Critical Week: Lie low

With the big autumn festivals behind us, it feels like awards season kicked off this week, as studios begin jostling for attention with special screenings of their contenders. Channing Tatum gets one of his best roles yet in Roofman, the astonishing true story of a nice-guy criminal. It's entertaining and surprisingly moving too. I also attended a lively Q&A screening with Dwayne Johnson, Emily Blunt and writer-director Benny Safdie for another true story, The Smashing Machine. It's an unusually realistic mixed martial arts biopic with terrific performances from the whole cast.

BEST OUT THIS WEEK:
Brides • Ellis Park
ALL REVIEWS >

Dylan O'Brien is terrific in Twinless, starring opposite gifted writer-director James Sweeney in an offbeat drama about grief and obsession. Marion Cotillard goes glacial in The Ice Tower, a too-murky fantasy about a teen girl who because fascinated by an actress on a film set. Eddie Marsan and Sam Claflin go very dark in All the Devils Are Here, an intriguing, artful British crime drama set in a gloomy farmhouse on a moor. 

Hong Kong icons Jackie Chan and Tony Leung face off in riveting, fast-paced cops-and-crooks thriller The Shadow's Edge. From Argentina, Kill the Jockey is a skilfully made and very quirky romp infused with dark emotions. And Justin Kurzel's doc Ellis Park beautifully explores the life of musician Warren Ellis and his involvement in rescuing animals in Indonesia. I also attended Acosta Danza's exhilarating A Decade in Motion on stage at Sadler's Wells. 

Films to watch this coming week include Leonardo DiCaprio in One Battle After Another (after I was unable to attend the only press screening), Riz Ahmed in Relay, Marlon Wayans in Him, Malcolm McDowell in The Partisan and Hunter Doohan in The Wilderness. There are also live performances of Lacrima at the Barbican and Get Down Tonight at Charing Cross Theatre.

Dance: A joyous fusion

Acosta Danza
A Decade in Motion
artistic director Carlos Acosta
dancers Amisaday Naara, Adria Díaz, Daniela Francia, Frank Isaac, Leandro Fernández, Brandy Martínez, Cynthia Laffertte, Ofelia Rodriguez, Melisa Moreda, Thalia Cardin, Wendy Elizabeth, Alexander Arias, Aniel Pazos, Paul Brando, Edgar Zayas
Sadler's Wells, London • 23-27.Sep.25 ★★★★★

Acosta Danza celebrates its 10th anniversary with a programme of four exhilarating pieces that burst with Cuba's distinctive blend of rhythms, attitude and physicality. Performed by Carlos Acosta's company of seriously gifted and gorgeously muscled dancers, two of these works (98 Días and Llamada) are UK premieres, and all four capture what Acosta refers to as his home nation's "fusion of cultures, rhythms and dances". These are pieces that get the heart racing with astonishing choreography that expresses a pure love of dance. 

First up is La Ecuación (the equation) by choreographer George Céspedes, in which four dancers spiral around the frame of a cube in brightly coloured costumes. Their movement echoes and mirrors, in solos and groups, striking eye-catching shapes along with the jubilant thump of X Alfonso's music, which mixes marimba and maracas with rumbling techno undercurrents. With its bright colours, pulsing beats and inventive lighting, this is unusually expressive and expansive, and also acrobatic and cheeky, a celebration of soaring physicality that feels improvised but is skilfully precise.

Choreographed and designed by Javier de Frutos, 98 Días echoes the life-changing days poet Federico García Lorca spent in Cuba in 1930, rediscovering his multi-ethnic heritage. Along with music by Estrella Morente, the soundtrack features spoken words by Lorca, including a lecture about his arrival on the island and the evocative poem Son de Negros en Cuba. In cool blue jumpsuits with lace sleeves, a group of 10 dancers performs to both words and music, with gorgeous full-bodied movement that expresses the collision of cultures, highlighting Latin and African rhythms, classical flamenco and ballet flourishes, and both dancing and fighting in the streets. It's visually and emotionally breathtaking.

