Dogtooth doesn't have a plot you can read in a traditional sense. It doesn't follow any conventions or fall within the bounds of any genre. It plays by its own rules, uncoiling casually until it's good and ready to strike. That, and the bluntness of its content, is what makes Giorgos Lanthimos' picture a suspenseful, gripping experience.
It's not wholly unique, though. Art house movies are different from the mainstream but alike in their own ways. The story in Dogtooth…
An accessible and interesting look at the current shift from celluloid to digital. There's not much to say about it beyond that, I guess--though at times I thought it leaned too much in favor of those who support digital. Still, a diversity of viewpoints is expressed, and just when I felt it was playing too much like propaganda for the digital revolution, along would come a talking head firmly asserting the opposite, that film is and always will be better, etc.
This one gets a half-star bump for being a classic by a venerable director. Otherwise, I never found a way into this one, as with Two Rode Together, the other Ford film I recently watched.
Of course, with Two Rode Together, that was because the film has serious problems, but most notably, it just feels like a movie Ford himself was bored with. There's still a lot one can say about it, but it just feels like a real mess.…
The Alamo Drafthouse theater chain recently acquired this one for re-release and boy is it hinky. The plot description on the movie's IMDb page goes something like this:
"The soul of a young girl with telekinetic powers becomes the prize in a fight between forces of God and the Devil. "
That's true enough, I guess, though it's not clear at all that the good guy is specifically God and the bad guy specifically the Devil. The former is played…