POMO

Naïve, but nice. The retrospective uncovering of who, what and why is well thought out in the first half of the film and the feats of cycling in the second half are even faster and more intense, with more obstacles. The probability of such a “chance” encounter in Manhattan is vanishingly small and chasing a bicycle with a car through New York’s congested streets is unrealistic, but the film doesn’t take itself seriously, so that’s okay. The girls are pretty, Joseph Gordon-Levitt is likable and bad guy Michael Shannon is eccentrically unhinged in a way that would be suitable for an action comedy. The cyclists go all out and the action is spectacularly shot and edited.

Funny Games without the artistic pretentions, hardcore without compromises in the level of the depicted horror, which could still be comfortable for viewers. Using long shots, Miguel Ángel Vivas creates a stifling atmosphere with a foreboding sense of bad things to come, which viewers hope will not happen, because they know that they could find themselves in the same situation in real life. And those things do happen.... However, besides this cleverly composed psychological game played with the viewers, the screenplay also reeks of a sinister intention to shake them by crossing the usual boundaries of genre entertainment. And it thus embarrasses itself on the level at which we applaud the sophisticatedly cautious Haneke.

From the same bag as Netflix’s Don’t Look Up and White Noise. And just as well aimed, but it misses the mark, as you would expect. Epistemic dialogue with a few existential ideas, though none of them are groundbreaking. Scenes of rising tension that boost the film’s drama, but every time they only give us hints as to what may be happening “out there”. And digital deer for a touch of mysticism, but without any meaningful incorporation into the plot structure. The elegant cinematography striving for inventiveness is appealing, but it doesn’t reach the level of Jordan Peel’s bold creativity. And the conversational aspect merely tries to involve sociology at the European or Asian level of screenwriting. Despite that, however, the film is entertaining and is fine to watch. And I also understand if some might find it an interesting alternative contribution to the disaster-movie genre. Because this is exactly how that could happen.

The protagonist’s repetitive lamenting over trauma and remorse becomes boring over time, but the gloomy tone of Japan’s deteriorating position in the war brings a lot to the gigantic monster. Against a background of dark, foreboding music, Godzilla is a symbol of the horrors of war, including the devastating nuclear threat. The ocean scenes with the monster are excellent, with a build-up and ideas to make the most of its physiological capabilities. It is scary, angry and indestructible. The scenes with Godzilla in the city are only perfunctory, as if the filmmakers didn’t want to repeat what has already been seen a hundred times before (even in American monster movies) and instead wanted to retain the specific maritime nature of the story. The budget of $15 million for such high-quality CGI mayhem is unbelievable and the film’s success in American cinemas could signal a change in thinking among the Hollywood bean counters as to what a good movie needs and doesn’t need. In this respect, Godzilla Minus One is another “transformational phenomenon” of the year, much as Barbenheimer was.

Not any weaker than Gladiator (as we had hoped), but only a bit better than Robin Hood (unfortunately). Passages from the historical stages of Napoleon’s rise to power and “world conquest”, intimately interspersed with his relationship with the woman in his life. The film is entertaining with its actors and the occasional battle, but it is so inwardly reserved that it borders on being bland, with no interest or ability to find personality traits in Napoleon on which the psychology of his story or any other idea could be built. Nor does it make use of the possibilities offered by his personal confrontation with the supporting characters, which could have filled out the narrative with solid content. And Napoleon’s romantic relationship, which receives a great deal of attention, remains cold and thus fails to touch the fewer. The routine narrative raises concerns that the longer director’s cut will be richer in informational content, but equally soulless. Ridley Scott’s first historical film without a musical identity.

Michael Fassbender moves, walks and uses his voice in an interesting way. And that's all. His soliloquys are as empty as his character’s craft, and we’ve already seen the naturalistic depiction of brutal physical conflict between two cold-blooded professionals elsewhere long ago in more intense performances. The simplicity of the story wouldn’t bother me at all if it were dressed up with imaginative moments, an original psychological profile of the main character and some playing around with the formalistic aspect. However, The Killer offers none of that. The form is pure and precise, but not bold. The encounter with the perfectly cast Tilda Swinton at the table arouses the viewer’s curiosity and interest almost like the face-to-face encounter between Al Pacino and Robert De Niro in Heat, but it remains the only scene that I remember from the movie. And that’s just not enough for a David Fincher flick. I unequivocally prefer The American with George Clooney, a similarly minimalistic and creatively distinctive, yet more emotionally engaging profile of an unknown killer.

A teenage Funny Games, with a portion of unpredictability in the well-crafted screenplay, but the directing doesn’t do a good enough job of depicting the growing seriousness of the situation. When the main victim is supposed to be in the greatest shock in the climax, she looks like she did in the first third of the film, when she still had no idea that this wasn’t just child’s play. The villainous brat is both well cast and well acted, and the filmmakers’ goal of spicing up the Christmas family atmosphere with a bit of morbidity is praiseworthy.

David Harbour is half of the film. He was made to play the role of a kind-hearted Santa Claus with the roots of a bad-ass Viking. The mixing of motifs from Die Hard and Home Alone, which are Christmas cult classics in America, is the right way to join their ranks in different genre garb. Wirkola almost succeeded – he combines Christmas clichés with new ideas, the endangered family members are not cliches and the narrative flows nicely. It’s just a shame that Harbour doesn’t face any correspondingly interesting bad guys for whom we would have more respect.

Based on the promo photos, A Whole Life appears to be just another bit of romantic alpine kitsch. In reality, however, it is the nicest film about life in the mountains, as well as life in general, to come out in recent years. It also offers the nicest alpine panoramas to be seen in a feature film in recent years. The choice of locations and the filmed details (the bus ride) bear witness to the director’s relationship to the mountains and will elicit a feeling of déjà vu in some viewers – we will repeatedly go back to it for the magical fragments in the subconscious perception of the high mountain landscape, where we will find peace of mind. The characters are perfectly formed and stage actor Stefan Gorski does a flawless job of portraying the protagonist. The heart of the film is the scene in which he leads his fiancée to a mountain cabin and shows and explains to her why he has settled there. Another attractive theme of the film consists in the building of the first cable cars and the electrification of the mountain villages – and the fatal injuries that occurred during the particularly hard physical work – associated with it. Great, constantly “floating” camerawork and music that is always perfectly appropriate. And that epilogue...

Nyad is a standard movie in terms of its filmmaking qualities, but it has a strong story and two masterful actors in Jodie Foster and Annette Bening, who go all out for a film they believe in. Friendship and support beyond the grave, a will and unyielding conviction that moves the world. In terms of its story, Nyad has the parameters of an Oscar winner, but it will most likely escape the attention of the masses, like Howard’s excellent Thirteen Lives from last year. I’m glad that Jimmy Chin is breaking into the field of feature films.