Even more emotive, Goyo Montero's Llamada (calling) sees the dancers on stage in white skirts and matador trousers, expressing deep yearning as thy spin both in a group and in their own spotlights. This is a rolling, floating piece with music by Owen Bolton, Miguel Poveda and Rosalia, and it explodes with passion as romance blossoms, lighting shifts to red and costumes are shed. The music and choreography are elegantly beautiful, creating wrenching connections between the dancers that evoke wider social themes, most notably that internal sense of direction that we all recognise regarding things like culture, religion and sexuality.

Finally, the entire company takes the stage for De Punta a Cabo (from end to end) by Alexis Fernández and Yaday Ponce. Set along Havana's Malecón seawall, this is a celebration of culture that depicts Cuba's unique blend of Native American, European and African heritage in both movement and music (by Kumar, Kike Wolf and Omar Sosa). In front of a projection of the bay, which sometimes features performers atop the wall, the dancers joyfully throw themselves into a range of eloquent movement, jumping and spinning as they engage with each other as if they're attending a street party. The music shifts from smooth and rhythmic to hip hop as night falls, and a pair of bongos adds enjoyable beats. It's no wonder that they strip off their sweat-soaked clothes and collapse in a heap at the end. Only to pop up for a very lively curtain call.

For details, SADLER'S WELLS >

photos by Hugo Glendinning, Argel Ernesto González Alvarez,
Ariel Ley, Enrique Smith Soto • 23.Sep.25

Dance: You've been framed

Eastman
Vlaemsch (chez moi)
director/choreographer Sidi Larbi Cherkaoui
performers Dorotea Saykaly, Helena Olmedo Duynslaeger, Christine Leboutte, Kazutomi ‘Tsuki’ Kozuki, Dayan Akhmedgaliev, Patrick Williams Seebacher, Nick Coutsier, Pau Aran Gimeno, Jonas Vandekerckhove, Nelson Parrish Earl, Darryl E Woods, Khalid Koujili El Yakoubi, Tister Ikomo, Maryna Kushchova
live music Floris De Rycker, Tomàs Maxé, Anne Rindahl Karlsen, Soetkin Baptist
sets Hans Op de Beeck • costumes Jan-Jan Van Essche
musical direction Floris De Rycker • sound Tsubasa Hori
Sadler's Wells, London • 18-20.Sep.25 ★★★

Belgian-Moroccan artist Sidi Larbi Cherkaoui takes a deep dive into his Flemish roots with this lively, multi-layered production that bursts with a wide range of ideas. It's visually dazzling and packed with metaphorical meaning as it mixes dance and music with spoken word, religion, language, art and culture. In other words, this is an exploration of identity, and it inventively reflects how difficult it is to isolate ethnicity and nationality in a world in which we all intermingle. It's also extremely singular, conveying ideas in ways that don't quite allow the audience to get inside them and feel them personally.

The stage is an astonishing mix of spaces and shapes, including elements from medieval Flanders, with sets, props and costumes that emphasise the region's perceived greyness. Musicians perform with ancient instruments, while De Rycker's vocal ensemble Ratas del Viejo Mundo harmonises in 16th century compositions. Intriguingly, other cultures continually seep into every aspect of the show, including Arabic musicality, American perspectives and sub-Saharan imperialistic influences, as well as some Far East touches. Everything plays out in lovely multi-lingual textures, although the words are more academic than resonant.

Full of fascinating touches, the complex choreography challenges the gifted performers to offer full-bodied expressions that shift from intimate movement to grand-scale tableaux. Much of this is laced with wit, as characters emerge and interact, playfully juggling elements involving gender and history. And rather a lot hinges around depictions of painters, as dancers repeatedly wield brushes, paint cans and picture frames in various scenes. Along the way, there are show-stopping moments, including a bus tour invasion of influencers gawking at the show. 

All of this plays out in such an intriguing flurry that the audience never has a clue what might pop up next. Key characters emerge to create through-lines in the narrative, including dancers, actors and singers, although what they mean and how they interact remains opaque. Indeed, many elements are head-scratchingly unclear, especially small bits of business taking place on the edges of the stage. Clearly it all has a profound meaning, and perhaps Cherekaoui's cheeky point is right there in the show's title, which is a deliberately misspelled archaic version of "Flemish": we should stop trying to put our cultural identity into a neat and tidy box.

