Screen: July TV Roundup

While several high-profile shows are back with new seasons, it's been the new series that have captured the buzz over the past couple of months. It's always fun to discover something new, whether it's a limited series or something that is likely to go on for a few more seasons at least. Not that anyone is willing to let a hit simply pass into memory without milking at least one more collection of episodes. I've had time to catch up with a few things, starting here with new shows...

Too Much
Lena Dunham is back as writer-director (and occasional costar) of this sparky London-set comedy starring the awesome Megan Stalter and Will Sharpe. As with Girls, the show explores ambition, friendship and romance in ways most TV series would never dare, remaining honest and jaggedly funny while never shying away from the way real people interact both professionally and personally. Over the course of 10 episodes, Dunham crafts a perfect romcom that breaks every rule in the book. She also pokes fun at the American-in-London trope. And she peppers scenes with top-tier support from Richard E Grant, Naomi Watts, Andrew Scott, Andrew Rannells, Adele Exarchopolous, Rita Wilson, Rhea Perlman and many more. (Netflix)

Your Friends & Neighbors
Jon Hamm stars in this darkly comical series about a bigwig Wall Street trader whose wife (Amanda Peet) leaves him for his best friend (Mark Tallman). Then he's sacked by a greedy boss. So he decides to burgle his wealthy neighbours' homes to keep his head above water, as you do. It's all rather implausible and smug, only pretending to lampoon the lifestyles of the wildly wealthy while secretly revelling in them. And the overall story arc feels extremely constructed, with little air for real-life honesty to interfere. But Hamm is hugely watchable as always in an unusual role that combines comedy and drama, and the ensemble cast around him have strong moments of their own. The question is whether we'd watch a second season. (Apple) 

Sirens
This limited series is like a mashup of The White Lotus, Nine Perfect Strangers and The Perfect Couple, set at a New England island retreat run by the imperious Michaela (Julianne Moore). The action centres around her over-efficient assistant Simone (Milly Alcock), who is not happy that her distinctly working-class sister Devon (Meghann Fahy) has dropped in unannounced to ask for help in caring for their dad (Bill Camp). Wrinkles abound in relationships and connections, as secrets and mysteries emerge from the shadows to engulf everyone. And where it goes is refreshingly unexpected. Moore is hilarious as the earnest Michaela, like Gwyneth Paltrow with cult-leader vibes. Terrific costars include Kevin Bacon and the ubiquitous Josh Segarra. (Netflix)

Overcompensating
With its lively writing and likeably chaotic characters, this half-hour comedy is entertaining even if it's one of those shows that spins its wheels and never quite gets anywhere. The premise is clever: university freshman Benny (played by the show's creator Benny Skinner) has always exceeded expectations as an athlete and student, and is suddenly challenged to be his true gay self for the first time. But old habits die hard, and the closet isn't easy to escape. Characters are well-written and vividly played by a fresh cast, and the writing has hilariously knowing insight into the power of expectations and peer pressure, especially with the frat house antics. But over eight episodes, the story only takes baby steps, ending just as things begin moving. (Amazon)

Murderbot
Alexander Skarsgard is terrific in this comical sci-fi thriller series, which packs a lot of humour, suspense and barbed interaction into each of its half-hour episodes. He plays a sentient security robot who hacks the programme that limits his actions, which triggers an odyssey in which he explores who he is and what he means in the face of humanity. His opinions about people are hilariously astute, and it's a lot of fun to see how he awkwardly bonds with his oddball crew (including the terrific Noma Dumezweni and David Dastmalchian). This offers a terrific look at the nature of emotional interaction, while also lampooning the genre with amusing scenes from shows within the show. (Apple)

B A C K   F O R   M O R E

The Bear: series 4

Still not a comedy, despite winning all the awards, this bracing show boasts some of the best acting and writing on television. So while the never-ending miserable chaos sometimes feels exhausting, there's plenty of depth to it. The seriously first-class actors grow more riveting each series as talented people trying to keep a top tier restaurant from failing. Jeremy Allen White and Ayo Edebiri should win every prize going. And the supporting cast too, for that matter. Although showrunner Christopher Storer does love achingly cool montages (sometimes entire episodes are assembled this way). This season was packed with memorable elements, with a constant flurry of surprises. And that wedding episode. (FX)

