This film plays with the question, "What if God was one of us?"  What if he was a normal old person with a wife and a daughter?  Its an interesting concept that devolves into a satire in The Brand New Testament.  Upon seeing the trailer, I was sold on this film because of the hilarity and insanity that was portrayed.  The film was very funny but also somewhat repetitive, leaving me with a feeling that the story could have been so much more.  

Seeing God as a curmudgeon who is abusive towards his family is quite harsh and shrewd.  Yet, I like the tone that is set up by the main characters.  Dark comedy is on the top tier of my favorite genre pyramid, except for when repetition comes into play.  When a film is too repetitive, it lacks any sort of smooth pacing and unpredictability.  The Brand New Testament is not nearly as repetitive as say Don Jon or The Edge of Tomorrow, but its just repetitive enough for me to start tuning out after the first hour or so.  I expected a bit more spontaneity in this film, but it was just too focused on one theme.

While the film may be slow and grueling at times, the acting is well done.  Pili Groyne does a great job playing an ambitious girl who is tired of her father's monopoly over playing God.  As Ea, she shows both a sympathetic personality, but also a dark and mischievous personality as she journeys to create her own bible.  Benoit Poelvoorde also gives off a great performance, creating an image of God that the audience can't help but laugh at.  As Dieu, Poelvoorde comes off as the type of out-of-luck villain you would see in the Home Alone film franchise.  I felt a bit of sympathy for him towards the end, but for the most part, he is just a man taking control of innocent peoples's lives.  

The Bottom Line:  Its a bit slow, but the acting and comedy are still fun to watch.

Score: 8.7/10

​Image Credit:   https://upload.wikimedia.org/wikipedia/en/0/0e/Le_Tout_Nouveau_Testament_poster.jpg

In the October update, I claimed that I am not a fan of the horror genre.  However, certain horror films do pull me further into the genre, making me want to explore it more.  The Host is a film that transcends the use of constant jump-scares by using many different horror conventions.  This film struck me with its mixture of different techniques used to creep out the audience, but also to help them connect to the characters.  The main characters work very well together to form a dysfunctional family that must unite to save one of its members.  The difference in characters gives the film a comedic value at times, while staying in the horror genre.  Personally, I thought that the use of comedy and drama created a more well-rounded horror film.

Like most horror films, the soundtrack created a lot of the tension, while adding a dramatized storyline.  The music shifts from themes that could be heard in a Hitchcock film to dense string melodies.  The tenser music helps the director to create the creepy monster, while helping add to the audience's fear.  Yet, the string melodies add the emotion for the film.  Overall, Byung-woo Lee adds the right kind of music at the exact right times.

A lot of the camerawork gives the audience a view of a more terrifying world in which monsters and viruses are on the loose.  In one scene, the camera angle is tilted to the side, creating an unstable and uncomfortable feeling.  Also, slow motion is used often to create more tensity as the audience tries to catch up with the quick sea-monster.  The one thing I didn't like about the film is the actual monster.  To me, the model seemed really fake and lame.  I expected to see a bigger creature terrorizing the giant crowd of people at the beginning.  Maybe I am just too used to modern special effects though.

The Bottom Line: This film uses an odd grouping of characters, differing music selections, and creative camerawork in order to keep the story going at a good pace.

​Score: 8.5/10

Many films have come out focused on the Holocaust, but none quite like this.  First off, this film takes place after the Holocaust, dealing with a woman who survived a concentration camp.  More striking than the setting and timeline of the film is the genre.  The film is set up as a noir mystery/thriller, giving off a Hitchcockian feel.  The product of the genre choice is an intense psychological film that keeps the viewers on the edge of their seats.

Truly, I loved this film even though it contained some minor storyline flaws. Not only was the tone a fresh feel for a post-Holocaust movie, but the cinematography was beautiful.  One of the most striking visuals in the film is the Phoenix jazz club.  The club helps to create a post-war visual of Berlin with its dim red lighting and surrounding rubble of a torn up country.  

The moment that I found out that I loved this film comes at the very end.  Most of the film is build-up for the final scene, meaning that the pace of the film is pretty slow.  By the final scene, the audience is completely unsure of what will happen to the two main characters.  Throughout the film they are uncomfortable with each other due to new facts discovered about how Nelly (Nina Hoss) ended up in a concentration camp in the first place.  In order to avoid spoiling the ending, I will say no more and finish by advising you to go see this movie if you can.

The Bottom Line: Christian Petzold is a director who clearly knows how to make a genre film that is intense and fresh, led by two strong actors.

Score: 9.4/10