Critical Week: A warm hug

The 70th London Film Festival wrapped up on Sunday evening, and I'll be catching up with movies I missed over the next few months, including Elsinore, A Long Winter, Godzilla Minus Zero, Artificial, Tender Loving Care, the list goes on a bit. Meanwhile, Jordan Firstman's filmmaking debut Club Kid became my favourite film of the fest. It's an unusually engaging film with huge emotional resonance. Firstman and newcomer Reggie Absalom also deliver knock-out performances. As does Julianne Moore in Jesse Eisenberg's comedy The Debut, a riotous odyssey set in a community theatre run by a wonderful Paul Giamatti. Clio Barnard creates an astonishing camaraderie amongst the ensemble cast of the lively drama I See Building Fall Like Lightning. And Harvey Zielinski's superbly written and played Australian drama Sweet Milk Lake was a terrific discovery.

BEST OUT THIS WEEK:
Possible Love
Wildwood • Fatherland
ALL REVIEWS >

Away from the festival, I saw Sacha Baron Cohen's new movie, Ali G: Who Iz I?, which uses the Borat/Bruno style to coax people into revealing their darkest impulses. It's pointed and important, but the connecting plot is very silly. Then there was the first-person action thriller Bad Day at the Office starring John Hannah and Radha Mitchell. It's nonstop chaos, and a little exhausting due to the shaky-cam perspective. I also caught an early screening of The Asscher Cut: A Timeless Legacy, a beautiful and remarkably detailed look at the diamond industry over the past two centuries. And it was fun to revisit Ken Russell's astonishing masterpiece The Devils on the big screen, now with censored scenes restored. Oliver Reed and Vanessa Redgrave are unforgettable in this outrageous, pointed historical romp. There was also a live performance of Tellus at Sadler's Wells East.

Coming up this next week, I'll be watching Andrew Scott in Elsinore, Jack Davenport in Blueberry Inn, Indonesian horror Ghost in the Cell, behind-the-scenes doc Making Marie Antoinette, David Lean doc Maverick and polar bear doc Nuisance Bear, plus live performances of Pia at the Guildhall School and Motionhouse's Hidden at Sadler's Wells.

Critical Week: Take to the streets

The 70th London Film Festival kicked off last night with the European premiere of Elsinore, starring Andrew Scott. I attended a talk with him today, which was as engaging as you can imagine! But I still haven't seen the film, so I'll be hunting for a screening. I've already caught 20 LFF films (reviews are linked HERE), and I saw three more this week: Ruth Madeley (above) is terrific in Being Heumann, a ripping, essential account of Judy Heumann's 1977 standoff about accessibility. Mahershala Ali brings his powerful presence to the dramatic thriller Your Mother Your Mother Your Mother, a slightly messy film packed with provocative ideas. And Ryusuke Hamaguchi's extraordinary drama All of a Sudden effortlessly carries us through three hours of a fascinating new friendship.

BEST OUT THIS WEEK:
Fjord • Naza • Tenzing
The Social Reckoning
California Schemin'
ALL REVIEWS >

Outside the festival, Mikey Madison leads Aaron Sorkin's sequel The Social Reckoning, as the whistleblower who exposed Facebook's extremely dodgy algorithm. She ably supported by Jeremy Allen White, Jeremy Strong (as Mark Zuckerberg) and others. John Cena leads the charge in the action comedy Matchbox, as a spy who takes his childhood pals on a globe hopping adventure. It's ridiculous, but the stunts are jaw-dropping. Lesley Manville is of course excellent in the gritty thriller Winter of the Crow, as a British professor stranded in locked-down Soviet-era Warsaw. An ensemble of top French actors leads the charge in the theatre-based comedy Comédie Française, mixing smart humour and hilarious slapstick. And I also attended a live performance of Acosta Danza's dazzling Cuban Baroque.

Coming up this next week, I'll be watching two highly anticipated animated films: Laika's Wildwood and Pixar's Ray Gunn, plus Pedro Pascal in Behemoth, Andrew Garfield in The Uprising, Jason Momoa in Street Fighter, the comedy Ghosts: The Possession of Button House and live performances of Heated Rivalry and Ballet Black at 25.