The Last of Us: series 2 

Jumping ahead five years, this season kicks off with riveting episodes that set up powerful storylines and complex interactions. With shocking twists, the show feels far more propulsive than the first series, adding a proper sense of urgency that drives the action forward on a larger scale. As Ellie, Bella Ramsay continues to be a force of nature on the screen, one of the most complicated young people on television. Ellie's rippingly intentional character drives the action alongside Isabela Merced, Young Mazino and Gabriel Luna. Kaitlyn Dever has terrific presence as this season's villainous figure, alongside a taut Jeffrey Wright. And Catherine O'Hara takes no prisoners. But the departure of Pedro Pascal's thoughtful Joel was hard to watch. (HBO) 

Nine Perfect Strangers: series 2 

Now in an Alpine spa in Switzerland, Nicole Kidman's Masha assembles another group of mysteriously connected people for more psychedelic treatment that's just beyond what might be considered ethical. The ensemble cast is once again excellent, superbly playing people with dark secrets who are pushed into exploring their own minds. Standouts here include Annie Murphy, Murray Bartlett, Dolly De Leon, Henry Golding, Mark Strong, Lucas Englander and the great Christine Baranski. The snowy setting and offbeat old/new architecture offer very cool visuals for this season, but the best thing is the increasingly twisty internalised drama grows between these not-exactly strangers. It's not rocket science, but it's insinuating fun. (Hulu) 

And Just Like That: series 3 

The Sex and the City gang is back for more meandering New York comedy, settling into their new routines with the usual foibles about dating and relationships. Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sarita Choudhury, Nicole Ari Parker and friends are as effortlessly charming as always, so even if the plotting feels as lazy as ever the dialog crackles with witty life and also finds some emotional resonance along the way. Plus a few enjoyably silly plot turns. It may be difficult to identify with the troubles of these almost ludicrously privileged people, but there are enjoyable moments along the way that keep us watching, largely because we've now invested nearly three decades into these characters. (Max) 

Fubar: series 2 

More nonsense ensues with Arnold Schwarzenegger and Monica Barbaro as father-daughter CIA operatives. This action comedy is packed with silly gags and utterly ridiculous plotting, accompanied by surprisingly grisly violence. This season digs a bit deeper into back-stories of the various teammates, pitching Schwarzenegger's Luke against his villainous ex Greta (a raucously camp Carrie-Anne Moss) while Barbaro's no-nonsense Emma is hilariously wooed by her British nemesis Chips (Guy Burnett). The growing ensemble has a lot of fun diving into the increasingly nutty mayhem. So it's entertaining to go along for the ride, in a switch-off-your-brain sort of way. But honestly, these should be half-hour episodes. (Netflix) 

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

While the first season left me cold with its emphasis on people dryly discussing political plots in static rooms, this keeps that far more contained. These episodes have a superb driving kick that balances the over-intense discussions with proper dramatic tension and rather a lot of thrilling action and suspense. As the timeline counts down to the events of Rogue One (and of course the original Star Wars), the story wraps itself tightly around the audience, meaningfully grappling with big ideas about heroism, courage and political idealism in an unjust system. The real-world parallels are often chilling, especially because they feel so unintentional. And the cast is first rate, including Diego Luna, Genevieve O'Reilly, Stellan Skarsgard and Denise Gough. (Disney)

Squid Game:
series 3 

Picking up in the middle of the scene that cut out at the end of the second season, this final series continues to follow the messy attempts by those who escaped to get back in and stop these sadistic games. And the games are even nastier this time, starting with a particularly brutal round of Hide and Seek. As before, there's a tendency to over-egg the emotional moments, and the monstrous wealthy patrons are even more cartoonish this time. But the tension between our terrified-but-determined hero Gi-hin (Lee Jung-jae) and game's conflicted leader In-ho (Lee Byung-hun) has a terrific simmer to it. Enjoyably, the ghastly pay-off will divide audiences, as will the A-list cameo that leads into David Fincher's forthcoming American spin-off. (Netflix)

The Handmaid's Tale: series 6 

Elisabeth Moss is back as the fiery June, watchable as ever especially when she squares off against Yvonne Strahovski's glacial Serena. The extended narrative has become rather unwieldy over the past few seasons, with a lot of back and forth between peril and safety, and this season is no exception, adding big twists on several fronts. There's also a shameless overuse of Moss' now-iconic death stare (and others get to glower as well). As the overarching story evolves in some pointed directions, there are smaller details that niggle simply because they feel both unnecessary and unsatisfying. But it's held together by the determined drive of these embattled women to reclaim the just society that was so horrifically turned upside down by religious zealots. (Hulu)

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

NOW WATCHING: The Sandman 2, Single Out 3, Stick, Adults, Olympo, Long Way Home, The Wild Ones

COMING SOON: Chief of War, The Tuesday Murder Club, Dexter: Resurrection, Peacemaker 2, Star Trek: Strange New Worlds 3, Acapulco 4.

