International
On review aggregator website Rotten Tomatoes, the film has a 93% approval rating based on review from 73 critics, with an average score of 7.70/10; the site's "critics consensus" reads: "It'll be too disturbing— and meandering— for some, but Dogtooth is as disturbing and startlingly original as modern filmmaking gets". On Metacritic, the film has a weighted average score of 72 out of 100 based on 18 critics, indicating "generally favorable reviews".
Alistair Harkness of The Scotsman hailed Lanthimos as "a bold new voice on the world cinema scene, someone who might soon be elevated to a similar position as those twin pillars of Euro provocation: Lars von Trier and Michael Haneke", but added that the film is "not [...] designed simply to shock in the way von Trier's work often does, [...] nor does it have that annoyingly prescriptive, punitive air of superiority favoured by Haneke's films."
Peter Bradshaw of The Guardian praised the filmmaking, finding Dogtooth "superbly shot, with some deadpan, elegant compositions, and intentionally skewiff framings". Roger Ebert of the Chicago Sun-Times gave the film three out of four stars, noting the director's "complete command of visuals and performances. His cinematography is like a series of family photographs of a family with something wrong with it. His dialogue sounds composed entirely of sentences memorized from tourist phrase books." Mark Olsen of the Los Angeles Times wrote that "All of the film's purposeful weirdness is conveyed with an unaffected simplicity that recalls the dead-aim haphazard compositions of photographer William Eggleston", concluding that, "as a film, it's pure and singular, but it's not quite fully formed enough to be what one could call truly visionary."
A. O. Scott of The New York Times wrote that the film "at times seems as much an exercise in perversity as an examination of it", and that "The static wide-screen compositions are beautiful and strange, with the heads and limbs of the characters frequently cropped. The light is gauzy and diffuse, helping to produce an atmosphere that is insistently and not always unpleasantly dreamlike. You might think of paintings by Balthus or maybe Alex Katz, though the implied stories in those pictures are more genuinely evocative and haunting than the actual narrative of Dogtooth."
Several reviewers, such as Harkness and Bradshaw, made comparisons to the 2008 Fritzl case, although they noted that the screenplay was written before the case emerged. Scott, like Ebert, made references to homeschooling. Resemblances have been noted to the 1972 Mexican film The Castle of Purity.
The film's larger meaning eluded easy expression. Scott called the film "a conversation piece. Though the conversation may... be more along the lines of: 'What was that?' 'I don't know. Weird.' 'Yeah.' [shudder]. 'Weird.'" Olsen saw Dogtooth's substance as "part enigma, part allegory and even part sci-fi in its creation of a completely alternate reality." Ebert found a "message" in the film, which he put as: "God help children whose parents insanely demand unquestioning obedience to their deranged standards.... [S]ome have even described the film as a comedy. I wasn't laughing." For Bradshaw, the film investigates "the essential strangeness of something society insists is the benchmark of normality: the family, a walled city state with its own autocratic rule and untellable secrets." Harkness noted the "absolute mockery the situation makes of the perfect family ideal", where "Lanthimos isn't interested in making specific political or social points and he refuses to offer any clarifying backstory", and found Dogtooth's oddness "as organic and playful as its impact is incisor sharp."
In a 2012 interview, filmmaker David Lynch called Dogtooth "a fantastic comedy".
In July 2025, it ranked number 84 on Rolling Stone's list of "The 100 Best Movies of the 21st Century." Also that month, it was one of the films voted for the "Readers' Choice" edition of The New York Times' list of "The 100 Best Movies of the 21st Century," finishing at number 301.
