Critical Week: Cinematic royalty

Pretty much everything in London this week is centred around Saturday's big coronation of King Charles and Queen Camilla. I'm avoiding the crowds, and will catch it on TV. Meanwhile, movie queens Jane Fonda, Diane Keaton, Candice Bergen and Mary Steenbergen return for Book Club: The Next Chapter, a much funnier, more engaging sequel to the corny 2018 hit. An even larger ensemble returns for Guardians of the Galaxy Vol 3, which has had better reviews than it deserves. It's funny, and fans will love it, but there isn't a single exciting or thrilling moment.

BEST OUT THIS WEEK:
Pamfir • The Blue Caftan
Chile '76
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Jim Parsons stars in the involving romantic drama Spoiler Alert, which infuses real-life humour into a sad story. BlackBerry stars Jay Baruchel as the man who first combined email and mobile phones. It's a fascinating story, skilfully told. Two decades in the making, the witty and rather overlong autobiographical comedy 5-35-77 traces Patrick Read Johnson's journey into filmmaking, via a preview screening of Star Wars. And Still is a gorgeously well-made documentary chronicling Michael J Fox's acting career as well as his experiences with Parkinson's. 

I also covered two stage shows this past week: the inventive, insightful Supernova at Clapham Omnibus, and the fiendishly entertaining musical comedy Eurovision: Your Decision at Wonderville

This next week I'll be watching Jennifer Lopez in The Mother, Finnish action film Sisu, 1970s British thriller Dead Shot and Anton Corbijn's doc Squaring the Circle. I also have a couple of catch-up movies to watch.

Critical Week: Life's a beach

Awards season stuff continues to take up much of my time, with another flurry of nominations and winners released this week, including the biggest nominations of the season: the Oscars. As usual, the news was full of stories about surprise nods and angry snubs, as if this was something new. Meanwhile, I'm in the final 10-day push toward the London Critics' Circle awards, looking forward to having Michelle Yeoh at our ceremony to receive our top honour. It's looking like a properly starry event after two virtual years. Lots still to do to get ready for that!

BEST OUT THIS WEEK:
Close • The Fabelmans
Concerned Citizen
PERHAPS AVOID:
Maybe I Do • Shotgun Wedding
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Of course I've also been watching movies, and the Philippines was the main villain in two big Hollywood productions. Filmed in the Dominican Republic, Shotgun Wedding stars Jennifer Lopez and Josh Duhamel as the bride and groom who plan a lush destination wedding that's interrupted by ruthless pirates. Filmed in Puerto Rico, Plane stars Gerard Butler as a pilot who crash-lands on a remote Filipino island overrun with a ruthless militia. Both movies require their stars to step in when the law fails to protect them. And both are plainly preposterous, although Plane just wins the battle by being a bit more fun.

The rest are an eclectic bunch: Maybe I Do has a super-starry ensemble cast that features Diane Keaton, Susan Sarandon, Richard Gere, William H Macy, Emma Roberts and Luke Bracey. And yet the transition from stage to screen feels a bit dull and contrived. From China, the massive blockbuster sci-fi epic The Wandering Earth II takes the breath away with its enormous scale and vast cast of characters, and it's also deliberately funny, which is refreshing. From Australia, Seriously Red is an endearing drama about a woman who becomes a Dolly Parton impersonator to find herself. It's funny and edgy, like Muriel's Wedding. And from Israel, Concerned Citizen is a lovely naturalistic drama about a guy trying to decide whether to improve his Tel Aviv neighbourhood or just move away like everyone else.

Screenings are a bit scant this coming week, although that's because I've already seen the awards-contending films that are coming into cinemas now. Movies to see this coming week include Ryan Philippe in The Locksmith, Nick Moran in Renegades and some straggling awards contenders.