Previous roundup, MAY 2025 >

Critical Week: Look at yourself

Things should be quieting down this month, but the screening schedule has continued to be fairly busy with an eclectic collection of movies to watch. Making a very strong debut, writer-director Christian Swegal gives the fact-based drama Sovereign an unusually sensitive spin, centred around smart, thoughtful performances by Nick Offerman and Jacob Tremblay as a father and son with radical views that lead to tragedy. At the other end of the spectrum is James Gunn's witty, colourful new take on Superman, starring a likably human David Corenswet alongside Rachel Brosnahan and Nicholas Hoult. It's big and entertaining, but never surprising.

BEST OUT THIS WEEK:
The Other Way Around
Sovereign • Baby
Hidden Master
ALL REVIEWS >

The Dardenne brothers are back with Young Mothers, another riveting doc-like Belgian drama that pulls us deeply into a real-life situation, this time with teen girls who have babies. Jonas Trueba's Spanish comedy-drama The Other Way Around is the engagingly clever story of a couple planning to celebrate their separation, with added witty meta-filmmaking touches. From Brazil, Baby is a sensually shot and played drama about a teen just out of detention as he discovers connections in the tough streets of Sao Paulo. I also had an advance screening of the British drama I Swear, based on the involving true story of Tourette's campaigner John Davidson. It stars the always superb Maxine Peake, Shirley Henderson and Peter Mullan, with remarkable performances from Scott Ellis Watson and Robert Aramayo in the lead role at two ages (it'll be out in October). 

This coming week is also full. I'll be watching the new Smurfs movie, with Rhianna as Smurfette, Celine Song's new drama Materialists, Helena Bonham Carter and Pierce Brosnan in Four Letters of Love, Paul Rudd and Tim Robinson in Friendship, the German black comedy Dying and the first chapter in the Oslo Stories Trilogy, Dreams. 
.

Stage: Trying to put on a show

Kiki & Herb Are Trying
with Justin Vivian Bond, Kenny Mellman
Soho Theatre Walthamstow • 3-5.Jul.25 ★★★★

New York legends Justin Vivian Bond and Kenny Mellman bring their alter-egos back to the London stage for the first time since 2007, taking the glorious new stage at Soho Theatre Walthamstow. Although after all these years we begin to wonder if Kiki and Herb will make it to the end of the show. These characters have been honed to perfection, so the way this plays out is hilarious. They may be a pastiche of cabaret double-act, but they're also gifted musicians, creating funny and compelling moments as they recount outrageously overwrought tales from their past and perform songs and medleys that range from darkly emotive to belting standards.

Kiki has clearly had a few drinks before taking the stage, and continues to refill her glass, and also Herb's, throughout the show, fuelling their impassioned performances while at the same time blurring everything around the edges. "We'll try and put on a show," Kiki says confidently, ever the trooper. She also slurs her way through ill-remembered lyrics and becomes sidetracked when she spots either a cute man or an ex in the audience. And Herb gets more expressive in his adoration for Kiki. So there isn't a dull moment as they keep the audience in the palm of their hands, largely because it's clear that pretty much anything might happen.

Musical numbers traverse a wide range of styles and eras, as tunes to bleed into each other with hugely expressive emotions as the dusty-voiced Kiki is accompanied by Herb on the piano. And he chimes in for animated vocal duets. Medleys include pop hit shout-outs from Prince's When Doves Cry to Chappell Roan's Pink Pony Club. Seasons of Love from Rent drifts into Taylor Swift's Anti-Hero. Joy Division's Love Will Tear Us Apart morphs into New Order's Temptation. Their brassy rendition of Sex Bomb includes a wild dance break. And there are full-bodied performances of songs like Cherish, The Windmills of My Mind and A Lover Spurned, climaxing with an absolutely blistering Total Eclipse of the Heart.

