Deeply sarcastic comedy

It is hilarious how many people here don't realise that this film is made as one giant mickey-take. Deadpan sarcasm, irony and satire so post-modern that it intends to pass muster (with the hard of thinking) as the very thing it references.

Of course, philosophers may ask that if no-one realises they are supposed to laugh, is it still comedic?

Did none of you notice that our 'hero' had not the slightest motivation to involve himself with the 'roughs', or their emerging (and deeply hilarious) 'motivation' to murder the son because of his involvement with the 'snuff' video film business. Did no-one notice the brilliant use of bad period-style 'music'- the equivalent of referencing porno movies from the 70s by their iconic 'music' choices?

What about the droll moment where our 'hero' uses entirely the wrong kind of modern tire-iron as a potential weapon, where the director asks the actor to be as uncomfortable as possible with the 'prop'- not knowing whether to use it as a 'throwing star', world's stupidest knuckle-duster, or try to swing it from one end (this is a meta-joke predicated on a director being too 'stupid' to interpret the details of his own script).

The closing sequence where 'our' guys set fire to a location completely unrelated to the establishing shot of a giant stone mansion complex, and then our 'hero' returns home to strip off his 'manly' elements and go lie with his wife and son should have helped more discerning viewers reach absolute certainty about the true intentions of the director.

PS did you notice the magazine our hero picks up from his coffee table for some 'relaxed' reading when he first returns home from his trip to the 'farm'? The writer and director must have been in hysterics at the thought of all the people who would take the film seriously.