Bugonia

While it’s been argued that Lanthimos harbours active disdain for other people, Don reminds us that there’s a poignant streak of empathy to be found in even the most nihilistic of his stories. Hope, in Bugonia, is mostly lost. But not entirely.

Though I’ve been apprehensive about the flamboyant severity of Lanthimos’ movies, I found “Bugonia,” a chamber-piece gut punch, hard to shake.

Riveting, unhinged, and sardonic to its honey-soaked core, this is another Lanthimos-Stone winner. (With a great opening-title typeface, to boot.)

Bugonia’s provocative premise doesn’t yield a sci-fi thriller. The film instead offers an intimate, unhurried exploration of human cruelty.

At once uncomfortable and compelling, Bugonia builds toward a wild and misanthropic final act that plays like nothing less than a sincere rejection of humanity itself. By that point, Lanthimos has kind of made it feel like we have it coming.

The world isn’t pretty, and Lanthimos is sounding the alarm. If only he would tell us something we don’t already know.

It’s not a cookie cutter superhero film or predictable horror film. That’s the good news. The bad news is that it’s form without enough content.

The elites showed the true shape of the earth in this movie. Not entirely accurate but showed a firmament where the main evil character busted it and all humans died by oxygen deprivation. You can see there’s two moons. And they showed that Antarctica surrounds all the other continents as the outer rim icy and large continent. Earth is indeed flat!

A Diluted Remake That Sacrifices Cult Madness for Subdued Corporate Satire.260730 (2.8)Bigger and more fragrant, yet why does the visual texture feel so underwhelming? The emotional swell that should have boiled over and spilled onto the screen is merely served flat, like a poorly prepared American school lunch. The door we are expected to gaze upon, sitting closer to the inferior chair, feels utterly ambiguous. The hollow, scoff-inducing fanfare of the "winner" is terribly dull. The story follows Teddy Gatz, a delivery worker at Auxolis who keeps beekeeping as a side gig. Inheriting none of Lee Byeong-gu's brilliant intellect, he is reduced to a typical, easily swayed conspiracy theorist who dies instantly by his own homemade explosive before his core motivations are even fully fleshed out. Living with Teddy is his cousin Donny, an intellectually disabled young man who assists Teddy with an innocent heart, yet unable to fully trust him, asks in deep depression to be taken to Andromeda before dying by suicide. Sandy Gatz raised Teddy alone in place of an abusive father, now lying in a coma due to the opioid painkillers marketed by Auxolis. Likely influenced by the drugs, she rambles and feeds paranoid conspiracies to Teddy, ultimately dying when a deceived Teddy injects her with antifreeze. Michelle Fuller stands as the CEO of Auxolis; despite being forty-five, she maintains a strikingly youthful and beautiful appearance, wielding more regional influence than the state governor. She represents a classic, vicious corporate elite who sweeps opioid crises under the rug with shameless apologies, penalizes injured workers through strict quotas, and cruelly dictates that while workers may leave at 17:35 sharp in response to an employee suicide from overwork, their tasks must still be completed regardless of hours. Deputy Sheriff Casey, who babysat Teddy twenty years ago, makes excuses about his past actions while continuing to harbor vile pedophilic predatory impulses. Given the proven track record of the duo behind "The Favourite" and "Poor Things", expectations were high for this remake. To enjoy it thoroughly, I reviewed the original "Save the Green Planet!" beforehand and watched them back-to-back. While the original shone with TransFixion's soundtrack, a Korean leader presiding over the supreme council, and the Korean language class in the end sequence, this remake suffers from notable shortcomings: Teddy fails to match Byeong-gu's bizarre, manic intensity, the third-party tension is remarkably weak, the tone hesitates between absurd comedy and genuine suspense, homages to sci-fi classics are omitted, and the motive behind the galactic emperor's mission remains vague. The CGI dividing the chapters gradually flattens into a flat-Earth model as the lunar eclipse nears, amplifying Teddy's conspiratorial mindset while visually echoing the Earth model in the Andromedan mothership's master control. Unlike the 2003 Korean prince who obliterated the Earth with a laser, the 2025 American emperor casually pops the delicate honeycomb barrier shielding the planet, resulting in an equal, peaceful, and clean extinction of humanity. Dogs, cats, delivery boxes, and bees reclaim their natural time, while the dinosaurs—the perfect life forms so beloved by the Andromedans—stand tall as fossils alongside living dinosaur toys. The investigative logic in Washington State feels bafflingly inept, failing to track down an amateur duo on bicycles who fled in Michelle's own car. I expected a wilder creative vision from the director and production team, but it settled into an overly subdued, toned-down drama.

Entertaining but the plot was not as gripping as I had hoped. Glad they went the direction they did with the ending

Photography is great. But that's unfortunately the only thing nice about this movie.

Yorgos always do the same disgusting movies and I'm tired of seeng so less versatility of Emma Overrated stone