The show is peppered with random comedy riffs that are impeccably improvised. Among Kiki's rambling memories are stories about her children and grandchild, plus a recollection of the 1950s fascism that was fuelled by Roy Cohn, whose acolyte is now bringing it back. There's also a jaw-dropping Sylvia Plath joke. Through all of this, it's wonderfully clear that they're just glad to be on stage after all these decades. "We're still alive," Kiki proclaims, as if she's more than a little surprised. Yes, Kiki and Herb have always been past their prime, and they are still utterly fabulous.

For more, KIKI & HERB >

photos by Eric McNatt & Richard Termine • 3.Jul.25

Critical Week: Duelling divas

Two of the biggest movies this week were released online, so I watched them in my heatwave-warmed home rather than a nicely air conditioned cinema. Charlize Theron takes on a villainous Uma Thurman in The Old Guard 2, a sleek sequel that carries on the saga of a team of immortal mercenaries. But it bogs down in the mythology before a cliffhanger ending. Much stupider, and therefore a lot more fun, is Heads of State, starring John Cena and Idris Elba as bickering leaders of the US and UK forced to work together to save Nato. The starry supporting cast includes a scene-stealing Jack Quaid and hilariously sparky Priyanka Chopra Jonas.

BEST OUT THIS WEEK:
Heads of State
Jurassic World: Rebirth
ALL REVIEWS >

David Cronenberg's dark mystery The Shrouds is packed with intriguing ideas and striking imagery, plus churning performances by Vincent Cassel and Diane Kruger. It's also gets more enigmatic as it goes along. And Sam Riley is terrific as a scruffy surfer-like tennis pro in Islands, a provocative drama that inventively subverts its thriller-like plot and characters who never speak the whole truth. All in gorgeous Canary Islands locations. I also caught a couple of live shows: my favourite-ever Edinburgh Fringe act triumphantly hit London for one night only with Otto & Astrid: The Stages Tour at Jackson's Lane, and another iconic duo returned to London after 17 long years with Kiki & Herb Are Trying at Soho Theatre Walthamstow.

This coming week we have James Gunn's new take on Superman, Nick Offerman in Sovereign, Maxine Peake in I Swear, the Dardenne brothers' Young Mothers, Spanish comedy-drama The Other Way Around and a live performance of R.O.S.E. at Sadler's Wells.

Stage: From a meow to a roar

Otto & Astrid: The Stages Tour
with Daniel Tobias, Clare Bartholomew
Jackson's Lane, Highgate • 2.Jul.25 ★★★★★

Fresh from performing at Glastonbury, Otto and Astrid take North London by storm for one night only as part of the London Clown Festival. Designed to explore their artistic development through various stages, Taylor Swift-style, this show features the hits from throughout their career as the band Die Roten Punkte, hand-selected by Astrid with no unauthorised songs allowed. At least not while she's on stage.

It's difficult to describe this act, other than to say that these two performers are experts at dead-pan comedy, physical clowning and, most of all, properly banging music that immediately gets under the skin with catchy tunes and hilariously smart, innuendo-filled lyrics. Astrid gleefully leans into the smuttier suggestiveness, while Otto doesn't quite get it. These are indelible characters, siblings who can't quite escape the rivalry between them, even in the way they share stories from their childhood. Otto is the loveable sweetheart, while Astrid is a demanding diva. But it's clear that they watch out for (and are perhaps a little bit frightened of) each other.

This show features favourite songs from nearly two decades, interspersed with stories and audience interaction that's sublimely ridiculous. A slapstick sequence involving Astrid's sleeves and a microphone stand is priceless. Rock-n-roll belters include Burger Store Dinosaur, Second Best Friend and Ich Bin Nicht Ein Roboter (I Am a Lion). There's also the riotously outrageous The Situation and the call-and-response glee of Tasty Snak. At various points, Astrid leaves the stage and Otto goes rogue with his sweeter unauthorised numbers, such as his Iggy Pop homage I Wanna Be Your Kitten. Astrid is not amused.

Creating a very big sound with their child-sized instruments, Otto guitars and Astrid on drums, this duo entertains the audience on so many levels that it's almost dizzying. It's difficult to stop laughing at their banter, which is delivered with earnest sincerity. Their physical schtick is expertly played to look completely out of control, including their impressive rock-god choreo. In the stories, they layer jokes and absurd silliness into emotional narratives. And the music is simply fabulous. It's no surprise that essentially everyone who sees them joins their fan club.

