Lamb ★★★★

Preserving the story’s turns (and they’re frequently shocking, or at least startling) means talking around much of the narrative. But suffice it to say that Jóhannsson uses his cool, minimalist style to pack copious dread into ostensibly innocuous scenes; he has a way of framing his shots and assembling his scenes that makes them seem inescapably ominous, even when nothing obviously “bad” is happening. And Lamb gathers steam, framed and cut and scored in a way that’s just strangely, almost indescribably distressing – it speaks to the skill of the performers and the technique of the filmmaker that the connection between these characters seems so genuine and heartfelt that the mere notion of something disrupting that is so disturbing.


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