Critical Week: On the road again

Hello from Rome! I'm here for a few days this week, my first-ever visit to the city, so I plan to do a lot of walking. I've also caught up with a London Film Fest movie here at the Rome Film Festival, namely Iranian filmmaker Jafar Panahi's Palme d'Or winner It Was Just an Accident, a riveting comical romp with dark undertones that surge to the surface in the haunting final act. Panahi was on hand to accept a special award before the screening last night, then today I attended a conversation with him about his extraordinary career. Before coming to Italy, I watched several films during London Film Fest's closing weekend, including Paolo Sorrentino's Venice festival opener La Grazia, another outrageously gorgeous odyssey starring Toni Servillo as a wry, reflective Italian president.

BEST OUT THIS WEEK:
Bugonia • Hedda
Love+War
ALL REVIEWS >

Also at LFF: Springsteen: Deliver Me From Nowhere offers Jeremy Allen White another wonderfully textured role as the Boss, so the film is entertaining even if it never surprises us. Richard Linklater brought his second film this year, Nouvelle Vague, a French comedy-drama about the making of Jean-Luc Godard's Breathless, shot completely in period style. It looks amazing and is a lot of fun. There was also a lavish premiere for Annemarie Jacir's historical drama Palestine 36, beautifully dramatising a pivotal moment in time. The vast ensemble cast is excellent. From UAE, the psychological horror The Vile is a superbly unnerving thriller about a woman confronting her male-dominated culture. And the photography doc Love+War profiles top conflict photographer Lynsey Addario as she balances work with a lively family life.

My favourites from the London Film Festival:

1. 
   Is This Thing On? (Cooper, US)
2. Hamnet (Zhao, UK)
3. Rental Family (Hikari, Japan)
4. La Grazia (Paolo Sorrentino, Italy)
5. Wake Up Dead Man (Rian Johnson, UK)
6. Palestine 36 (Annemarie Jacir, Palestine)
7. Lurker (Alex Ross, US)
8. The History of Sound (Oliver Hermanus, UK)
9. Train Dreams (Clint Bentley, US)
10. Bugonia (Yorgos Lanthimos, US)

All festival film reviews are linked here: SHADOWS @ LFF >

Back in London this next week I'll see the horror thriller Shelby Oaks and the Argentine drama Belen, and I want to catch up on a couple of films that I missed because I was unable to attend screenings, including The Mastermind and Tron: Ares. I also have a live performances of Thikra: Night of Remembering.

Critical Week: Run for your life

The 69th London Film Festival kicked off last night, so things will be very busy over the next 10 days, with pretty much wall-to-wall screenings, meetings and parties. And already, first two days have been pretty glamorous. George Clooney, Adam Sandler and filmmaker Noah Baumbach turned up to present their new film Jay Kelly. It's a smart, witty and moving look at legacy, relationships and regret. And the opening night film on Wednesday was Rian Johnson's Knives Out whodunit Wake Up Dead Man, attended by the entire starry ensemble (see below). It's a wonderfully entertaining film, funny and spooky, with serious underlying themes too.

BEST OUT THIS WEEK:
A House of Dynamite • Urchin
Roofman • I Swear • Plainclothes
ALL REVIEWS >

And then there was the heart-stopping A House of Dynamite, Kathryn Bigelow's smart, complex multistrand nuclear thriller starring Idris Elba and Rebecca Ferguson. Diego Luna and Jennifer Lopez star in the musical remake of Kiss of the Spider Woman. The tone is a bit uneven, but the film is powerful. Hunter Doohan stars in The Wilderness, an outdoor experience drama that feels a bit overly pointed, but has a strong message. And from France, Souleymane's Story is a vividly honest exploration of the challenges facing a young asylum seeker over two momentous days. I also attended a live performance of Ghost Stories at the Peacock Theatre

Reviews of London Film Festival movies are linked to this page: SHADOWS @ LFF >

Films I'm watching this coming week at London Film Fest include Emma Stone in Bugonia, Bradley Cooper in Is This Thing On, Daniel Day-Lewis in Anemone, Julia Roberts in After the Hunt, Jessie Buckley in Hamnet, Jacob Elordi in Frankenstein, Brendan Fraser in Rental Family, Tessa Thompson in Hedda, Joel Edgerton in Train Dreams, . There's also a live performance of Theatre of Dreams at Sadler's Wells.