Critical Week: Stay classy

Over halfway through our month-long Lockdown 2.0, it's clear that everyone is seriously bored with all of this now, longing for a reopening of cinemas, restaurants, pubs, theatres and everything really in time for Christmas. Meanwhile I've had three days and counting without internet, thanks to Virgin Media's astonishing inability to solve whatever the problem is in my neighbourhood. This means that I've had to use my phone's 4G to watch movies this week. And the films were a mixed bag. Ron Howard's new movie Hillbilly Elegy, which stars Glenn Close and Amy Adams. It's watchable but too simplistic to have any kind of kick. David Fincher's biopic Mank, starring Gary Oldman as the screenwriter of Citizen Kane, has equally great performances (especially from Amanda Seyfried as Marion Davies), and much more visual panache, although Fincher's perfectionism drains the story of passion.

BEST OUT THIS WEEK: 

Lovers Rock • Another Round

Mosul • Happiest Season

Possessor

PERHAPS AVOID:

Hillbilly Elegy • Buddy Games

The Ringmaster

FULL REVIEWS >

And then there's the messy romantic comedy Love, Weddings & Other Disasters, a frothy, corny multi-strand affair starring Diane Keaton and Jeremy Irons. Jungleland stars the superb Charlie Hunnam and Jack O'Connell as brothers on a road trip with the always excellent Jessica Barden, but the film is too hushed to come to life. Lost at Christmas is an awkward little holiday rom-com from Scotland, with just about enough charm to win us over. Host is a refreshingly original British horror movie set entirely on a Zoom screen, and it's skilfully terrifying. And The Ringmaster is a sickeningly derivative Danish horror movie that's uber-grisly but not very scary.

There were also two docs: Zappa uses extensive archival material to trace the iconic musician's career, while Markie in Milwaukee is about a 7-foot deeply religious trans woman who decides to live as a man again, then has to face her true nature. I also caught Kevin Hart's new stand-up show, Zero F**ks Given, which has a nicely intimate feel in his house, including some very personal jokes. And then there was The Lego Star Wars Holiday Special, a giddy bit of Christmas fluff that felt like just what I needed.

This coming week I'll catch up with Red, White and Blue, the third film in Steve McQueen's Small Axe series, as well as the all-star musical The Prom, Viggo Mortensen's Falling, Diane Lane in Let Him Go, Drew Barrymore in The Stand-In, Margot Robbie in Dreamland, the psychological thriller Muscle and the shorts collection The American Boys.

Critical Week: Ladies who lunch

While many of my colleagues are in Cannes, I've been here in London catching up on lots of movies. Bigger titles included Book Club, which stars Diane Keaton, Candice Bergen, Jane Fonda and Mary Steenburgen as women who find new spark when they read Fifty Shades of Grey together. It's lazy but amiable enough. And then there was Deadpool 2, in which Ryan Reynolds reprises his irreverent superhero for another anarchic adventure. It's a lot better than the overrated first film, very funny but less smug and more complex.

Nicole Kidman goes enjoyably punk in John Cameron Mitchell's How to Talk to Girls at Parties, a punk sci-fi romance that's bursting with scruffy energy but struggles to maintain its oddball plot. The Sundance hit The Miseducation of Cameron Post stars Chloe Grace Moretz as a teen sent to gay therapy camp. It's strikingly realistic with terrific performances and an important theme. The American indie caper romp Carter & June is energetic but far too misogynistic for its own good. And the British indie thriller Welcome to Curiosity weaves a few plot strands together in ways that are colourful but ultimately flimsy.

There were also two films from Mexico: A Place to Be is a sensitive fact-based drama that explores immigration issues from unexpected angles, while Boy Undone is a gripping amnesia thriller with a romantic emotional core. And there were also two star-packed docs: in McKellen: Playing the Part, Ian McKellen recounts his life and career with honesty and insight, while 50 Years Legal features a range of noted figures (including McKellen of course) talking about the history of gay rights in Britain.