For info, SADLER'S WELLS >

photos by Filip Van Roe • 18.Sep.25

Stage: Dance your life away

Teaċ Daṁsa
How to Be a Dancer in Seventy-two Thousand Easy Lessons
by Michael Keegan-Dolan
choreography and performance Michael Keegan-Dolan, Rachel Poirier
directors Rachel Poirier and Adam Silverman
set and costumes Hyemi Shin
lighting Adam Silverman • sound Sandra Ní Mathúna
Sadler's Wells East, Stratford • 17-20.Sep.25 ★★★

Blending his personal experiences into a lively performance art piece, Michael Keegan-Dolan takes the stage with long-time collaborator Rachel Poirer to explore the journey of his life through spoken word, dance and physical theatre. It's a fascinating show, largely because it's impossible to predict what might happen next. But it's also oddly indulgent, expressing ideas and narrating events in ways that keep the audience on the outside looking in. And for a show that explores ambition, identity and ancestry, it never quite cuts loose into something truly soul-baring.

Keegan-Dolan and Poirer immediately get to business unpacking a large wooden crate to place props around the stage for use later. For much of this 80-minute show, Keegan-Dolan recounts stories from his life while Poirer offers little asides, sounds and visual touches. There are also extended dance sequences and larger eye-catching moments involving ladders, lights, breeze-blocks, a disco ball, an egg and microphones on long cables. This show is constantly in motion, with a cheeky sense of humour that reflects in the performers' evident glee, especially in the sillier moments.

The story traces Keegan-Dolan from his childhood in Ireland to studying ballet in London and working as a choreographer across Europe, seen through the prism of his nationality as he stands up to authorities at every step (echoing his recent fallout with Sadler's Wells). Anecdotes chronicle moments of both embarrassment and tenacity, played out on-stage with honest wit and inventively visual flourishes. The choreography is impressively precise, even when things get messy. And Poirer's show-stopping dance numbers include a goofy cross-dressing sequence and a remarkable marathon solo to Bolero.

An eclectic mix of music spans from Ravel and Elgar to Talking Heads, Queen and Men Without Hats. Themes are also wide-ranging, touching repeatedly on art, religion and racism, with some vague nods to sexuality along the way. Most enjoyable is the lively storytelling, recounting youthful aspirations as they clash with reality. These are funny and telling, and offer brief moments of resonance along the way. Most sequences feel rather random, but the general sense of absurdity is lovely. As is the idea that life is short, so while I'm alive I will dance.

For info, SADLER'S WELLS >

photos by Fiona Morgan • 17.Sep.25

Critical Week: You're going to be just fine

It seems that awards season is arriving early this year, as screenings have already begun for many of this year's festival favourites, who are jostling for attention in the awards conversation. What's nice about this is that, at many of these screenings, we get a chance to meet the actors and filmmakers. And I particularly like getting a bit ahead of the buzz - making up my own mind without reading reviews. One of my most anticipated this year was Harris Dickinson's writing-directing debut Urchin, starring Frank Dillane (above). It's a stunner, authentic and artistic, and profoundly moving.

BEST OUT THIS WEEK:
Plainclothes • Solo • Steve
The Lost Bus • Happyend
Tape • Peacock • Megadoc
ALL REVIEWS >

The starriest event, attended by the cast and crew, was for Steve, which stars Cillian Murphy as headmaster of an English reform school. It's another remarkably artful, skilfully shot and acted drama with a powerful kick. Paul Greengrass' riveting, immersive true story The Lost Bus stars Matthew McConaughey and American Ferrera as a pair of everyday heroes trying to save young kids during a horrific California wildfire. And Emma Thompson is terrific in the snowy and very gritty thriller Dead of Winter.

I also caught up with three festival favourites: The Love That Remains is an unusually nuanced collage of complex family life from Iceland, Two Prosecutors is a wryly ironic drama set in Soviet-era Russia as a young lawyer tries to take on the system and, from Spain, Romeria is an involving look at identity as a young woman seeks answers about her heritage. I also loved Mike Figgis' making-of-Megalopolis documentary Megadoc, which is a gorgeous portrait of Francis Ford Coppola. Finally, I attended two offbeat live performances that mix dance, music and spoken word: How to Be a Dancer in Seventy-two Thousand Easy Lessons at Sadler's Wells East and Vlaemsch (Chez Moi) at Sadler's Wells.