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Critical Week: Backstage glamour

The 68th London Film Festival continues into this weekend with a range of terrific movies. I'm taking it easy this year, just seeing some of the top titles during these days, often including Q&As and receptions where we can chat with the filmmakers and actors. So it's been a lot of fun (see my Insta for pics!), and there's a bit more to come this weekend. One of the bigger titles was Jason Reitman's Saturday Night, a rollercoaster ride of a film recounting a tense 90 minutes before the first SNL show went live in October 1975. The cast is excellent, and it's skilfully written, shot and edited to be both funny and moving, although perhaps only for fans. It was also the surprise film at LFF this week.

Also this week, I finally caught up with the animated adventure The Wild Robot, which I saw preview footage from in June when I hung out with the creative team at Annecy Animation Film Fest. So expectations were very high, and the film more than lived up to them. It's one of the most gorgeously animated movies I've ever seen, and the story has unusual depth and textures.

BEST OUT THIS WEEK:
Anora • The Wild Robot
The Crime Is Mine
The Summer With Carmen
 In Restless Dreams
ALL REVIEWS >

There were lots of good festival movies this week. Amy Adams goes for broke in Nightbitch, a seriously clever film that's deliberately uncomfortable. Sebastian Stan and Jeremy Strong are astonishing as Donald Trump and Roy Cohn in The Apprentice, a biopic that never takes a cheap shot but leaves us chilled. Thomasin McKenzie shines in Joy, a rather typical lively true British drama, this time about the development of IVF. Jesse Eisenberg and Kieran Culkin spark amazing chemistry as cousins in A Real Pain, a smart road movie set in Poland. The Indian comedy Superboys of Malegaon provides a lot of fun as a group of guys create a mini-film industry in their town. 

Outside LFF, there was the always watchable Alex Wolff in rather over-familiar fraternity drama The Line. And there were two docs: Mark Cousins' fascinating collage-style doc A Sudden Glimpse to Deeper Things, about artist Wilhelmina Barns-Graham, and the lively Studio One Forever, exploring the iconic Los Angeles nightclub.

Things are clearly getting back to normal for me, as I have a final flurry of LFF films this weekend: Elizabeth Banks' Skincare, the animated Memoir of a Snail, Walter Salles' I'm Still Here, Mati Diop's Dahomey, Indian drama All We Imagine as Light and more. Then next week it's Tom Hardy in Venom: The Last Dance, Eddie Redmayne in The Day of the Jackal and Jordana Brewster in Cellar Door.

Critical Week: It's party time

The 68th BFI London Film Festival kicked off this week, just as my two-month stint on a television series wrapped, so there's been no time to kill! But I'm taking the festival more lightly this year, with just one or two films per day. I'll catch up with other movies later. Meanwhile, awards season is fully underway in London, with Q&A screenings most evenings. And over the next week many of these are also in the festival. This week's screenings included Sean Baker's Palme d'Or winner Anora, a lively romantic comedy that spins into something even more interesting as it goes along. It's a proper stunner.

BEST OUT THIS WEEK:
Transformers One
We Live in Time
ALL REVIEWS >

LFF opened with Steve McQueen's Blitz, a gorgeously produced recreation of 1940 London under attack, starring Saoirse Ronan and Elliott Heffernan. The story doesn't quite work, but it looks astonishing. Ralph Fiennes leads a strong cast in Conclave, Edward Berger's drama about the selection of a new Pope. It's smart, nuanced and riveting. John David Washington, Samuel L Jackson and Danielle Deadwyler lead an adaptation of August Wilson's play The Piano Lesson, which is beefy and intense, but remains rather stagebound. Mike Leigh is back with Hard Truths, an edgy family drama starring the terrific Marianne Jean-Baptists and Michele Austin. And apart from LFF/awards season, the lively Hong Kong action movie Stuntman pays playful and sometimes melodramatic homage to the stunt performing community. I also caught Chicos Mambo's amusing live show Tutu at the Peacock. 

