Critical Week: Dress to impress

Lockdown rolls on, with another random batch of movies to watch this week. I'm always hoping there will be a gem hidden in there somewhere. The weather has been glorious in London, so I ventured out for a picnic one day, seeing friends (at a safe distance) for the first time in two months. It kind of gives you hope that this will all end someday. Meanwhile, one of this week's movies, the action comedy The Lovebirds, offered some ideas about how to dress to spice up those Zoom meetings. It's a dopey bit of fluff, but kind of just right for these times, and Kumail Nanjiani and Issa Rae make a unexpectedly terrific duo.

BEST OUT THIS WEEK:
I'm No Longer Here • Snowpiercer
Only the Animals • End of Sentence
The Man Standing Next

John Hawkes and Logan Lerman are another solid double-act in End of Sentence, an engaging father-son road movie set in Ireland. Mario Van Peebles makes the B-movie crime drama A Clear Shot almost worth watching, plus the fact that it's based on a real hostage event. But it's very cheesy. There are no big-name actors in the sweet romance Angelfish, but it's charming enough. The French mystery thriller Only the Animals is expertly directed by Dominik Moll with an excellent ensemble cast and a twisty, involving plot. From Korea, The Man Standing Next is a riveting, exceptionally well-made thriller about the real-life assassination of the Korean president in 1979. From Thailand, Krabi 2562 is a moody experimental doc about the collision of past and present in a tourist city. And The Uncertain Kingdom is a collection of 20 short films addressing current issues in Britain (nine of them were screened to the press in January, and I saw the other 11 this week). Specially commissioned, the fascinatingly varied clips were made to explore the wake of Brexit, and have an additional resonance amid the pandemic chaos.

I have a rather long list of movies to watch over the next week, so we'll see how many of these I get around to: Dakota Johnson in The High Note, Sebastian Stan in The Last Full Measure, Luke Wilson in Guest of Honor, Willem Dafoe in Tommaso, the small-town drama To the Stars, the horror thriller The Dinner Party, the German drama The Collini Case and the documentary Homosaywhat.

LFF 6: Beard vs beard

Today at the 56th BFI London Film Festival, the red carpet paved the way for filmmakers Ben Affleck (with Argo, above), Michael Winterbottom (Every Day) and Ben Lewin (The Sessions), who were accompanied by their cast members. Oddly, I read about these big gala events, but don't actually get to experience them myself, as I am sitting in press screenings all day, plus the occasional press conference when I have the time. In other words, for most journalists the LFF isn't very festive. But then we do have the films. Here are some more highlights...

Argo
dir Ben Affleck; with Ben Affleck, Bryan Cranston 12/US ****
Based on an unbelievable true story, this entertaining thriller uses declassified documents to recount a news story from an angle never heard before. Both funny and thrillingly nerve-wracking, it also cements Affleck's status as an A-list director... REVIEW >

Keep the Lights On
dir Ira Sachs; with Thure Lindhardt, Zachary Booth 12/US ****
This gorgeously shot and edited film is an incisive exploration of two people struggling to make a relationship work over nearly a decade. Its honest perspective makes it thoroughly involving, even if it turns dreary in the final act... REVIEW >

The Sessions
dir Ben Lewin; with John Hawkes, Helen Hunt 12/US ****
Based on a true story, this quietly honest film manages to avoid sentimentality with startlingly earthy performances. And the straightforward filmmaking captures the inner life of the characters without becoming gimmicky... REVIEW >

Every Day
dir Michael Winterbottom; with Shirley Henderson, Jon Simm 12/UK ***
In the style of a fly-on-the-wall doc, this movie traces fictional events over a five-year period. And since it was actually shot over five years, it's a significant cinematic experiment. It's also moving story with very strong performances, although it's limited by the scale of the narrative as it follows a mother (Henderson) in Norfolk, coping with four precocious children on her own while her husband (Simm) serves a prison term. Over the years they learn to live without him, and enjoy being with him when they can. And that's about all there is to the film, which stirs in a few contrived events to liven things up. Without a more compelling plot, the movie is most notable for the fact that we watch the children grow up on screen in 94 minutes. Shot on grainy, hand-held video it looks like a TV doc, but Michael Nyman's surging score makes to feel more like a kitchen sink drama. It's a cool experiment, but it makes you wish more attention was paid to the story.

The Comedian
dir Tom Shkolnik; with Edward Hogg, Nathan Stewart-Jarrett 12/UK ***
This low-key improvised drama has a rather misleading title. Writer-director Shkolnik astutely explores the bleak aimlessness of his central character, drawing knowing performances from the cast. But it's so gloomy that it's difficult to connect emotionally... REVIEW >