POMO

A film that knows what it's doing with every scene, character, humorous moment, choreographed fight and unexpected twist. And despite the mix of a serious subject with comedic abstraction, it never slides into cheapness or bombast for even a second. In terms of screenwriting, it’s three times more sophisticated than Sisu and, in terms of directing, there are few other films that are as tasteful and fresh without bigger-name actors.

Woody Harrelson is great, Kaitlin Olson is edgy and there is one joke and an apt one-liner that (of course) I had never heard in any American film before. The rest of Champions is made up only of the most hackneyed clichés of feel-good sports movies delivered in an average screenplay. But could I have expected anything more from Farrelly?

Veganism is out – don’t eat at all and you’ll become a saint. The progressive Jessica Hausner again composes wonderful industry exteriors and interiors, this time with an industrial and pulp touch (the luxury house is incredible), and the story delves into several issues: the dangers of manipulation at the hands of a mentor, pubescent self-discovery and, ironically, the increasing adoption of emerging diet trends. Her abstract world of characters with almost Wes Anderson-esque style is playful while being both funny and serious, but it is still not mature enough to leave a deeper and lasting impression. [Cannes FF]

It’s a shame that the evil is so divorced from reality due to its physical abilities and movements, while the film itself otherwise tries to remain firmly rooted in reality. And it’s also a shame about all of the strange and ill-conceived moments in the characters’ behavior and generally how they are set in the course of the scenes. Because otherwise, this “girl under the stairs from Holdenfield” very interestingly plays with genre clichés and is capable of surprising and delighting the viewer with delicious cinematography, editing and soundtrack treats.

I would have expected a sophisticated social satire from the South Korean envoy to the Oscars, especially now, just a few years after the brilliant Parasite. But Concrete Utopia is merely a technically polished post-apocalyptic genre movie with ordinary conflicts between the characters and a kitschy ending that tries for straightforward feeling without first building relationship emotions. It surely works as a blockbuster for the masses, as actor Byung-hun Lee is already a major-league crowd-puller, but the film is rather only for Asian audiences. [Sitges Film Festival]

A dialogue-based exploration of a woman’s complicated sexuality through flashbacks to her youth, childhood, relationship with her father, etc. Though this is an interesting subject for viewers, it is conveyed in a banal and overly safe manner reminiscent of a family film, without any creative artistic investment. The only part of the film that isn’t hackneyed in cinematic terms is the depiction of the first signs of sexual development in childhood. [Cannes FF]

I didn't really expect to like this, so it was an even more pleasant surprise. The plot formula is clichéd, but it’s dressed up with a lot of imaginative and likably playful details, including dialogue devices showing that the movie’s creators are more clever than is usually the case with such farces. This will turn out to be a successful franchise if it keeps the quality at this level.

In technical and acting terms, Empty Nets is fine and always topical, with a clear concept. However, the plot is weak and neither dramatic nor exciting, and without any artistic interludes that could have made it more interesting. [Karlovy Vary International Film Festival]

At the beginning, you think that this two-and-a-half-hour “meditative” film perhaps wants – with a hint of an attempt at tearing down the viewer’s expectations – to let the viewer feel the miserable existence of the poor Indians on their spiritually withering reservation. But it doesn’t do that. Rather, it is absolutely incapable of filling those long and, in the context of the whole, needless scenes with anything meaningful or interesting. And it wants to torture even the most patient viewer to death. Some existential thought eventually springs from it, but it comes only from the action that happens in scenes that would make up a half-hour short. And the presence of Viggo Mortensen and Chiara Mastroianni constitutes fraud! [Cannes FF]

Evil Dead Rise honors the classic trio of Tapert, Raimi and Campbell and is unrelenting in its intensity, amount of blood and high technical level. For the first time outside of a cottage in the forest, but in the no less inhospitable environment of a social housing complex without a functional elevator or fire escape. The diabolical make-up and behavior of the demon-possessed victims are a proven fan-service trademark of the franchise. The characters don’t act as stupidly as they did last time and their casting and “rock-emo” stylization are properly unconventional and bring to mind the ensemble cast of the last Hellraiser. The mysteriously beautiful Alyssa Sutherland was born for her role as a demon. And we are well aware that this franchise has the most cunning demons ever. And this time, even a little girl is exposed to them! It’s a pleasure to see such an outstanding genre treat made with so much love on the big screen again.