Most films I'm watching this coming week are also screening at LFF, including the animated adventure The Wild Robot, the SNL romp Saturday Night, Angelina Jolie in Maria, Amy Adams in Nightbitch, Thomasin McKenzie in Joy, Kieran Culkin in A Real Pain, the Indian comedy Superboys of Malegaon and the psychic doc Look Into My Eye. There's also Alex Wolff in The Line, Mark Cousins' A Sudden Glimpse to Deeper Things and the doc Studio One Forever, plus Fillibuster at Jackson's Lane. 

LFF: Find your feet

And that's a wrap on the 67th London Film Festival. I enjoyed taking a slightly less involved approach this year, seeing lots of great movies without trying to see everything I wanted to see. There are still several big titles I need to catch over the coming months before awards voting deadlines, so I have lots to look forward to. The closing night party was great fun too. Here are some final highlights, including the closing film The Kitchen. My favourites are below, along with the award winners...

Chicken Run: Dawn of the Nugget
dir Sam Fell; voices Thandiwe Newton, Zachary Levi 23/UK ****
After their great escape in the 2000 classic, the gang returns for an impossible mission. Every moment in the film is packed with throwaway gags, sharp comedy and thrills that riff on heist and action movies. Of course, Aardman's attention to detail shines in the painstaking stop-motion animation, as characters and sets overflow with personality. And the film reminds us to find the bravery to do the right thing.

Poor Things
dir Yorgos Lanthimos; with Emma Stone, Willem Dafoe 23/UK *****
Taking on another fantastical story, Yorgos Lanthimos grounds and deepens this wildly stylised fable with darkly provocative themes. It may be visually extravagant, often going wildly over the top with full-on performances from a daring cast of excellent actors, and yet everything remains grounded in sympathetic emotions. So what the story is saying about polite society becomes almost revolutionary, encouraging us to go against the grain and speak the truth.

The Kitchen
dir Kibwe Tavares, Daniel Kaluuya; with Kane Robinson, Jedaiah Bannerman 23/UK ***.
Set in the near-future, this British film combines elements of comedy, drama and thriller to tell the warm story of a father-son relationship between a man and a teen boy. It's a bit repetitive and takes its time getting to the point, but the characters are beautifully written and played, and the film is directed with understated skill by first-timers Kibwe Tavares and Daniel Kaluuya. Brimming with energy, it's engaging and entertaining, with a sharp point.

Chasing Chasing Amy
dir-scr Sav Rodgers; with Sav Rodgers, Kevin Smith 23/US ***.
Kevin Smith's 1997 comedy Chasing Amy stars Ben Affleck as a comic writer who falls in love with a lesbian played by Joey Lauren Adams. It's been considered problematic for its gender politics, but filmmaker Sav Rodgers found it inspiring because of its honest depiction of openly queer people. So he made this documentary both to say thank you and to understand why the movie generated so much controversy.

All full festival reviews will be linked to Shadows' LFF PAGE >

RICH'S BEST OF THE FEST

1. 
   All of Us Strangers
2. Poor Things
3. The Zone of Interest
4. The Eternal Memory
5. Robot Dreams
6. In Restless Dreams
7. May December
8. In Camera
9. Saltburn
10. Tiger Stripes

Honourable mention: Nyad, Samsara, Totem, The Lost Boys, Fingernails, Shortcomings, Blackbird Blackbird Blackberry, Anselm, Chicken Run: Dawn of the Nugget

OFFICIAL LFF AWARDS

• Best Film: Evil Does Not Exist
• Sutherland Award for First Feature: Mika Gustafson for Paradise Is Burning 
• Grierson Award for Documentary: Bye Bye Tiberias
• Audience Award: tbc

LFF: Get some fresh air

The 67th London Film Festival is winding down, heading into its final weekend with a bunch of big titles still left to premiere. I've had a quieter festival than usual, avoiding press screenings to instead attend movies with the public, and often with the filmmakers on hand as well. The line-up is packed with very big films, and there are quite a few important ones that I haven't been able to see here, so I will have some catching up to do. Here are some more highlights...