Films to watch this coming week include Dwayne Johnson and Emily Blunt in The Smashing Machine, Channing Tatum in Roofman, Sam Claflin in All the Devils Are Here and Brett Goldstein in All of You, plus Acosta Danza's A Decade in Motion on stage at Sadler's Wells. I'm also hosting a Q&A with director Sophie Dupuis and actor Felix Maritaud tomorrow following their new film Solo.

Dance: Perfect synchronicity

Murmuration: Level 2
by Sadeck Berrabah
music TRex
featuring Berrabah alongside 30 uncredited performers
costume, lighting and stage designers are also uncredited
Peacock Theatre, London • 10-20.Sep.25 ★★★★

After a sold-out tour through France, dancer-choreographer Sadeck Berrabah stages the UK premiere of the second version of his acclaimed Murmuration, named after the way birds flock together, creating shapes in perfect sync. It's a mesmerising show that mixes a range of movement, from ballet to hip hop, also inckluding elements of mime and martial arts. And it's set to a carefully curated mix of smooth music and eye-catching lighting.

The performers' precision is astonishing, as they never miss a beat. Much of the show consists of them arranged as a choir, creating rippling shapes with their arm, as well as some colourfully reflective props. And there are several more varied scenes featuring solos, duets or groups moving around the stage. Berrabah often appears as their conductor, injecting personality into the show. Dressed in baggy black costumes, the dancers mainly maintain neutral facial expressions. Then when the energy kicks up, they flash the occasional smile.

Energy is an issue with this show, because the sleepy muzak-like compositions and repetitive movements have a hypnotic quality that weighs heavily on the eyelids. Inventive lighting effects help spice things up, especially with some rich colour washes and a thrilling use of UV. Several segments also bring stronger beats both in the music and movement, as these hugely gifted and disciplined performers remain stunningly connected to each other. There are also brief moments in which a moment of spontaneous joy bursts out among them.

It all wraps up in a terrific one-two punch, as the good-natured Berrabah takes the stage to teach the audience an extended bit of choreo. This leads into a finale that is a real heart-stopper, as clever props and costume changes create magical effects along with a final text message spelled out beautifully with the cast's armography. This show is thoroughly entrancing. But perhaps for Level 3, Berrabah could encourage some improvisational spark to more effectively reveal the individuals who make up this exactingly singular company. 

For information, SADLER'S WELLS >

photos by Fabien Malot • 10.Sep.25

Critical Week: Take a break

Tube strikes have paralysed London this week, so the only films I've seen are those I could watch on links at home. I braved the bus one day to get to the theatre, a grisly journey involving flustered crowds, pouring rain and nightmarish traffic. But there were plenty of movies to watch. Paul Mescal and Josh O'Connor star in the understated romantic drama The History of Sound, which requires patience but has a lot to say. Denzel Washington reteams with Spike Lee for Highest 2 Lowest, a provocative thriller with a moral dilemma at its heart, reimagined from a Kurosawa classic.

BEST OUT THIS WEEK:
Islands • Spinal Tap II
The History of Sound • Dreams
ALL REVIEWS >

Screening at Toronto Film Festival, Christy is a biopic about boxing champion Christy Martin. It's the usual story, but Sydney Sweeney is excellent in the title role. Michael Chiklis goes back to college in The Senior, based on the relentlessly inspirational true story of a 59-year-old who returns to play college football. The superb Adam Bessa stars in Ghost Trail, a complex, powerfully moving story about Syrian refugees in Europe. And the Hong Kong remake of Richard Linklater's 2001 drama Tape is seriously riveting exploration of perspective and memory.

I also attended the stage show Murmuration: Level 2, a mesmerising mix of music and movement. And I published my September TV Roundup featuring Chief of War, Wednesday, Smoke and much more.

Films screening this coming week include Harris Dickinson's Urchin, Marion Cotillard in The Ice Tower, Cillian Murphy in Steve, Mike Figgis' making-of documentary Megadoc and three festival favourites: The Love That Remains from Iceland, Two Prosecutors from Ukraine and Romeria from Spain.

Screen: September TV Roundup

Because I watch most of these shows on press links, I have already jumped ahead to series that aren't out yet, most notably advance episodes in new seasons of Only Murders in the Building, The Morning Show and Peacemaker. I'm loving these shows, although I am waiting impatiently to get the rest of the episodes. I'll start here with this summer's new series...

