POMO

Crimes of the Future is a bizarre, visually polished movie with an interesting dystopian vision of society compelling music from Howard Shore, a charismatic Mortensen in a black martyr’s cowl and a sexually and irresistibly unique Kristen Stewart. Every second with her was entrancing for me. It’s just a shame that the film didn’t culminate in her delightful, loud orgasm on the operating table while surgically connecting her open wounds with the tumor-ridden Mortensen. When I was a young boy, the message of Hellraiser that “pain is pleasure” was instrumental in helping me overcome getting stitches for my busted head and other injuries from doing what boys do. Crimes of the Future gave me the idea that having something unwelcome and malignant growing in your body is not only a natural genetic process of life, but also a unique work of art created by our bodies. This is a strange, fascinating film that is difficult to understand, and I will definitely watch it again. [KVIFF]

This meta-nonsense from the Finnish backwoods is funny at times and has good minimalist music. The inspiration taken from the humor of national classics is obvious; the first third of the film even comes across as a black comedy, like a Finnish take on Fargo. But by veering into sci-fi with extraterrestrial motifs and a screenplay that can’t even begin to make sense to absolutely anyone, Myllylahti totally went too far. [KVIFF]

The most boring characters, dialogue and, in general, story that you can see in a movie from the mountains. In a movie from the mountains emasculatingly shot in 4:3 format.

Superheroes is yet another clichéd relationship flick, but it’s carefully and sensitively told and acted, and it has a nice epilogue. It won’t receive any awards like The Worst Person in the World, as it is less sophisticated in terms of screenwriting and more sentimental, but it reliably touches the viewer’s heart. [KVIFF]

Godland is an aptly depicted journey through the Icelandic wilderness without Gore-Tex. Meditative and very slow, but atmospherically engaging and with a supporting plot premise, it is a bit reminiscent of Scorsese’s Silence. The very idea of basing a story on real historical photographs taken by a vanished priest is interesting. And with his careful composition in the “photographic” 4:3 format, Pálmason gives it remarkable content. Thought it’s only philosophically suggestive, it is interesting and valuable. Edit: The filmmakers revealed in discussions that the photographs weren't real. Hmm. I just didn't expect such a creative approach with this film... [KVIFF]

This is nothing for lovers of the Icelandic countryside, which goes practically unseen here. The story could have been set in a similar slum/industrial area on the outskirts of Manchester. The friendship between teenagers at a time of rising violence and bullying among young people is often cruel and bleak, but also balanced by the support between them and their protectiveness. Though Beautiful Beings is not very original in terms of theme or execution, it is dramatically intense. [KVIFF]

Cold Skin proves that being a butcher skilled in filmmaking is not the same as being a generally skillful director, or rather a director capable of, for example, comprehensively telling a story with sensitive development of the meeting of two species. Cold Skin is neither fish nor fowl, a dysfunctional film that Xavier Gens gradually transforms from a survival horror flick into a fantasy tale with heart. Halfway through, however, something in it goes off the rails and the result evokes only a bitter smile. The theme and the setting of a rugged volcanic coastline had potential and, in light of the budget and production possibilities, it could be forgiven for its mediocre digital rendering.

Girlhouse is everything a bunch of teen viewers could want with their popcorn on a Friday night. Bikini babes of all races and sexual archetypes, webcams, a civil and beautiful female protagonist, her likable boyfriend/protector, a wacky pervert and a bloody slaughter. Girlhouse is a strange combination of creative contradictions. The screenplay works creatively with all of the characters and entertains with surprising details despite the formulaic plot. At the same time, it bears the embarrassing marks of amateurish filmmaking and frequent stupidity. Its greatest asset is the killer, who outdoes even the more ponderous Leatherface with his speed and radicalism. The brutality of the slaughter in the movie’s final third is a surprising outcome of the previous refined introduction of the characters, which creates another interesting contrast that sets Girlhouse apart from other, similar movies.

Though the strange, not very believable theme works with a fine idea, it raises unanswered questions and embarrassing impressions from its WTF scenes and completely inappropriate humorous undertones. I needed a second viewing to confirm that there was no error in my state of mind at the time and that Kosinski had really gone so far off the rails. And there was no error. Even the music is bad in this movie. Though the film kicks off with a fine song, the other songs later drive nails in its coffin.

Fresh offers up a terrifying thriller theme verging on horror and bizarrely cut with black humor. An analysis of the tasting of elegantly served human flesh, as none of the Hannibal movies served it. The film has edgy camerawork and a likable actress in the lead role, but I won’t give it a fourth star because, even though it was entertaining from start to finish, I missed a more coherent directorial focus in this medley of genres and feels.