The Zone of Interest
dir-scr Jonathan Glazer; with Christian Friedel, Sandra Huller 23/Pol ****.
Inventively recounting a devastating narrative, writer-director Jonathan Glazer skilfully puts the audience through a moral and emotional wringer. Unlike other Nazi death camp dramas, this film keeps much of the horror off-screen; what we see in our minds is even more powerful. This is expert filmmaking, shot with precision and accompanied by a ruthless sound mix and flat-out performances from Christian Friedel and Sandra Huller. It's absolutely unmissable.

In Camera
dir-scr Naqqash Khalid; with Nabhaan Rizwan, Amir El-Masry 23/UK ****
With its witty, observational approach, this British drama is a knowing exploration of a struggling actor's life. First-time writer-director Naqqash Khalid adeptly captures the soullessness that infuses the industry, which is especially felt by people of colour. The focussed, internalised tone is powerfully involving, leading the audience into intensely provocative places. This is bracingly ambitious filmmaking, performed with daring audacity by Nabhaan Rizwan. And it's often devastatingly sharp.

Samsara
dir Lois Patino; with Amid Keomany, Toumor Xiong 23/Sp ****
While this experimental film has a challenging story and themes, it's also breathtakingly original, shot gorgeously on grainy, colour-drenched 16mm film and packed with fascinating documentary details. Spanish filmmaker Lois Patino is exploring reincarnation, transitioning from rural Laos to the beaches of Tanzania by way of a 15-minute sound and light odyssey through the bardo. It's such a singularly audacious experience that it's worth seeing on the big screen.

The Delinquents 
[Los Delincuentes]
dir-scr Rodrigo Moreno; with Daniel Elias, Esteban Bigliardi 23/Arg ***.
While this film is far too long, including a myriad of unnecessary details, it's also sharply well-made and infused with a superbly dry sense of humour. Argentine writer-director Rodrigo Moreno beautifully captures the rhythms of everyday life, letting scenes play out and often meander off down a side road before eventually returning to the central narrative. And it's shot with a sunny vibe that nicely contrasts city and countryside.

20,000 Species of Bees [20.000 Especies de Abejas]
dir-scr Estibaliz Urresola Solaguren; with Sofia Otero, Patricia Lopez Arnaiz 23/Sp ***
From the Basque Country, this loose drama circles around an important issue with honesty and emotion. But writer-director Estibaliz Urresola Solaguren makes it difficult to engage with the characters. Not only are there too many ill-defined people on-screen, but the meandering structure never offers a way in. That said, the film looks beautiful, skilfully using the setting and culture. And the cast is excellent across the board.

Anselm 
dir Wim Wenders; with Anselm Kiefer, Daniel Kiefer 23/Ger ****
German maestro Wim Wenders composes an artfully lyrical 3D documentary about artist Anselm Kiefer. Instead of the usual biographical approach, this film traces Kiefer's artistic voice from childhood to the present in a swirl of memory, using locations and archival footage to contextualise drawings, paintings, sculptures, installations and performances. Watching it is a fascinating, moving experience, and it makes us feel that the whole world is a gallery.

All full festival reviews will be linked to Shadows' LFF PAGE >

LFF: Smile for the camera

Into the second week of the 67th London Film Festival, the star-free red carpets continue to play out every night in front of the Royal Festival Hall on the Southbank. The paparazzi look rather bored, so I've been chatting to them as I go by, finding out which of the film's crew members are in town, and perhaps some B-list celebs as well. Then I spot an Oscar-nominated A-lister incognito in the crowd and say hi; she's been enjoying movies as an audience member, adeptly honouring the actors strike by avoiding the cameras. Word has it that most stars have a bag packed so that once the strike is over they can rush off to support their movie projects. But in the meantime, we still have the movies. Here are a few more highlights...

