Wright is working more or less within his element here  —  stylized violence surrounded by biting satire (a recurring bit featuring a reality series called“The Americanos”  —  a Kardashian stand-in family  —  is particularly ripe)  — and proves a good match for the material, even as King’s plot starts grinding its gears in the third act. 

For this film, a loose adaptation of Thomas Pynchon’s novel Vineland, the shots vary between languid and almost thunderously violent, from the lilting trills in Jonny Greenwood’s soundtrack, to abrasively coarse auditory punch-outs. At times, it’s like the effect of flipping through random channels on your TV, the sudden change of tone and timbre shocking you with their contrast.