In the near-future, inability to obey social protocol is a severely punishable offence, depending of course on your opinion of being physically mutilated, reconstructed, and having your life force infused into an animal of your choosing. This is the world of Yorgos Lanthimos' fable 'The Lobster,' a bizarre, side-splitting piece of satire that'll have you mocking the absurd notion of compatibility.

Confined to a hotel with round-the-clock care, supervision, and activities. Here, guests have willingly volunteered to surrender their freedom in hopes that a deadly incentive will facilitate their finding of a lifelong mate. Having forty-five days to do so or suffer the metamorphic transition into one of Kafka's comprehensively chronicled creatures. Those who check in, won't be checking out alone...or human (best tagline ever).

When subjection to periodical sexual teasing into a state of perpetual arousal and the slamming of one's face into solid objects to induce nosebleeds isn't the least bit preposterous, you know you're in for a thoroughly memorable, at the very least unique cinematic experience. Lanthimos' decidedly apathetic approach to this odd, yet frequently spot-on social commentary adds up to an incomparable, uproarious, indescribable dramedy.

Led by an infuriatingly monotonous, exceptionally funny performance by Colin Farrell and outrageously amusing work from Ben Whishaw and John C. Reilly. 'The Lobster's' surprisingly comedic cast, that also includes Lea Seydoux and Rachel Weisz, execute Lanthimos' harsh, witty, insightful dialogue and capture the film's strangely grotesque context with the utmost precision, reverence, and necessary indifference.

Nestled along the shoreline and bordered by extensive forestry. This mischievous hotel has all the beauty, commodities and luxury of a five-star resort. Expertly extracted by cinematographer Thimios Bakatakis, 'The Lobster's' visual aspects parallel Lanthimos' ingenuity and advantageous mindset making each scene a narrative and observable feast.

Even at its most heartfelt, Lanthimos' biting, uncompromising look at relationships has drained all purpose for an emotional response to any remnants of sentiment in the film. Through unrelenting humour and top-notch mockery, Lanthimos has transcended romance. Merely but a taste of how unforgiving 'The Lobster' is in its dissection, examining, and portrayal of love. Lanthimos’ has certainly redefined the genre, if not making it obsolete all together.

With character names such as The Limping Man, Short Sighted Woman, and David offering a brief glimpse into the hilarity and obscenity of Lanthimos' 'The Lobster.' Those expecting a nondiscriminatory, reasonable, and most of all sane movie experience will surely leave the theatre disappointed.