Kinds of Kindness Review

Is somebody gonna match my freak?

Yorgos Lanthimos is already back with Emma Stone to deliver one of the most divisive films in 2024, and I couldn't be happier. Kinds of Kindness explores Love and Control and how they can intertwine in our work, our relationships, and religion. Yorgos returns to the absurd reality he's sculpted over the years, like The Lobster or The Killing of Sacred Deer, which mostly lands. The film goes to some very dark places while keeping that dry, black comedy in all of Yorgos films, but this time around, it did feel flat at times. It feels like Yorgos is experimenting and growing his cast to see who fits his tone, and I think Jesse Plemons excels in matching his freak. You'll never get to that genuinely unnerving place in which his other films cut deep, but I do believe there's a lot of good fun and fucked up Yorgos stuff here for many who are accustomed to him to enjoy.

Kinds of Kindness is split into three short stories that all thematically connect. The first focuses on the toxic control of the workplace and the hierarchy of command that a boss can have over someone. The second focuses more on marriage and relationships, what we take from each other, and the sense of control we hold over our partners. The third story takes us on the relationship that religious groups or communities can exploit with our kindness and love. In each, we see horrible people using others for their own selfish needs or kinks but portrayed as what they deem as affection. These stories move quickly from plot to plot, and at times, it does feel like you are being overstimulated, and you need to be given the time to soak in whatever Yorgos is trying to present as his ideas. By the time one story ends, we are already onto the next, and I felt there could have been more to explore in some of these stories. I would never in a million years say that these should have been split into some episodic trash that drops on Netflix, absolutely not. It might be why this film didn't hit as hard as his others. We could have delved deeper or darker with some of these characters, but it's still excellent what is presented.

Everyone here is phenomenal performance-wise. Jesse Plemons stands out, especially in the first two stories, as he brilliantly handles the absurdity tone. I loved Emma Stone in the third story. Going from vulnerable and unable to let go to cruel was exciting. Willem Dafoe, Hong Chau, Margaret Qualley, Mamoudou Athie, and Joe Alwyn all get minor moments to shine around the two main leads. Hong Chau coming off The Menu; I need her in more movies centered around cults; she fits perfectly in them. All these characters have some disturbing and off-putting nature to them that plays wonderfully into the Yorgos cinematic universe (lmao, this is a joke).

It's shot beautifully, as all Yorgos films are, and I love many of the Kubrick editing choices with fade-ins and outs over characters walking and discussing into rooms. The intimate close-ups where the actors' heads are cut off can sometimes be too artsy for my taste. Still, whoever the principal photographer paired with cinematographer Robbie Ryans is excellent at making these moments so beautiful to see on the big screen. Costuming is fabulous and helps to set the character's mood at the time. It is a great storytelling device that can be overlooked at times. The score was compelling but could have been more memorable.

Kinds of Kindness bites but doesn't bite too hard. It's excellent in every facet of movie-making but could have struck a more challenging chord. Still, it delivers an experimental absurdist black comedy that had me thrilled from start to finish, and I was smiling from ear to ear when the final credits rolled. Final note: Emma Stone's dance in this rules.

Final Score: 8/10

Written by: Kevin J. Pettit