Priscilla
dir-scr Sofia Coppola; with Cailee Spaeny, Jacob Elordi 23/US ***.
Maintaining a sharp perspective from start to finish, Sofia Coppola explores the relationship between Priscilla and Elvis Presley with strikingly intimacy. The film digs under the surface to explore much more than the familiar story of a teenager who married the world's most famous singer. The anecdotal structure sometimes feels a bit jarring, and the ending is abrupt, but the narrative offers a remarkably involving exploration of gender politics... FULL REVIEW >

Nyad
dir Elizabeth Chai Vasarhelyi, Jimmy Chin; with Annette Bening, Jodie Foster 23/US ****
Powerfully involving, this true drama is shot in a riveting documentary style with the addition of real-life footage. It also features fabulous roles that Annette Bening and Jodie Foster can properly sink their talented teeth into. Without over-egging the story's inherent adventure elements too much, directors Elizabeth Chai Vasarhelyi and Jimmy Chin let the events play out authentically, and the engaging characters make it both gripping and unmissable.

Foe
dir Garth Davis; with Saoirse Ronan, Paul Mescal 23/Aus ***
Beautifully shot, this lightly futuristic romantic thriller centres tightly on three characters who are skilfully played with intense emotionality. But filmmaker Garth Davis tries to be tricky with a plot that simply doesn't hold water. Explanations come far too late to put anything that happens into context, so watching the film is an exercise in frustration. Even so, it has some important things to say about curiosity and compassion... FULL REVIEW >

The Lost Boys [Le Paradis]
dir Zeno Graton; with Khalil Gharbia, Julien De Saint Jean 23/Bel ****
Set in a juvenile detention facility, this sensitive Belgian drama traces a romance between two teen boys with hushed sensitivity. It's a beautifully observed story that unfolds in earthy and sometimes tender interaction, skilfully directed by Zeno Graton to put us into the mindset of a powerfully engaging central character. And it manages to be authentic, hopeful and even occasionally grim without ever resorting to prison movie cliches.

Totem
dir-scr Lila Aviles; with Naima Senties, Montserrat Maranon 23/Mex ****
Loose and authentically chaotic, this Mexican drama features refreshing rhythms of family life over a pivotal day. Filmmaker Lila Aviles is an expert observer of human behaviour, filling the house with fully formed characters who have their own preoccupations and little sense of allowing others their personal space. The wonderfully open-handed filmmaking constantly reveals things about people who are both connected and disconnected at the same time.

Blackbird Blackbird Blackberry
dir Elene Naveriani; with Eka Chavleishvili, Temiko Chichinadze 23/Geo ****
With deadpan charm, this Georgian film opens with a woman picking blackberries on the edge of a riverbank when a blackbird distracts her and she falls, imagining her death below. Filmmaker Elene Naveriani maintains a quiet, slow-burning vibe that ripples with underlying humour and tensions. The characters are wonderfully real, while the film has a colourful, sardonic Kaurismaki-like quality that's thoroughly winning. And the underlying message is hugely empowering.

All full festival reviews will be linked to Shadows' LFF PAGE >

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

In addition to lots of festival films, this week I also saw Laura Linney, Maggie Smith and Kathy Bates in the engaging and pointed Irish comedy-drama The Miracle Club, the quirky and dark British comedy Mind-Set, and enjoyably cheesy voyeurism nastiness in 15 Cameras. Films this coming week include several more LFF films, the animated musical sequel Trolls Band Together. the girls' comedy Bottoms, and Anne Hathaway and Thomasin McKenzie in Eileen. Then I'll be on a plane to visit family in California for a couple of weeks.

LFF: Play to the crowd

We've crossed the halfway point in the 67th London Film Festival, which this year feels like an absolute glut of big-name gala premieres. There are two or three major movies on every day, while dozens of smaller films are also screening outside the spotlight. I'm trying to cover a range of films, although generally I'm only invited to cover the ones that have UK distributors. But that's plenty, frankly! I need to get some sleep, after all. Here are a few highlights for today...