Chief of War
Jason Momoa stars in and cowrote this epic Hawaiian historical series. Set in the late 1700s, the thunderous plot centres around Momoa's Maui warrior Ka'iana, caught between two outrageously violent kings (Temeura Morrison and Cliff Curtis) and the benevolent Kamehameha (Kaina Makua). It's a robust show with hugely thrilling moments and beefy dramatic beats. Characters are vivid, including some superbly strong women (especially Luciane Buchanan and Te Ao o Hinepehinga). There's also a lot of grisly violence, although the show flinches away from romantic elements, leaving some sequences rather unfinished. This series leads to a staggeringly intense battle on an active volcano. And plenty of nastiness is still lurking for season 2. (Apple)

The Institute
Based on the Stephen King novel, this conspiratorial mystery series centres on a top-secret facility run by the creepy Sigsby (Mary-Louise Parker), who kidnaps, exploits and possibly kills children with telepathic abilities for some nefarious reason. Meanwhile, drifter Tim (Ben Barnes) takes a job in a local police station and begins investigating. The intrigue levels are high, largely because the scripts give so little away, centred on the smart teens (including Joe Freeman, Fionn Laird, Simone Miller and Viggo Hanvelt) trying to escape from this shady prison-like facility. The scrappy filmmaking approach makes it riveting to watch, because it feels so unpredictable. Although it takes a long time to get around to supplying the answers. (MGM)

Smoke
This is about as Dennis Lehane as a TV show can be, a thriller packed with conflicted and often downright loathsome characters that give the actors a lot to chew on. Taron Egerton stars as an arson investigator teamed with a local cop (Jurnee Smollett) to solve two sets of serial fires. Meaty support comes from Rafe Spall, Greg Kinnear and John Leguizamo. Each of these tough-talking characters has at least one key moral failing, and they interact in ways that are as fiery as the blazes that are burning everything down around them. The plot takes a series of seriously grim twists and turns. And not a moment of what's on-screen feels remotely plausible. If you don't get too frustrated by this, the show is still entertaining. (Apple)

Leanne
Comedian Leanne Morgan leads this sitcom about a Southern woman who is thrown when her husband (Ryan Styles) suddenly leaves after three decades of marriage, children and grandchildren. She puts her life back together with the help of her tearaway sister (Kristen Johnson), two hilariously sparky siblings against the world. It's fairly standard TV stuff, with the usual children (Graham Rogers and Hannah Pilkes), parents (Blake Clark and Celia Weston) and nosey neighbour (Jayma Mays) on hand to spike the one-liners. Plus a new suitor (Tim Daly) for Leanne. It's also warm and funny, with strong characters and a steady stream of laugh-out-loud moments. But the laugh track feels oddly old fashioned, and more than a little distracting. (Netflix)

Stick
With heavy Ted Lasso vibes, but a more formulaic story arc, this sports comedy-drama stars Owen Wilson as disgraced golf pro Pryce who finds new purpose in life when he discovers talented 17-year-old Santi (Peter Dager) and offers to help launch his career. The character-based storytelling is hugely engaging, most notably in the long-time relationship between Pryce and his caddy Mitts (Marc Maron). And Mariana Trevino (as Santi's mother) and Lilli Kay (Santi's love interest) add superb textures as this offbeat makeshift family travels around middle America in an RV. Big story elements arrive with a thud, mainly in the form of unnecessary conflicts, but the show maintains its warm, brittle sense of humour. (Apple) 

Olympo
From the producers of Elite, here's another show about an exclusive school, this time an academy for, yes, elite athletes. It's of course populated by sex-obsessed students and over-serious teachers, all of whom who are stupid or vile, often both. Of course, this makes it just as watchable as Elite, because all of these absurdly super-fit, clothing-averse people are deeply conflicted about the contrived nastiness the writers continually throw at them. With multiple mysteries, scandals and conspiracies for these eye-catching hotties to grapple with over the course of eight episodes, the show is a full-on guilty pleasure. It also makes some gestures toward confronting big issues in sport, such as doping, homophobia and corporate sponsorship. (Netflix)

