Film Review: ‘The Lobster’ Is a One of a Kind Love Story featuring a masterful Colin Farrell

Lobster, WGA Awards

lobster_ver2It took some time to let Yorgos Lanthimos‘ new film “The Lobster” settle.  It’s odd structure is unlike anything you’ve seen before but once it hits, you won’t be able to resist its euphoric nature.  On the surface it looks like one of the dark comedies to hit in years, full of rich images, and staggering performances from its principal cast.  Deeper lays one of the most original and heart wrenching stories on modern relationships, likely the best seen in film since Michel Gondry’s “Eternal Sunshine of the Spotless Mind.”

The Lobster” tells the story of a dystopian near future, where single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.  At the center is David (played by Colin Farrell), who enters the Hotel with his brother, who’s been turned into a dog, and begins a domino effect that will make him both an outcast and a fugitive.

Beginning with a hilarious and smart script by Lanthimos and co-writer Efthymis Filippou, “The Lobster” gets some of the year’s biggest laughs, though admittedly some of the most uncomfortable.  The two create a symphony of truth about our society’s perception of relationships and love.  When David first enters the hotel, you can see the initial despair and fight against the system.  He believes in the idea of love but isn’t particularly fond of being under its spell once again.  Its simply life and death but when the story makes him an outcast, where love is forbidden, you see his hopeless romantic self become drawn to his “Short Sighted Woman.” (played by Rachel Weisz)  The evolution of David’s outlook on his current situation is authentic and real, as he shows the center of his heartache in only intermittent spurts.  You can thank all that to the powerhouse performance by Colin Farrell, who delivers his best and most audacious film role to date.

“The Lobster” isn’t just about its script and lead performer.  It also assembles one of the year’s best cast ensembles.  Rachel Weisz is a sensation, giving her best work since her Oscar-winning role in “The Constant Gardener.”  As the “Lisping Man,” its refreshing to see John C. Reilly dig deep into a role like this, one of which we haven’t seen from him in nearly a decade.  As the “Limping Man,” Ben Whishaw continues to build an arsenal of titanic-like performances, all of which solidifies him as one of the best kept secrets working today.  More roles for him please.  As the “Loner Leader,” Léa Seydoux‘s villainous and vile demeanor is a fantastical addition, adding a needed depth and danger to the film and role.  Olivia Colman‘s Hotel Manager is a bonus treat, as she effortlessly brings chuckles and fear to her mystery woman.

lobster_image_farrell_weiszCinematographer Thimios Bakatakis finds his stride and vision early on, capturing an aesthetic that is both stylized and advantageous.  The visual contrast is dazzling and particularly noteworthy but what’s lurking between each and every frame is especially dynamic and robust.  One of the year’s very best. Upon first viewing, Yorgos Mavropsaridis‘ editing work can seem bloated but over 24 hours later, it’s a taut and vivaciously engaging piece, cut with a resemblance of Jeff Buchanan and Eric Zumbrunnen’s snubbed work on Spike Jonze’s “Her” from 2013.  The score is insanely haunting and very appropriate for its dark natured comic look at life.

It took some time to digest but “The Lobster” feels full of life and is a soulful opus on love.  Quirky and clever, its black comic tones shouldn’t distract from its core narrative and mission; to engage the parameters of love.  Just a dream.

The Lobster” is distributed by A24 Film and is currently in theaters.

GRADE: (★★★★)

About Clayton Davis

Clayton Davis is the esteemed Editor and Owner of AwardsCircuit.com. Born in Bronx, NY to a Puerto Rican mother and Black father, he’s been criticizing film and television for over a decade. Clayton is a member of the Broadcast Film Critics Association where he votes and attends the kick off to the awards season, the Critics Choice Awards. He’s also an active member of New York Film Critics Online, International Press Academy, Black Reel Awards, and the Broadcast Television Journalists Association. Clayton has been quoted and appeared in various outlets that include The New York Times, CNN.com, Variety, Deadline, Los Angeles Times, Bloomberg Television, AOL, Huffington Post, Bloomberg Radio, The Wrap, Slash Film, and the Hollywood Reporter.
  • Orlando Whitcomb-Worden

    I really tried to get into this film, but I must admit, it totally lost me. It felt flat and unfinished, like I had missed the entire point of it. And as to the performances, I missed how they were so electric. Maybe it’s a taste thing, but it was nice to read this review. I’m curious to know what drew you too it all so much. Or your thoughts on what it was even trying to say.

  • Blonbb469

    The first half of this film was interesting and engaging. The last hour just terrible. I was one of several people who left the theatre in San Francisco before the movie ended. A waste of money.

  • Luke McGowan

    I feel that the idea was brilliant but the execution poor. The voiceover in particular was awful when they rehashed dialogue we had just finished hearing.

  • Luke McGowan

    I think Ashley Jensen is my current frontrunner for Best Supporting Actress. She was fantastic.