Maestro
dir Bradley Cooper; with Bradley Cooper, Carey Mulligan 23/US ***.
Taking an ambitious approach to the life of Leonard Bernstein, Bradley Cooper creates ravishing stylistic period flourishes while going deep into the music itself. The introspective approach allows the adept cast to create complex characters that defy stereotypes. But this begins to feel gimmicky as the decades whiz past, mainly because relationships remain sketchy. So there are punchy emotional moments along the way, but the bigger picture remains unfocused.

All of Us Strangers
dir-scr Andrew Haigh; with Andrew Scott, Paul Mescal 23/UK *****
Like Weekend's more challenging big brother, this contained British drama from Andrew Haigh uses incisive storytelling to explore connections in a fractured society. He shoots it in his usual bracingly naturalistic style, this time augmenting the story with a surreal sensibility that draws on the creative process itself. And it's beautifully played by a focussed, invested cast. This is a gently involving, darkly personal film that carries a massive emotional wallop.

Robot Dreams
dir-scr Pablo Berger; with Ivan Labanda, Esther Solans 23/Sp ****.
Charmingly animated in a cheeky cartoon style, this lively animated drama traces an offbeat friendship with unusual nuance. Even without a single word of spoken dialog, multiple characters reveal complex textures as they head on momentous journeys. Genius filmmaker Pablo Berger (see Blancanieves or Torremolinos 73) has made a thoroughly grown-up movie that has something important to say to children too. It deserves to become a cult classic.

That They May Face the Rising Sun
dir Pat Collins; with Barry Ward, Anna Bederke 23/Ire ***.
Based on John McGahern's acclaimed novel, this gentle 1980s-set Irish drama has a documentary tone, observing a year in the everyday life of a rural community. The sense of place is immersive, surrounded by epic verdant fields, mountains and lakes. And there's poetry in the musings of older characters who make pointed observations about everything. This sometimes feels a bit overwritten, but the film is packed with lovely insight.

Haar
dir-scr Ben Hecking; with Kate Kennedy, Balazs Czukor 23/UK ***.
Shot on wonderfully grainy Super 8 film, this British drama maintains a loose, observational structure following a young woman around a European city. Filmmaker Ben Hecking captures knowing details everywhere, with witty encounters and a few amusing surprises. It's a free-flowing series of scenes that are punctuated with a range of emotion from silliness to anguish. The meandering approach is a bit challenging, but it's worth sticking with it.

All full festival reviews will be linked to Shadows' LFF PAGE >

LFF: Watch and learn

The 67th London Film Festival powers into its first weekend with a flurry of red carpet premieres attended by, well, directors and crew members. It isn't very starry unless you're a fan of people behind the cameras. But thats who audiences seem to be as they're sticking around for post-screening Q&As. And we're having a late autumn heatwave this weekend. Meanwhile, I enjoyed Disney's lunch the other day, celebrating both LFF and their 100th anniversary. And tomorrow is the annual Netflix brunch, no work allowed. Here are some more film highlights...

May December
dir Todd Haynes; with Natalie Portman, Julianne Moore 23/US ****
Layered and provocative, this melodrama is infused with a mystery-thriller sensibility, building tension and intrigue in the interaction between nuanced characters. Director Todd Haynes plays cleverly with perspective to explore the ways we try to understand others, sympathise with them and merge their experiences with our own. It's a fiendishly clever film that gleefully deploys a range of metaphors in ways that both lead and wrongfoot the audience.

The Bikeriders
dir-scr Jeff Nichols; with Austin Butler, Jodie Comer 23/US ***.
Based on a book of photographs and interviews from 1965 to 1973, this artfully crafted film explores motorcycle subculture as a makeshift family. Writer-director Jeff Nichols shapes this material into a strongly involving exploration of masculinity and identity, allowing the sharply drawn characters to exist in remarkable complexity, free from pushy narrative demands. The performances are loose and often lyrical, even as they hold us at an arm's length.

