Rating: R/ Genre: Psychological Horror Thriller/Stars: Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, Bill Camp, Barry Bernson, Herb Caillouet, Denise Dal Vera, Drew Logan, Michael Trester, Ming Wang/Runtime: 121 minutes

I guess since the film I am reviewing for you today dear reader is a bit on the unorthodox side then perhaps this necessitates the opening of my review for it to be unorthodox as well. To that end let’s talk about deer or more specifically how, despite how amazing venison is, other parts of the world actually have a degree of reverence and respect for the animal. For example, did you know dear reader that in the country of Japan at one time the act of slaughtering a spotted deer was considered a heinous crime due to the belief that they were a holy property? Along with that, Greek mythology tells us how in the Greece of ol’, there was a king who earned the ire of the gods due to his foolish slaughter of one of the legendary hunter Artemis’ pack of deer for which his payment was….well I’ll let you find that out for yourself. Suffice it to say then that, contrary to what hunters here in the United States would have you believe, the global and cultural consensus about our 4-legged, antler-rockin’, fast running friends here would really seem to be plain and simply to not under any circumstances kill them. Yet what would happen if you learned this after already having done just that? Well, in a weird roundabout way, that’s the core narrative hook to the slice of cinema I am reviewing for you today, 2017’s The Killing of a Sacred Deer. A slice of cinema that, despite both its title and everything I have written above, has absolutely nada to do with deer or animals although a hunting rifle does have a critical part to play in the proceedings. This is because, in case you hadn’t put two and five together, the title plus the core dilemma in this slice of cinema are quite allegorical in nature (and trust me when I say how thankful you will be for that should you make the decision to sit down and give this slice of cinema a view). Indeed, through a twisted style that quite often leans over into the kooky, this is one slice of cinema that is instead placing its concentration firmly on the ideas of justice and of repercussions for one’s actions respectively. Yet whilst this slice of cinema may have you thinking it is a bleakly comedic entry in the horror-thriller genre, it isn’t long before the road it is taking us down goes to a destination that is infinitely more sinister than could have initially been anticipated. Perhaps it is because of this plus how chilly and clinical this film chooses to approach everything that might make this a difficult viewing for a lot of people out there. If however you are able to get on board with that then I think you will find yourself pleasantly rewarded with a genuinely riveting film. Indeed, it most certainly is not for everyone by any stretch, but with phenomenally skilled work on both sides of the camera, this is one riveting cinematic nightmare that is sure to find itself movie goers (myself included) who are at the very least willing to give it a try.

The plot is as follows: The Killing of a Sacred Deer gets its riveting story underway by introducing us to our main character who takes the shape and form of a man by the name of Steven Murphy. Steven, we rather quickly learn is a fairly skilled member of the group known as surgeons who resides in Cincinnati with his loving wife Anna and their two kids Kim and Bob respectively. To say that the family has what seems like a perfect life would be about 98% accurate. I say that because there is one little detail that I guess I forgot to mention. Namely that Steven spends quite a bit of time with a 16-year-old boy by the name of Martin whose dad tragically passed away while in surgery under somewhat enigmatic circumstances. To that end we see that, rather than what the sleazier corners of your imagination might be suggesting to you here, the truth is that it actually looks like Steven is trying to operate as a sort of surrogate father for this young man. Perhaps this is also why we see him first give the boy a pricey watch, but then also invite him to dinner with his family at their home one evening. A choice that, despite the good doc’s family really getting along with Martin, is very much blanketed by an ominous yet hazy vibe over the proceedings. A vibe that soon makes itself apparent when Martin tries to return the favor to the good doc only to see his bond with him fall apart due to events that I shan’t spoil here. Yet, just when it looks like the family is all set to move on from Martin and what has occurred, we see that Steven and his family are horrifically and unexpectedly besieged by a horrific tragedy. One that, we soon learn from Martin, can only be lifted from off the family’s backs if they are willing to make a choice that is equal parts excruciatingly and heart wrenching and is the result of a long-forgotten choice that Steven may or may not have made. Thus what is this choice that the family must make, what is the choice that Martin is hanging over the good doc, and how will these things impact both of the primary parties involved here? That I will leave for you to discover for yourself dear reader….

