What-ho! Yorgos Lanthimos down some dark, rich, reimagined corridor of English history? The Greek filmmaker has generally confined himself to the relative present. Much as he has charted out unique little worlds in his films beyond the obvious grasp of time or place, each has occurred in an astringently modern setting. You know - cars, electricity and whatnot. Alps (2011) And yet Mr. Lanthimos has followed his most punishing work, The Killing of a Sacred Deer (2017) with a kind of dark comedy set, however fancifully, during the reign of Queen Anne (1702-1714). But this being Yorgos Lanthimos, his latest film is nothing so simple as black comedy or period piece. Through a fairly quick ascension of features - this is somehow only his seventh - Lanthimos has brought us characters that don't move side by side or passionately embrace so much as collide like bumper cars, even as they might be moving in for some needed bit of affection. Dogtooth (2009) In fil