While the story of The Killing of a Sacred Deer is interesting and different, the execution leaves much to be desired. Leaden acting, wooden dialogue and line deliveries that feel stilted all make this odd horror film feel fake and throws one out of the tale being told.
Colin Farrell appears to be sleepwalking through his role as a surgeon whose drunken mistake costs a man his life. Despite speaking in his “native tongue” the Irish actor comes across as disinterested, bland and disaffected. The entire cast, with the exception of Nicole Kidman and Alicia Silverstone suffer from the lackluster delivery that writer/director Yorgos Lanthimos seems to expect in his films.
In The Lobster (Another Farrell vehicle.) the dialogue was equally unenthusiastic but with the surrealistic setting and theme it almost fit. Here, in The Killing of a Sacred Deer, it serves to take the viewer out of the film and it destroys whatever ambiance is needed to sell the horror of the situation.
The film shows young Martin (Irish actor Barry Keoghan) insinuating himself into Dr. Murphy’s life. Murphy accepts the young man and introduces him to his wife Anna (Kidman), daughter Kim and his son Bob. In return, Murphy is introduced to Martin’s mum, the widow of the man that Murphy killed.
(Alicia Silverstone plays the disturbed and somewhat twitchy woman in a delicious cameo performance that outshines everyone else in the film.)
The Killing of a Sacred Deer could have been a masterpiece. The setting, the use of discordant music and an interesting plot could have worked brilliantly had the performances not taken away from the film. Lanthimos destroys whatever affect the weirdness of the tale could have had by having his actors throw the viewer out of any disturbing moments.
The characters themselves do not appeal either. Kidman’s Anna is self serving and cold. The surgeon appears to lack any sort of feeling and their kids are unlikeable. To be fair this is down more to the delivery of their lines rather than any particular shortcomings of the script.
We never learn too much about Murphy or his family before Martin starts his attack. For example, there is no reason given for his insistence that his wife lay stock still during sex and we are reluctantly given the backstory between the surgeon and Martin.
The film shambles along with too little information and not enough time spent on the two main characters. Interaction between Martin and the Murphy family follows the same wooden direction as the dialogue and we never buy into any of the emotions, or the lack thereof, being shared with the audience.
When things start going wrong with Murphy’s children we literally do not care. Neither child comes across well like their father they suffer from a lack of emotion or nuance in any of their lines. It is as if removing anything remotely resembling a personality was top priority of the director.
The fact that Silverstone, in her “blink and you’ll miss it cameo,” comes out head and shoulders above the rest of the cast makes one wonder if Lanthimos allowed someone else to helm the picture that day.
The Killing of a Sacred Deer could have been a 5 star effort. Instead it is a dull and shambolic attempt at psychological horror that fails abysmally. Give this one a miss…
It is amazing to think that the first thing I ever saw Colin Firth in was a 1985 made for TV film called Dutch Girls. Equally amazing is that the one actor who completely blew me away in this London Weekend Television production was actor Timothy Spall and not Firth. The next feature I saw Firth in, he played a murderous maniac. The film was 
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