The big screening this coming week is, of course, Solo: A Star Wars Story. Looking forward to that. Also in the diary: Travis Mathews' drama Discreet, the street-life doc Hooked, Paul Wright's collage doc Arcadia, the film producer doc The Fabulous Alan Carr, the Mongol Derby doc All the Wild Horses and a restoration of The Beatles' animated romp Yellow Submarine.

Critical Week: Bump in the night

Back into screening mode after returning to London, my first was to finally catch up with Personal Shopper, which reunites a superb Kristen Stewart with French filmmaker Olivier Assayas. It's an endlessly fascinating mix of personal drama and ghostly horror that leaves the audience wondering. Kong: Skull Island is a big, enjoyably 1970s-style take on the monster movie that's entertaining and very cool, even if the characters are rather thin. My comments on two British comedies are embargoed until closer to the release dates: Roger Allam, Matthew Modine and Fiona Shaw in The Hippopotamus, and Diane Keaton, Brendan Gleeson and Lesley Manville in Hampstead.

There were two micro-budget underwater thrillers: The Dark Below is a wordless cat-and-mouse chase on a frozen-over lake, while The Chamber is a claustrophobic stranded-sub adventure. Both have solid production values but little in the way of story or characters. Fair Haven is a sensitive American indie drama that grapples with issues of expectations and sexuality with warmth and honesty. And from Argentina, Bromance is a provocative drama that raises some big themes and almost deals with them. I also caught up with this gem...

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Fifty Shades Darker
dir James Foley
scr Niall Leonard
with Dakota Johnson, Jamie Dornan, Marcia Gay Harden, Kim Basinger, Eric Johnson, Eloise Mumford, Bella Heathcote, Rita Ora, Luke Grimes 17/Can *.
This sequel, based on the second novel in EL James' trilogy, is noticeably dumbed down from the first movie, with empty slick direction (by safe pair of hands Foley) and an embarrassingly simplistic script (by James' husband Leonard). But the biggest problem is that it abandons the premise, as billionaire Christian (a sleepy Dornan) goes all mushy in the presence of his young lover Ana (a feisty Johnson) this time. Instead of punishing her as before, he gives her pleasure and begs her to move in and then marry him. This never remotely rings true, as there is only a slight spark of chemistry between them and no sign of love at all. Conflict arises simplistically from outside in the form of two of Christians exes (glowering Basinger and psycho Heathcote), plus a near rape and a random helicopter crash that both like a pointless asides. But then, there is nothing about this movie that even remotely grabs hold. Every scene feels rushed and superficial, with dialog that's painfully cheesy, completely missing the central themes of control and dominance. So by the time Basinger takes a drink and slap to the face, the audience reaction is laughter. Badly in need of a sense of humour about itself, as well as an awareness of its own misogyny (Dakota is often naked while Dornan takes off his shirt a few times), the film is hardly whetting appetites for next year's sequel.

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As for films this coming week, I have the Disney revamp of Beauty and the Beast, the indie drama Bwoy, the British drama The Levelling, the Korean thriller The Age of Shadows, the award-winning Brazilian drama Aquarius, the Finnish comedy-drama The Happiest Day in the Life of Olli Maki and the Oscar-nominated doc I Am Not Your Negro. There's also a film festival starting next week, the 31st edition of BFI Flare - expect my usual coverage....

Venezia 73: Feeling holy on days 4 & 5

The sun has been out in force over the first week of the 73rd Venice Film Festival - not a cloud in the sky and temperatures in the blistering high-20s C (mid-80s F) - and it looks like next week will be more of the same. Meanwhile, the cinemas are air conditioned to shivering point. Anyway, I decided to finally take advantage of this beautiful place and visit the beach this weekend. Lovely! Hopefully I can carve out a few hours soon to go visit the main islands of Venice - I still haven't seen them, except from across the lagoon. But then I'm here for the movies, and here's what I saw this weekend (that's Jude Law, above)...