Adults
While it's snappy and engaging, there's an annoying whiff of artificiality running through this comedy about five lively 20-somethings, starting with the fact that they live rent-free in a friend's house in Queens. This makes their whiny complaints about adult life feel astonishingly shallow and self-indulgent. The dialog is edgy and entertaining, well delivered by the central ensemble even if they're overplaying these likeable idiots. Frankly, there isn't one person on-screen who doesn't seem in dire need of a firm slap. And it doesn't help that every twist of the plot is painfully contrived, while the issues the show pretends to explore are little more than cliches addressed with jokes that aren't particularly funny. (FX)

The Wild Ones
Former commando Aldo Kane and intrepid camera operators Declan Burley and Vianet Djenguet take on some jaw-droppingly intense projects in these six episodes. They travel into inaccessible spots around the globe in an effort to document endangered species and help make sure they don't go extinct. Looking for tigers in Malaysia, bears in Mongolia and whales in the North Atlantic, these guys come up with ingenious ways to capture footage of seldom-seen animals. The situations they get into are astonishing, beautifully filmed to reveal the rarely seen settings and wildlife. It's also a little surreal to realise that they are accompanied by an equally intrepid camera crew that's filming this series, and perhaps could have a show of their own. (Apple) 

C A T C H I N G   U P

Wednesday: series 1-2
Having never watched this Addams Family reboot before, I binged the first season before the second arrived. This is a wonderfully deranged and stylised comedy from the mind of Tim Burton, centred around Jenna Ortega as a dark-minded teen in a nutty boarding school for outcasts. The second season is instantly gloomier, with a stronger sense of violent nastiness woven into the storylines. Thankfully, it's also still hilarious, with the added nuttiness of Steve Buscemi's over-eager headmaster. Everything about this show is delightfully ghoulish, from the bonkers plotting to the thoroughly up-for-it cast. These could easily be one-note characters, but they're full of witty nuance. And at its core this is a terrific celebration of individual quirks and offbeat family bonds. (Netflix)

Fisk: series 1-3
As a Kath & Kim fan, this show has often been recommended, but it took me awhile to catch up with it ahead of the recently dropped third season. This is another riotously bone-dry comedy from Melbourne, populated by amusing characters who are instantly unforgettable. In the title role, Kitty Flanagan has impeccable timing as the intelligent but vaguely clueless probate lawyer Helen Fisk, whose colleagues (Jilia Zemiro, Marty Sheargold and deadpan genius Aaron Chen) never say or do anything that isn't ridiculous. There's even an outrageous recurring role for Glenn Robbins (Kath & Kim's Kel). Each season pushes these people to the breaking point, but they hang on resiliently. And hilariously. Unmissable. (Netflix) 

T H E Y ’ R E   B A C K !

Dexter: Resurrection
The killer who can't be killed returns once more for another gritty series of episodes. Michael C Hall is back in his signature role, as Dexter now moves to New York to keep an eye on his son Harrison (Jack Alcott), who has some demons of his own. But of course, Dexter can't resist getting caught up in murderous shenanigans of his own. After tracking down a serial killer, he finds himself on a collision course with deadly puppet-masters (Uma Thurman and Peter Dinklage) who run a club for murderers. Fabulous cameos liven things up considerably, including Neil Patrick Harris, Krysten Ritter, David Dastmalchian and Eric Stonestreet. And the tension between Dexter and Harrison is beautifully well-played. (Showtime)

Single, Out: series 3
Still endearingly awkward, this low-budget queer series set in Melbourne continues the adventures of magazine photographer Adam (Will Hutchins), with new wrinkles provided by younger brother Ethan (Joel Nankervis). Even if the direction is rather clumsy, series creator Lee Galea continues to have fun with an ensemble of lively characters who are likably played by a bright young cast. Everyone falls in and out of love in an instant, slutty one day and chaste the next. But it's easy to ignore the corny plotting and implausible details (can any free gay magazine support such a large staff?), thanks to thoughtful issues that pop up here and there. And it's especially nice to see characters who are so relaxed about sexuality. (Cinephobia)