For more, OTTO & ASTRID >

photos by Peter Enwight, Christine Fiedler, Andrew Wuttke, Aaron Walker
2.Jul.25

Raindance: Hang on tight

As usual with film festivals, I came to the end of the 33rd Raindance with a backlog of movies to watch and write about. But here's my post from the festival, which wrapped up last night with a screening of The Academy followed by a party - neither of which I was invited to, but that was fine. I needed the rest. I managed to catch 12 films at this year's Raindance, and the quality was uniformly strong. Here are the final four...

The Lonely Musketeer
dir-scr Nicolai Schumann; with Edward Hogg, Richard Glover 24/UK ***.
Featuring a single person in a small room, this experimental drama is shot in black and white and edited with restless energy that keeps the pace moving. Writer-director Nicolai Schumann relies heavily on the exceptional skills of audacious actor Edward Hogg to bring the surreal set-up to vivid life, creating a riveting one-man show. As the narrative unpicks the mystery, the film becomes increasingly murky and darkly disturbing.

Breakwater
dir-scr Max Morgan; with Daniel McNamee, Shaun Paul McGrath 25/UK ***
From the start, this British drama evokes a tone that hints at intrigue with tiny glances and brief cutaways. Writer-director Max Morgan uses eye-catching widescreen cinematography to create a strong sense of the settings and characters. Although these people speak in hesitant fragments, as if they're always hiding something. So while everything seems to move at a maddeningly underpowered pace the subtle performances bring out deeper feelings.

Beam Me Up Sulu
dir Timour Gregory, Sasha Schneider; with Stan Woo, George Takei 25/US ***.
Briskly traces the production of a Star Trek fan movie, this scrappy documentary uses terrific behind-the-scenes footage and extensive clips and interviews, plus some witty animation. Warm-hearted and engaging, it's a lovely depiction of one man's passion alongside remarkable explorations of US cultural history. Yes, the film goes down several sideroads, not all of them relevant. But everything feeds into a strongly entertaining portrait of a dedicated fanbase.

The Dark Fantastic
dir-scr Lg White; with Simon Boswell, Alejandro Jodorowsky 25/UK ****
Tracing the career of British film composer Simon Boswell, this punchy documentary deploys a flurry of split-screen and overlapping imagery to mix clips and interviews alongside a thunderous rock-n-roll sound mix. Filmmaker Lg White's whizzy editing style may play colourfully with images and text, but the focus remains tightly on the music. It's a sharply well-made movie that beautifully depicts the career of an inventive and prolific artist.

Full reviews of festival films will be linked here in due course: SHADOWS @ RAINDANCE >

Dance: Can you see the real me?

Quadrophenia: A Mod Ballet
by Pete Townshend
dancers Paris Fitzpatrick, Curtis Angus, Dylan Jones, Seirian Griffiths, Will Bozier, Stuart Neal, Kate Tydman, Dan Baines, Serena McCall, Euan Garrett, Matthew Ball, Jonathon Baker, Amaris Pearl Gillies, Georges Hann, Anya Ferdinand, Joshua Nkemdilim, Zach Parkin, Yasset Roldan, Taela Yeomans-Brown, Pam Pam Sapchartanan
choreography Paul Roberts
orchestrators Rachel Fuller, Martin Batchelar
director Rob Ashford • sets Christopher Oram
costumes Paul Smith • lighting Fabiana Piccioli
sound David McEwan • video YeastCulture
Sadler's Wells, London • 26.Jun-13.Jul.25 ★★★★

Transformed into a ballet with lush orchestrations, dazzling choreography and inventive stagecraft, The Who's iconic 1973 rock opera remains a profoundly involving tale of self-discovery. The story is set amid the clash between mods and rockers in mid-1960s Brighton, which gives the designers a chance to play with eye-catching colours, settings, lights and costumes. And the narrative carries a strong coming-of-age kick.

Because there are so many characters, following the plot can be a bit tricky without dialog, but the performers and staging carry us right into the story of Jimmy (Paris Fitzpatrick) a London teen who hangs out with his mod friends, attending drug-fuelled raves and concerts in Brighton. But he's frustrated by his dismissive parents (Stuart Neal and Kate Tydman) and hates working a menial job. And he's crushed when the new girl (Serena McCall) he likes takes up with Ace Face (Dan Baines). Frustrated, Jimmy heads back to Brighton determined to end it all. But what he finds there is startling.