The Young Pope
dir Paolo Sorrentino; with Jude Law, Diane Keaton 16/It ****
The first two episodes of Paolo Sorrentino's controversial TV series were screened as a feature at the Venice Film Festival. It's a ripping drama that dares to take a playful tone as it sets up the tension between this hot new Pontiff and the establishment he is deliberately trying to rattle. So while it's a lot of fun, it's also rather pointed and ultimately chilling in where it ends up.

Brimstone
dir-scr Martin Koolhoven; with Dakota Fanning, Guy Pearce 16/Ned ***.
With a cool, clear eye, Dutch filmmaker Martin Koolhoven creates an expansive Western that vividly captures the perspective of a woman in a harshly male-dominated world. It's a ripping tale, told out of sequence in four overly-gruesome chapters that weave into an epic tale of retribution. There are a few niggling plot points, and the brutality sometimes feels almost celebratory, but the characters and themes are provocative and haunting.

Four Days in France [Jours de France]
dir-scr Jerome Reybaud; with Pascal Cervo, Arthur Igual 16/Fr **
There's a great story at the centre of this rambling, indulgent French drama. it has great characters, strong themes and lovely locations, and yet filmmaker Jerome Reybaud never manages to let the audience into his reasons for anything on-screen. Random scenes, unexplained motivations and a generally aimless structure make it feel even longer than its nearly two and a half hours.

The Untamed [La Región Salvaje]
dir Amat Escalante; with Simone Bucio, Ruth Jazmín Ramos 16/Mex ***.
From Mexico, this defiantly original film mixes relational melodrama with an unusual kind of monster movie. As it circles around a group of people whose interconnections are seriously tortured, a primeval creature complicates things in very strange ways. As a result, the film is almost overpoweringly foreboding. But it's strong group of characters and instantly recognisable situations make it impossible not to get sucked into the madness.

Indivisible [Indivisibili]
dir Edoardo De Angelis; with Angela Fontana, Marianna Fontana 16/It ***
A brittle sense of humour drives this offbeat drama set in a gritty seaside town in Italy. The central story is a bit too quirky to believe, but the gimmick provides enough of a hook to hold the audience's interest and provide some emotional resonance as well. But frankly, once things are set in motion, there aren't many places this story can go.

I'm still planning out what I will see on Monday, but I am aiming to kick the day off with Mel Gibson's Hacksaw Ridge.

On the Road: Family time

Love the Coopers [UK title: Christmas With the Coopers]

dir Jessie Nelson; with Diane Keaton, John Goodman, Alan Arkin 15/US ***.

Marketed as a wacky holiday comedy, it's rather surprising that this film strikes a more serious tone right from the start, with Steve Martin's warm, wry narration introducing us to each member of the sprawling Cooper clan as they reluctantly approach a Christmas Eve dinner together. There are plenty of hilarious moments along the way, but the issues each of these people are dealing with are anything but flippant: this is a film about how life is only very rarely like the happy-glowing images we surround ourselves with at the holidays. And things are beefed up by the powerhouse cast swirling around the terrific Keaton and Goodman in the central roles as a couple at the end of their tether after 40 years of marriage. Olivia Wilde and Ed Helms have strong scenes as their conflicted children, Arkin finds some new nuances in his usual patriarchal role, Marisa Tomei gets the film's most complex role as Keaton's drifting sister. With the multistrand approach, the film feels eerily similar to Love Actually, except with everyone directly related to each other (plus outsiders nicely underplayed by Amanda Seyfried, Anthony Mackie and Jake Lacy). And the large cast kind of spreads the depth around between them, never quite pushing any single character too far. But there's something to engage with in each of them, and the nostalgic emotional surge is meaningful and thankfully not overly sentimental.

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CRITICAL WEEK
I'm still out in California for a few more days - hope to catch a couple of films this weekend, including Secret in Their Eyes (a remake of a favourite film, but the top-notch cast makes it look unmissable) and The Night Before (which looks like it might be mindless fun).