Now although a narrative dealing with the concept of eye for an eye-style vengeance is one that countless other films have managed to engage in, this slice of cinema is distinct in how it operates with way more symbolism behind it to say nothing of its thematic concept of annihilating authority. Indeed for this film’s helmer, fathers and doctors are more than just people. Rather, they are also figureheads for a patriarchy that deserves to be taken down a notch or two. Perhaps the best example of this is when we see the main character of Steven have a breakdown of sorts when his kids refuse to obey him since, to him, he is so used to acting almighty that when he can’t get through to them it’s no more and no less than them disobeying him rather than a sign that maybe he might want to strive at being a bit more down to Earth. Suffice it to say that be it courtesy of karmic retribution or through means that are a tad bit more on the supernatural side, this slice of cinema’s helmer does a great job at continuously testing our main character’s sense of control whilst also saying something insightful about pride in the process. We also see that, much like some of his other works, that this film’s helmer is able to gift this slice of cinema with a tone that is equal parts detached and aloof and then reinforcing it through how this film’s phenomenal cast deliver their lines. I say this because every single character talks to others, and through them us, in a cadence that is so close to monotone that you would swear that the characters in this have all been taken over by Siri. On top of that, the characters in this are also intriguingly open about the things that they do talk about to such an extent that you aren’t sure if this is stuff you should be hearing about thus making the dialogue in this operate in a distinct middle ground of sorts between nearly comedic parody and chillingly bizarre. We also see that this film’s helmer style is one that will definitely remind you of the films that Stanley Kubrick shot in his career as not only is there an emotional distance in place, but the work done by this film’s immensely gifted cinematographer definitely conjures up Kubrick’s purposefulness and strict sense of command respectively. We also see that this slice of cinema is blessed with a musical accompaniment that not only instills an ominous vibe, but also leaves you with an unnerving and tenacious feeling that brilliantly never lets up until the credits have at long last begun to roll. Finally, it should also be said that this film’s creative crew do a fantastic job of drenching this film in a nuance that is downright threatening yet intriguing at the same time. As a result, not only are you never sure how a scene will play out, but it will also leave you hooked into the hypnotic narrative if only to see what exactly happens next. Suffice it to say then that the work done behind the camera might be a throwback to certain old school film helmers, but there is no denying that it is still quite potent all the same.

Of course, the other big component working in this film’s favor is the truly phenomenal cast that has been assembled in front of the camera to bring the cast of characters to life. This starts with Colin Farrell in the lead role of Steven and he is terrific. Indeed, I have always felt that Farrell is one of the more underrated talents of his generation and here he gives us a riveting character who, despite being seemingly aloof and enigmatic, is also someone who has some serious skeletons in his closet. Skeletons that incidentally have at long last sent a representative in Martin to hold Steven painfully accountable for his transgressions even if Steven would just rather bury the whole thing and never speak of it again. Suffice it to say it is a very arresting performance from a performer who has given us his fair share of those over the years and then some. Matching Farrell here beat for beat is the equally as phenomenal Nicole Kidman in the role of Steven’s wife Anna. Indeed Kidman, in the way that an actress of her caliber and skill does so well, manages to give us an extremely well-blended performance that may at first showcase for us the fantastic sense of perplexed objectivity she has showcased in other slices of cinema before slowly but surely elevating to a potency that is a terrifying mix of icy yet unperturbed all rolled into one. Out of everyone though, the undisputed VIP of the film in terms of work done in front of the camera has to be Barry Keoghan in the truly terrifying role of Martin. Yes the character may look and act like he just got out of an audition to play Isaac in a remake of Children of the Corn in a lot of ways. Yet even with that in mind, there is no denying that Keoghan does a phenomenal job at taking what, is for all intents and purposes, a more than slightly vengeful and disturbed young man and transforming him into an almost mythical force of nature that, in many respects, has only one goal and that is no more and no less than to see that justice for a wrong which occurred to him is earned and that right is put right no matter how painful or heartbreaking it might be for other people in this film. Indeed it’s a very complex yet important role in the proceedings which occur here, but Keoghan does a masterful job in the part thus showing further proof that he truly is one of the more gifted younger actors in the realm of movie magic today. That and let’s be honest: it is performances like this one that helped the team on a superhero movie from last year see that he was perfect to play the role he did in that one. A role incidentally that I hope we get to see him play in full because he was as chilling there as he was in this without question. Suffice it to say that when you also factor in equally as wonderful performances from Raffey Cassidy and Sunny Suljic as the kids in the Murphy clan aka Kim and Bob respectively, character actor Bill Camp as Steven’s anesthesiologist/close friend, and a downright phenomenal and insanity-laced turn from Alicia Silverstone in a key cameo role that I can assure you I will definitely not be spoiling for you here, what you ultimately get in front of the camera for this slice of cinema is a truly gifted cast that not only knew the assignment and what was being asked of them, but who also manage to give us a collection of performances that, no matter how much or little their screentime in the grand scheme of things may be, all turn out to be just as riveting as the work behind done behind the camera turned out to be.

All in all is The Killing of a Sacred Deer a slice of cinema that everyone will be able to enjoy? Absolutely not. Indeed the fact dear reader is that this slice of cinema is one that is very cold in its proceedings to say nothing of the fact that what happens in this film can be a bit much for some viewers out there to watch let alone stomach. At the same time though, does that make this a genuinely bad movie? Honestly I wouldn’t say that either dear reader. I mean not only is the work done behind the camera a fairly potent blend of clinical, riveting, genuinely unnerving, and yet also darkly comedic at spots all rolled into one, but the performances given by this slice of cinema’s truly well-chosen cast of players all do a terrific job at being our (in most of their cases) highly reluctant guides through this waking nightmare. Suffice it to say then that it might not be the majority of viewers out there’s particular go-to for a good time watching a movie, but for those of you out there who are willing to give something unlike anything you have seen before a try I think you will be pleasantly rewarded with what you are given. Indeed it might have a few flaws here and there, but at the end of the day there is still no denying that the 2017 slice of cinema that is The Killing of a Sacred Deer is one film that will, by the time the credits begin to roll, have located a comfy and cozy little cubby hole deep within your psyche, rooted itself to that specific spot, and then will undoubtedly stay there for quite some time to come. Make of that dear reader what thou will. On a scale of 1-5 I give The Killing of a Sacred Deer “2017” a solid 4 out of 5.