Every Lars von Trier movie feels like a dare, but nothing to date reaches the level of “The House That Jack Built,” a 155-minute portrait of a serial killer that dares to spend the duration of that running time in the confines of his disturbed mind — and, by extension, the Danish filmmaker’s as well. Mileage will vary on this graphically violent saga, which includes a few brutal death scenes involving women and children from the perspective of the man perpetuating the crimes. But its artistry transcends any precise litmus test for politically correctness. “The House That Jack Built” is an often-horrifying, sadistic dive into a psychotic internal monologue, with intellectual detours about the nature of art in the world today, and puts considerable effort into stimulating discomfort at key moments. If you meet the work on those terms, or at least accept the challenge of wrestling with impeccable filmmaking that dances across moral barriers, it’s also possibly brilliant.The House That Jack Built 2018 Movie Download.
Equal parts graphic midnight movie and discursive essay on the creative process, “The House That Jack Built” stars Matt Dillon as the titular antihero, and takes its cues from his version of the story. Speaking to an unseen accented man named Verge (Bruno Ganz), Jack prepares to boast of his achievements even as Verge (phantom or shrink, we’re not quite sure) teases him that he’s heard it all. Jack embraces the challenge, announcing his plan to describe “five randomly chosen incidents over a 12-year period,” all of which involve gruesome murders. Similar to “Nymphomaniac,” the bulk of “The House That Jack Built” unfolds as a prolonged flashback that brings us up to speed on his crimes.
The first incident sets the scene in the Pacific Northwest, where Jack meets a loquacious woman (Uma Thurman) who mocks the possibility that he might be a murderer. She’s not wrong, and the bloody climax establishes that Dillon’s grinning, almost charismatic lunatic tends act out whenever he’s not in control.