Critical Week: Mommy issues

It was a busy week for UK critics, with another head-spinning collection of screenings. Robert Carlyle stars in and makes his directing debut with The Legend of Barney Thompson, an uneven black comedy costarring a scene-stealing Emma Thompson (as his mum, above) and Ray Winstone. It never quite gets the tone right. Also struggling with its tone, True Story recounts a fascinating real-life mystery starring Jonah Hill, James Franco and an almost-not-there Felicity Jones. Fascinating but too mopey to come to life properly. And Diane Keaton and Morgan Freeman are terrific in Ruth & Alex (aka 5 Flights Up) as a long-married couple planning a move from their beloved Brooklyn apartment. It's engaging but slight.

I took a break from the cinema to catch A Deadly Adoption on Channel 5. Will Ferrell and Kristen Wiig star in this hilariously overwrought thriller that is either a raucous spoof or just another ridiculous Lifetime movie. You be the judge. Either way, it's very funny as it follows a damaged couple hoping to save their marriage by adopting a baby from an apparently sweet young pregnant woman. But of course it all turns nasty. Full credit to Ferrell and Wiig for never winking at the camera.

Further afield, we had the Aussie animation Maya the Bee, a charming and energetic little adventure; the found-footage horror The Gallows, which should really put an end to the genre with its utter lack of originality; and the riotous 1980s slasher movie spoof Dude Bro Party Massacre III, which manages to maintain the joke perfectly right to the very end. And there were also two docs that both rely far too heavily on talking heads: Misery Loves Comedy is an intriguing all-star exploration of the life of a stand-up, while Looking for Love explores romance in London's Afro-Caribbean community with insight and lots of personality.

Coming up this week: the new Disney-Pixar hit Inside Out, Ryan Reynolds in Self/Less, Jessica Alba in Barely Lethal, Michael Douglas in Beyond the Reach, Jena Malone in 10 Cent Pistol, the American indie drama Buttercup Bill, and two docs: exploring the Russian ballet company in Bolshoi Babylon and an acclaimed profile of six teen brothers in The Wolfpack.

Critical Week: It's just so hilarious

Judging by the poster image, Hollywood veterans Susan Sarandon, Robert DeNiro, Diane Keaton and Robin Williams clearly found their new movie The Big Wedding absolutely hilarious. And there was plenty of laughter at last week's UK press screening, although reviews are embargoed until next Friday. Reviews are also embargoed for Iron Man 3, which was screened to us on Wednesday night with director Shane Black and his cowriter Drew Peace on hand to do a stand-up style introduction. They certainly got us in the right mood for the film.

Off the beaten path: we also saw Olivier Assayas' ambitious but somewhat dry youth-in-revolt drama Something in the Air and the very nicely written and played Spanish drama The Sex of Angels (released this week as The Angels of Sex in the USA), which dares to take a complex and offbeat approach to romance. I also attended the opening night of "The Film That Changed My Life" at the Barbican Centre, which is celebrating the centenary of the Critics' Circle with 14 special screenings at which critics introduce a key film. Friday's launch film was Gillo Pontecorvo's urgent and stunningly relevant 1966 uprising thriller The Battle of Algiers, presented by David Gritten. And from the sublime to the ridiculous, I also had to watch nine episodes of the latest series Spartacus: War of the Damned, in all its ludicrous, bombastic, macho-posturing glory.

This coming week, we'll be seeing Jason Statham in Hummingbird and the Italian drama Shun Li and the Poet. And we also have press screenings all week as part of the Sundance London Film and Music Festival, including Lynne Shelton's Touchy Feely, Sleepwalk With Me, A.C.O.D., Upstream Color, In Fear, In a World, Emanuel and the Truth About Fishes, The Inevitable Defeat of Mister and Pete, The Kings of Summer, The History of the Eagles (with an appearance by the band), Metro Manila, The Summit and God Loves Uganda. Full coverage of the festival starts here on Thursday....