--- title: Reviews: 'Happy End' and 'The Killing of a Sacred Deer' description: Clinical filmmakers with zero warmth are in abundance. Too bad canonical: https://time.com/4790157/feel-bad-movies/ author: Stephanie Zacharek article:opinion: false article:content_tier: free article:published_time: 2017-05-23T13:14:17.000Z article:modified_time: 2026-05-11T04:58:49.811Z article:section: Entertainment og:title: Why Feel-Bad Movies That Are Supposedly Good for You Aren't og:description: Clinical filmmakers with zero warmth are in abundance. Too bad og:url: https://time.com/4790157/feel-bad-movies/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt66405ba8de4522b2/6988ce700b72e3092f6edeac/killing-sacred-deer.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: killing-sacred-deer og:type: article twitter:card: summary_large_image twitter:title: Why Feel-Bad Movies That Are Supposedly Good for You Aren't twitter:description: Clinical filmmakers with zero warmth are in abundance. Too bad twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt66405ba8de4522b2/6988ce700b72e3092f6edeac/killing-sacred-deer.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  # Enough Already With the Feel-Bad Movies That Are Supposedly Good for You > Sponsored content. Supplied in partnership with Ally. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account.  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic May 23, 2017 1:14 PM UTC  The Killing of a Sacred Deer The Killing of a Sacred DeerA24/Courtesy Cannes Film Festival  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic May 23, 2017 1:14 PM UTC When you come to a film festival, you hear the word “filmmaking” a lot. You can easily spend two hours watching a pointless, unpleasant, unpoetic, unprofound and not particularly energizing film, and when you express your dismay to a colleague, he or she may say something along the lines of, “Oh, but the filmmaking!” But so what about the filmmaking? Everyone loves style in a filmmaker. It’s a huge part of what we go to the movies for—it’s the very language, a world of words that’s only partially expressed in words. But spending an intense 12-day period mostly with other critics can warp your sense of reality. Naturally, any given filmmaking style will spark passion in some people and indifference in others. But when you find yourself unmoved, or downright annoyed, by the “exercise in style” some alleged genius of auteurist cinema has just put before you, you run the danger of being pegged as a philistine.  Happy End Sony Pictures Classics/Courtesy Cannes Film Festival [_Happy End_](http://www.imdb.com/title/tt5304464/?ref%5F=fn%5Fal%5Ftt%5F1)_,_ [Michael Haneke](http://time.com/53548/only-lovers-left-alive-movie-review/)’s intentionally chilly film—it is a [Haneke movie](http://www.tasteofcinema.com/2014/10-essential-michael-haneke-films-you-need-to-watch/) after all—is a rigid snapshot of a clueless bourgeois family in Calais, presided over by matriarch [Isabelle Huppert](http://time.com/collection-post/4590648/top-10-best-movie-performances-2016/item/isabelle-huppert-elle/) (the movie gets a mini jolt of life whenever she appears). These people live their exceedingly comfortable lives oblivious not just to the refugee crisis on their doorstep, but also to just about everything and everyone around them. Meanwhile, the clan’s resident evil preteen records mini-atrocities, including hamster abuse, on her cellphone. So many ideas here: Technology, seemingly our friend, so easily co-opted as a tool for evil! Or perhaps: She is cold, but at least she is alive! The list of semi-formed thoughts goes on. _Happy End_ didn’t leave me feeling even anything as definitive as cold. It left me wondering what, exactly, Haneke was trying to tell me that he hasn’t already told me in every other film of his that I’ve disliked, which is nearly all of them. In Yorgos Lanthimos’ _The Killing of a Sacred Deer_—a movie that’s pure Lanthimos in its clinical, deadpan mien, probably more so than the filmmaker’s last picture, [_The Lobster_](http://time.com/4352648/best-movies-2016-first-half/item/the-lobster/)—[Colin Farrell](http://time.com/4324923/colin-farrell-the-lobster/) and [Nicole Kidman](http://time.com/4772438/nicole-kidman-clapping/) (both as good as they can be in a picture like this) play the heads of another bourgeois family. This one is American, and its members, with their nice house and nice possessions, are anaesthetized to everything around them. Then a weird, psychic tragedy strikes. Suddenly, these previously robotic people begin responding to each other, and caring about things, like actual humans, but still in that blank, nobody-home mode. It would be more Lanthimosian if even tragedy failed to move them. As it is, I was left wondering what this elaborate, arch art-house special-ops mission, heavy with elements of Biblical lore and Greek tragedy, was trying to say. Oh, but the filmmaking! Yeah, I guess. I love an audacious stylistic experiment, even a failed one, as much as anyone. And the fact that I’m still thinking about these movies, even just a little, more than 24 hours after seeing them is something. But clinical filmmakers with zero warmth are, admittedly, not my thing, the sort of artists that, when pressed and tired, I feebly say I “admire” but really don’t. Both _Happy End_ and _The Killing of a Sacred Deer_ left me feeling that I’d been lectured to, as if the filmmakers had decided with certainty that I didn’t already know what a horrible, vile place the world is, and thus needed to be taken by the hand and shown—but with style. Thanks heaps. That said, we go to the movies for all sorts of reasons, and I will of course continue to see movies by Haneke and Lanthimos and any number of lauded filmmakers I’m not likely to respond to, because you never know. And if you think you _do_ know—you run the risk of being as trapped on the auteurist hamster wheel as they are. ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/4790157/feel-bad-movies/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/4790157/feel-bad-movies/"},"headline":"Enough Already With the Feel-Bad Movies That Are Supposedly Good for You","datePublished":"2017-05-23T13:14:17.000Z","dateModified":"2026-05-11T04:58:49.811Z","description":"Clinical filmmakers with zero warmth are in abundance. 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