From the opening moments, Paul Roberts' choreography catches us off guard with a combination of gentle waves of movement combined with internalised bursts of energy. This creates a sparky sense of Jimmy's connection with his pals, a complex mix of camaraderie and posturing that feeds into their group mentality. The high point is a stunning duet between Jimmy and an old school friend (Euan Garrett) who is now a rocker, as they spiral together soulfully in a seemingly weightless depiction of their deeper bond.

Musically, the arrangements by Rachel Fuller (aka Mrs Pete Townsend) and Martin Batchelar sometimes feel rather overwhelming, adding thunderous guitar licks into an already dense mix. But this cleverly echoes The Who's musical style while punching the emotional beats. Visually, the show relies heavily on projections, which inventively add forced perspective along with some superb set details. The way scenes flicker in and out of each other is very cinematic, and all of this combines beautifully to send Jimmy on an existential odyssey. And Paul Smith's costumes skilfully evoke the period while playing on the anachronism of dancers wearing tight suits. 

Show-stopping moments abound, including the terrific Matthew Ball's knockout solo as The Godfather, performed to My Generation. A reflective sequence in a cafe is gorgeous, as is a stunningly choreographed street fight. And the sexy dream after the interval is a terrific touch. Other elements are perhaps unnecessary, even if they're gorgeous, such as the wartime flashback for Jimmy's dad or a jaunty dance with swimmers at the seaside. And the final scene feels oddly drawn out. But the talent that has gone into this show makes sure that the bigger points come through with real emotional power.

For info, QUADROPHENIA > 

photos by Johan Persson • 25.Jun.25

Raindance: Dance the night away

Approaching closing night, the 33rd Raindance Film Festival continues with a range of fascinating independent films. I'm running a bit behind on reviewing them, but I'll catch up this weekend with a final post. Here are three films that take very different looks at love and community. And my Critical Week is below...

Somewhere in Love [Une Vie Rêvée]
dir-scr Morgan Simon; with Valeria Bruni Tedeschi, Felix Lefebvre 24/Fr ***.
Warm and full of life, this French drama follows a woman who finds herself in a difficult situation but refuses to give up. Writer-director Morgan Simon sets this out as a slice-of-life character study about a mother and son, using a realistically sparky humour and emotions. The narrative structure contrives to create some drama, but there's something more intriguing, and remarkably hopeful, going on under the surface.

If You Should Leave Before Me
dir-scr The Andersons; with Shane P Allen, John Wilcox 25/US ***
While this low-budget comedy-drama feels rather deliberately offbeat, it's also warm and observant as it explores things that remain unspoken between a middle-aged couple. Filmmakers Boyd and Markus Anderson ambitiously use colourful hand-made effects, visual flourishes and goofy jokes to tell interwoven stories that touch on love and death. With its overriding existential afterlife narrative, there's plenty to chew on, even if the movie feels indulgent and overlong.

Flamingo Camp
dir Chris Coats; with Nova, Poe, Cecil, Emmit 25/US ***.
Chronicling life for a group of people who live far off the grid, this openly emotional documentary observes residents of a colourful queer community in the California desert. It starts as a slice of life before turning into something much darker and more intense, as an eerily predictable tragedy strains relationships and opens wounds. This creates a loose narrative that's fascinating, largely because the setting is so unusual.

Full reviews of festival films will be linked here in due course: SHADOWS @ RAINDANCE >

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L  W E E K

BEST OUT THIS WEEK:
Sorry, Baby • Ponyboi
Rent Free • Wolf and Dog
ALL REVIEWS >

The big movie this week is F1 starring Brad Pitt and Damson Idris, a viscerally whizzy blockbuster with a script that never even remotely surprises us. River Gallo and Dylan O'Brien are excellent in the dark drama Ponyboi, even when it turns into a thriller. The indie comedy Rent Free takes an offbeat look at friendship that's funny and thought provoking. I also attended the premiere for the TV series Too Much, complete with a Q&A featuring creator Lena Dunham and stars Megamn Stalter and Will Sharpe, plus a very starry party. And I saw three live performances: Quadrophenia at Sadler's Wells, Jonah Non Grata at Soho Theatre and Botis Seva's Until We Sleep at Sadler's Wells East.

This coming week I'll be finishing up Raindance movies and also watching Charlize Theron in The Old Guard 2, Jon Cena and Idris Elba in Heads of State, David Cronenberg's The Shrouds, Sam Riley in Islands and a couple of live shows: Otto & Astrid: The Stage Tour at Jackson's Lane and Kiki & Herb Are Trying at Soho Theatre Walthamstow.

