This makes three for three highly noticed, and very different, films for director Yorgos Lanthimos who hit the cinema consciousness with The Lobster followed by Killing of a Sacred Deer. The first was surreal look at love, while the second was dark examination of family, life, and suburbia (or perhaps something else…honestly that one baffled me).
Despite the wildly different styles, there are some commonalities in his work. First, he gets great talent to bring his vision to life. In this case Olivia Colman (The Night Manager) and Rachel Weisz (Disobedience) reunite with Lanthimos to bring us two very different women. Colman as Queen Anne is a bundle of emotional issues, but with the power to move continents. Weisz, as her long-time friend, confidant, and adviser is either a Machiavellian blight on England’s rule, or Anne’s and her country’s protector from a ill-prepared monarch. Into this steps Emma Stone (Battle of the Sexes), a fallen aristocrat, and cousin to Weisz, trying to survive. Dark hilarity ensues.
And that is the second aspect of commonality for Lanthimos: dark humor. It is a language he revels in and that suffuses his stories. Supporting that humor from the sidelines are Nicholas Hoult (Equals), Joe Alwyn (Billy Lynn’s Long Halftime Walk, Boy Erased), and James Smith (In the Loop), but this is very much the women’s movie.
One of the other striking commonalities for Lanthimos’s movies are the endings…or lack of them. His three most recent offerings all have contemplative endings that are open to interpretation. While he wrote Lobster and Sacred Deer, Davis and McNamara’s script for the Favourite fits comfortably with these other two at the final credits. I would say that the end of this movie is a bit clearer and has some powerful commentary, but also some aspects that left me pondering the meaning. That open end is likely pure Lanthimos as it is about the presentation rather than the dialogue. Honestly, it is the ending that dropped my rating of the overall film, which is otherwise an incredibly entertaining tale of court politics with enough of a contemporary flare to reach a wide audience and powerhouse acting to sell it.
This isn’t quite the laugh-fest I had hoped for when I sat down, but I did enjoy it a great deal. Colman, in particular, delivers a wonderful performance, only bits of which were spoiled by the trailers. That isn’t to diminish Weisz or Stone’s equally strong performances, but Colman ultimately controls this story.
Lanthimos continues to prove himself capable of delivering gripping, dark stories about people that entertain and make you think. I would still prefer slightly less cryptic endings, but the journey is worth the uncertainty at the end.