The Idiots works as a situationist provocation about a situationist provocation, though claiming the sentimental high ground at the end.

The Idiots suggests that if Danish iconoclast Lars von Trier's filmsare getting tougher, they're also continuing to reward the patient.

A tedious, pretentious bore.

Like most of von Trier’s films, beneath the ugliness there is heart and compassion, so if you can get past the hideous aesthetic, you’ll be rewarded.