Dance: Defying gravity in the gloom

Botis Seva / Far From The Norm
Until We Sleep
choreographer-director Botis Seva
dancers Victoria Shulungu, Jordan Douglas, Larissa Koopman, Margaux Pourpoint, Rose Sall Sao, Naïma Souhaïr, Joshua Shanny Wynters
music Torben Sylvest
costumes Ryan Dawson-Laight • lighting Tom Visser
Sadler's Wells East, Stratford • 24-28.Jun.25 ★★★★

Choreographer Botis Seva and his Dagenham hip hop theatre company Far From The Norm bring this astonishing production to the stage in a way that creates a mesmerising dark cavern out of the deep rake at Sadler's Wells East. Because the set is drenched in smoke, the audience never quite gets a clear view of the seven dancers. And there's not even a curtain call. But the movement and staging are dazzlingly conceived and performed to create a powerfully involving look at mortality.

Because of the smoke, the lighting can quickly shift the stage from inky blackness into a shimmering glare. And a series of tall angled rods along the periphery look like a wall or bars around a cage until they begin to light up, shimmering on their own to add colours and create what appear to be doorways between dimensions. Most impressive, and impactful, is how the lights, music and movement are so precisely connected to hit the audience. Indeed, Torben Sylvest's soundscape-style score pulses with deep bass vibrations that literally rattle us to the core. The effect is almost overwhelming, a skilful display of stagecraft on every level. 

The dancers circle around the imposing figure of Victoria Shulungu, who takes the lead role as she faces a mysterious being who appears to be beckoning her from the afterlife. Her yearning desperation drives the narrative, pulling us into each encounter with the other gifted dancers. Sometimes these are tender and hopeful, and at other times menacing as elements of horror and violence heighten the tone. The performers expertly deploy bouncing, tightly contained movements that shift from individualistic to coordinated group expression.

This gravity-defying choreography continually takes us aback, evoking powerfully visceral emotions with military-style actions that explode into darkly unnerving moments such as an active-shooter incident. Each sequence carries a strong kick, including slow-motion walking that seems to be battling against the wind. Costumes have a post-apocalyptic feel, augmented by the way they remain hidden by the murkiness. It's the kind of show that holds us very tightly in its grip over the course of an hour, conveying feelings rather than openly stating ideas. And it leaves us reeling in all the right ways. 

For info, SADLER'S WELLS > 

photos by Tom Visser • 24.Jun.25

Raindance: Find your family

The 33rd Raindance Film Festival continues in central London, with a programme of amazing independent films that you're unlikely to see anywhere else. There's also a chance to mix with the filmmakers in ways that are far more relaxed than most festivals, including workshops and panel discussions at the festival's super-cool headquarters right next to Bafta on Piccadilly. Here are comments about three properly chilling movies I've seen over the past couple of days. More to come...

Dirty Boy
dir-scr Doug Rao; with Stan Steinbichler, Graham McTavish 24/UK ***.
Dark and brooding, this shadowy thriller opens with glimpses of nutty, violent religious rituals as seen through the eyes of a young man who knows he's unhinged. Writer-director Doug Rao makes clever use of effects to add freak-out flourishes alongside glorious Austrian landscapes that echo with The Sound of Music. All of this plays out in a way that's over-serious and sometimes ponderous. But it's impossible to look away.

Our Happy Place
dir-scr Paul Bickel; with Raya Miles, Paul Bickel 24/US ****
Opening with an intense swirl of home-movie clips, this increasingly gruesome horror is assembled with remarkable skill, making terrific use of Californian mountain locations. Along with the spurts of jarring editing, actor-filmmaker Paul Bickel also grounds everything in an eerie emotional honesty regarding love and mortality. So as the film encompasses elements of ghost stories and slasher movies, it also becomes a staggeringly twisted exploration of subconscious fears... FULL REVIEW >

Row
dir Matthew Losasso; with Bella Dayne, Sophie Skelton 25/UK ***
With visceral cinematography by Zoran Veljkovic, this hushed thriller skilfully pulls the audience into its chilly, windswept North Atlantic locations. Even with the fragmented, out-of-sequence editing, director Matthew Losasso manages to build a creeping sense of dread by revealing that this story will turn very grisly along the way. There are logic and point-of-view problems in the indulgently overlong running time, but the unfolding central mystery remains compelling.

Full reviews of festival films will be linked here in due course: SHADOWS @ RAINDANCE >