Long Way Home
Ewan McGregor and Charley Boorman are back for a fourth epic motorbike odyssey, this time riding reconditioned 50-year-old vintage bikes in a huge arching circle around Europe from Ewan's Scotland hometown to Charley's house outside London. They spend much of this series in Scandinavia, which is particularly fascinating as they discover glorious scenery, offbeat sports and several astounding places to camp or rent an unusual room. Their camaraderie is infectious, because they come across as endearing chuckleheads who are simply enjoying the unexpected things they discover along the road. And their families feature as well this time, which makes it even more involving. We'd love to go travelling with them. (Apple) 

O V E R   A N D   O U T

The Sandman: series 2
Grim and almost oppressively dark from the opening moments, this show digs further into its elaborate mythology while majoring in shadowy sets and black-intensive costumes. The overwhelmingly grey imagery and tone are hugely indulgent and not terribly original. But there are a huge crowd of terrific characters along the way, and some churning surprises in the way the story unfolds its tale of gods and spirits and faeries and such. Best of all are the evolving relationships between the mopey Dream (Tom Sturridge) and his friends, siblings, parents and foes. This offers beefy roles for superb actors who manage to hold things together despite seemingly being directed to do everything in slow motion. (Netflix)

Acapulco: series 4
For its final season, this refreshingly bilingual series doubles down on its fractured narrative approach, excessively spinning out sideplots for supporting characters while stretching out the present-day framing device into a separate story strand of its own. And visually, current scenes and those set 40 years ago look increasingly similar, which oddly blurs everything, lowering the stakes because the storylines seem to be warring with each other for our attention. Still, the writers have fun with versions of the characters while also tying up the various threads. The show continues to have plenty of Latin-fuelled charm, with hilarious gags peppered throughout the script. And Eugenio Derbez is engaging as always. (Apple)

Upload: series 4
There are only four half-hour episodes in this final season, and it feels much more plot-driven than before, rushing to tie up a range of loose threads in thankfully unexpected ways. While the tone leans further into the more slapsticky elements, the story itself is surprisingly dark, touching on issues of grief and loss in intense ways that sit at odds with the silly comedy. It helps that Robbie Amell is as charming as always in his now-dual role as two versions of Nathan, even if one of them is very mopey this time around. And as before, he's ably supported by Andy Allo, Allegra Edwards, Kevin Bigley and Zainab Johnson, plus Owen Daniels as the mass-produced AI Guy. Hopefully we'll see these actors in new gigs soon. (Prime)

GUILTY PLEASURES: The Great British Bake Off, Last Week Tonight, The Late Show, Destination X, Battle Camp, Final Draft, South Park.

NOW WATCHING: The Paper, Peacemaker 2, Star Trek: Strange New Worlds 3, The Morning Show 4, Only Murders in the Building 5

COMING SOON: Black Rabbit, The Savant, Chad Powers, Boots, Gen V 2, Loot 3

Previous roundup: JULY 2025 >

Critical Week: A family portrait

Three big sequels were screened this week for the press. The big one was the world premiere of Downton Abbey: The Grand Finale, attended by most of the cast and crew. The film is a worthy farewell to this franchise, and there are no surprises. Which makes it even more cosy and comforting. A lot more fun was Spinal Tap II: The End Continues, continuing the hilarious mock-doc comedy antics of the world's favourite fake British heavy metal band. And then there were Patrick Wilson and Vera Farmiga back for one more time as the ghostbusting Warrens in The Conjuring: Last Rites, which works best when it centres on the characters rather than the rather silly ghostly creep-out.

BEST OUT THIS WEEK:
On Swift Horses • Christy
Night of the Juggler
ALL REVIEWS >

We also had Benedict Cumberbatch in The Thing With Feathers, an artful exploration of grief that really gets under the skin. Cooper Hoffman leads The Long Walk, based on a Stephen King novel set in a 1970s American dystopia. It's very dark, but also compelling and thought-provoking. The horror thriller Good Boy skilfully unfolds through a dog's-eye-view, which makes it unusual enough to catch us off guard. And the British drama Brides addresses a very thorny issue with engaging characters and a sharp sense of youthful hope.

There are fewer screenings this coming week, largely due to the week-long Tube strikes, but among films I'll be watching are Emma Thompson in Dead of Winter, Michael Chiklis in The Senior, Adam Bessa in Ghost Trail and Justin Kurzel's Warren Ellis doc Ellis Park.