The Brand New Testament

(50th KVIFF) Good escapist fun. Dormael is quite kitsch and sacrifices a lot of the overall goodwill (either with some of the humour, or pretending to be a deep well of truth, even though it’s closer to a kiddie pool), but fortunately, The Brand New Testament has so many bizarre ideas and jokes that flirt with political incorrectness that I actually enjoyed the project. If the film did away with all the spiritual nonsense about inner music and whatnot, it could have been memorable. But I’m still satisfied. It’s one of the most accessible and pleasing (but at the same time, not stupid) films of the festival. 75 % (07/11/2015)

An absolutely feel-good film, dominated by the actors and props borrowed from Gondry. If the humor wasn't at times meant for even the simplest viewer, I would have given it full stars. 4 ½. (07/06/2015)

Another French small-scale movie that took inspiration from Amélie but at the same time, it is holding itself back a bit. Everything else is compensated by the idea which a normally thinking person could never come up with. And all that is left is for Benoît Poelvoorde to finish the rest, and suddenly you have sowed the seeds of the most interesting and original French comedy of the modern time. Personally, I have to say that Benoît convinced me after a series of movies that he is one of the best European actors of today. It’s a pity that his character here is bad rather than funny. In any case, the film itself is definitely worth watching. The Brand New Testament is capable of surprising you more than once and of captivating you with its world. (12/29/2016)

I once turned this film off after ten minutes, but after a second screening I was satisfied. Your tastes as a viewer will change after five years, and you watch movies with different eyes. The film has an original and cracking story and a great Benoit Poelvoorde, who must be loved by everyone who knows him. If the entire film had focused on Benoit making up laws and ruining people's lives, it would have been the event of the year, but I enjoyed that direction as well. Funny, wacky and sweet. It liked it. Story****, Action>No, Humor***, Violence>No, Entertainment****, Music***, Visuals****, Atmosphere****, Suspense*. 7/10. (08/27/2020)

A bizarre bit of weirdness that is therefore above all something quite different from what it presents itself to be, and instead of the cynically cynical darkly incorrect comedy it was advertised to be, it delivers a kindly little bit of humanity more or less about the universe, life, and everything, that laps a lot from the bowl of Wes/Roy Anders(s)on and especially Jean-Pierre Jeunet. Surprisingly, that's not quite its main problem (thanks largely to the successful cinematography). The real problem lies in the set rules of this seemingly surreal sweetness, all of whose starting points emerge from the technical and incredibly vague rules of the game as presented to us at the outset (the Deus and his machina, whose function and technical basis are in no way explained, such that it automatically allows for any plot needed to be kicked off through this contrived omniverse). If the creators are going to wank like this so they can do whatever they want, I want more than just a demonstration of how we should each live our own lives. (04/12/2016)

Exasperatingly long and boring, with cringey humor, the peak of which is a male gorilla in the role of a life partner. These are exactly the reasons why I dislike French cinema (with a few exceptions). Plus, the film is purposely trying to cater to absolutely everyone. Luckily, I'm a cynic and I saw through it straight away. (07/12/2016)

The French have a nice sense of humor that I quite like. And actually, other French-speaking nations that were involved in the film too. However, even though I really liked the film at times and found it funny, there is still a weird dull line where I wasn't able to pay attention to the movie the whole time because it just bored me at times. It's a shame, but still very nice. (03/07/2016)