Reviews provided by RottenTomatoes
At the Movies:
You cannot recommend it lightly because it's disturbing, but it's good.
How perfectly perverse: In a summer crammed with sequels, remakes, '80s nostalgia and the frustrated sense of "What else y'got?" comes the most original nightmare in years.
To put it mildly, "Dogtooth" is not for everyone, but it can grow on you even if you think you've rejected its influence.
A tense, disturbing, often savagely funny struggle between chaos and control.
Nothing in this weird, watchable, blase black comedy from Greece stays innocent for long.
Los Angeles Times:
As a film, it's pure and singular, but it's not quite fully formed enough to be what one could call truly visionary.
New York Daily News:
The father is the only one who can leave the house to go to his factory job, and that seems like a paradise for viewers trapped watching this clinically shot claptrap.
San Francisco Chronicle:
Doesn't rank as a great film, but it's difficult to take your eyes off it, as you wonder what impossibly bizarre thing might happen next.
Globe and Mail:
The true dark-horse nominee among this year's foreign-language Oscar contenders, Dogtooth leaves bite marks that stick around long after you are released from its grip.
This is the second feature for Lanthimos, and it's a leap from his well-received debut Kinetta. He skilfully doles out tantalizing pieces of information, keeping the viewer in a constant state of suspense and wonder.
The most original, challenging, and perverse film of the year so far, Giorgos Lanthimos's artfully rigorous treatise on human conditioning can be viewed as absurdist horror or the cruelest of comedies.