J*A*S*M

I think that, when it comes to film quality, there has never been a better horror movie with aboriginal cannibals. A week ago I complained that in Roth's Green Inferno hardly anything happens for half of the film. Here, the proportion between “introduction” and “action” is even more sober, but it doesn’t matter at all when you can see the difference in talent between Roth and the first-time director S. Craig Zahler. Ninety minutes are dedicated to introducing characters stubbornly determined to rescue the abducted inhabitants of a village. That’s enough time to sincerely start rooting for them, which also helped by the superb performances. The extremely brutal final half-hour then feels like a sucker punch, because the tribe of cannibals don’t fool around. It is very clear for everyone that these nice characters have walked into a place where they should have never been at all. I never imagined that the horror genre could blend so smoothly with the western. But Bone Tomahawk is both a really good western and really good horror. Very close to perfection.

This is the ideal moment to put an end to this series. This farewell party is way better than anyone could have hoped after the tragic fourth episode and the Latin American spin-off.

Guess how Berkshire County differs positively and interestingly from all the other home invasion thrillers and horror films of recent years? Correct, in nothing. A few years ago, this would’ve probably been enough for an average, but today I have to be more strict.

An adventure film, rather than sci-fi; a crowd pleaser, rather than survival; feel-good, rather than smart. But even with all these dichotomies, I would’ve rated with it with five stars as Ridley Scott garners all the strengths of his old age to put together a technically flawless film that treads from beginning to end, it’s not even for a moment boring and the most tense scenes are reliably gripping. But for me it’s just too safe and user-friendly. 85 %

Unfortunately, I don’t share the surrounding enthusiasm. You can’t deny Inside Out’s brilliant core premise, which could be the basis of something truly exceptional and ambitious. The playfulness and creativity can’t be denied, either; the film is full of interesting visual ideas, gags, whatever (the switch to other heads). But everything around that, though effective, is just ordinary and predictable.

Too bland for the strong competition in the sub-genre. 4/10

(BE2CAN, Evald) In the end I gave up and fell asleep, incredibly empty.

(BE2CAN, Evald) The last scene doesn’t belong there, it must have been a dream. Right? Right, right? Please!

(BE2CAN, Atlas) My first Panahi, which might have been a mistake given the meta level of Taxi Teheran, I’m sure I missed many references. But I’m still very satisfied, it’s a very stimulating (and surprisingly funny sometimes) ride through the capital of a questionable country that throws spokes at the wheels of (not only) its most valuable artists and makes their lives hell. It didn’t need much, a camera and a car, but actually needed a lot of courage. I believe I have an obligation to appreciate that courage, though it’s not an unpleasant obligation. Film fans should be dependable :)

(BE2CAN, Lucerna) A very intensive experience, likeable characters, a high degree of credibility and form that leaves you flabbergasted. For me, by far the best of this year’s Be2Can: it wasn’t too brooding, didn’t have any snobbish answer to existential questions, it even had a plot! And it got an applause, wow!