Lars von Trier seems confused. On the one hand, one may argue that the director’s latest film, “The House That Jack Built,” is unrelentingly misogynistic: After all, of the five “incidents” Jack (Matt Dillon) describes to Virgil (Bruno Ganz), or “Verge” as Jack calls him, four are the torture and murders of women.
On the other hand, Jack — who might be a fictionalization of von Trier himself — is not very bright. Nor is he as “charming” the way some serial killers have been described. Nor is he, nor the film for that matter, memorable in any way. “The House Jack Built” feels slightly gratuitous, at times trying to be artistic while simultaneously begging for people to love it, or to love von Trier, pretty pretty please.
The film opens to pitch black with a conversation between Jack and Verge, assuming a journey of sorts during which Jack not so...
On the other hand, Jack — who might be a fictionalization of von Trier himself — is not very bright. Nor is he as “charming” the way some serial killers have been described. Nor is he, nor the film for that matter, memorable in any way. “The House Jack Built” feels slightly gratuitous, at times trying to be artistic while simultaneously begging for people to love it, or to love von Trier, pretty pretty please.
The film opens to pitch black with a conversation between Jack and Verge, assuming a journey of sorts during which Jack not so...
- 12/14/2018
- by Yolanda Machado
- The Wrap
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