Shortcomings
dir Randall Park; with Justin H Min, Sherry Cola 23/US ****
This Bay Area romantic comedy infuses a naturalistic approach with witty dialog. Much of the humour is sharply pointed in an unusually soft-spoken way, and in his directing debut Randall Park maintains earthy rhythms that hold the interest. So even if it's never terribly flashy, there's a sense of honest depth to the film that makes it resonate far beyond the ethnic issues that simmer meaningfully throughout the script... FULL REVIEW >

Tiger Stripes
dir-scr Amanda Nell Eu; with Zafreen Zairizal, Deena Ezral 23/Mys ****
There's an engaging animalistic tilt to this adolescent body horror from Malaysia, as a young girl taps into her feral nature when puberty makes her feel like she's turning into a monster. Writer-director Amanda Nell Eu maintains a blackly comical undercurrent even as things get very freaky indeed, exploring big themes through lenses of culture, gender and religion. And Zafreen Zairizal shines in a complex and physically demanding role... FULL REVIEW >

In Restless Dreams: The Music of Paul Simon
dir Alex Gibney; with Paul Simon, Edie Brickell 23/US ****.
A musician of this stature deserves an epic documentary, and Alex Gibney takes an ambitiously artistic approach to Paul Simon's life and career. At three and a half hours, watching it is like binging a series, but on a big screen it's fully engulfing, thanks to the intimate approach and elaborate sound mix. This is a transcendent film packed with great archive footage, fantastic music and Simon’s raw humanity.

All full festival reviews will be linked to Shadows' LFF PAGE >

LFF: Let's get lost

The 67th London Film Festival kicked off last night with a gala screening of Emerald Fennell's Saltburn, although due to the ongoing actors strike, Fennell was the only person representing the film on the red carpet. I had a great chat with her at the after party, which stretched late into the night. It's only Day 2 and I'm already hideously sleep-deprived. But that's how festivals work, so I'll hang in there for the next 10 days catching up with this year's big festival titles. Here are highlights from the first two days...

Saltburn
dir-scr Emerald Fennell; with Barry Keoghan, Jacob Elordi 23/UK ****
With a story that echoes The Talented Mr Ripley, Emerald Fennell dives into the dark side of Britain's class structure. Wonderfully heightened, the film's deranged vibe is instantly gripping. Vicious swipes are delivered with backhanded relish by an excellent cast in stiff-upper-lip mode. Where the story goes is vivid and unnerving, simply because the storytelling is so full-on. We may have seen it before, but never quite like this.

The Killer
dir David Fincher; with Michael Fassbender, Tilda Swinton 23/US ***.
Steely and clinical, this stylised hitman thriller plays out in a series of carefully planned set-pieces, reflecting the approach of both Michael Fassbender's eponymous killer and director David Fincher. It looks terrific, churning skilfully through action, intrigue and pitch-black drama, each scene infused with wry wit and icy violence. Yet while the artistry is first-rate, the film lacks an emotional connection that might have pulled us in deeper.

Fingernails
dir Christos Nikou; with Jessie Buckley, Riz Ahmed 23/US ****
With its understated fantastical premise and a delicate, observant pace, this offbeat romance plays out in beautifully unexpected ways that will reward viewers who can be patient with its hushed tone. Working in North America, Greek filmmaker Christos Nikou is grappling with the awkward impossibility of quantifying love. Sensitive writing and directing provide insight alongside adept, nuanced performances from Jessie Buckley, Riz Ahmed and Jeremy Allen White.

The Eternal Memory
dir-scr Maite Alberdi; with Augusto Gongora, Paulina Urrutia 23/Chl ****
This documentary about the nature of memory works on several powerfully moving layers, exploring the importance of maintaining a truthful account of history through the lens of a couple grappling with the effects of dementia. The film is also a ravishing real-life love story, shot largely by the couple themselves, with extensive new and archival footage. And gifted Chilean director Maite Alberdi assembles it to beautifully offbeat human rhythms.

All full festival reviews will be linked to Shadows' LFF PAGE >

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C R I T I C A L   W E E K

Movies I watched this week included the 50-years-later sequel The Exorcist: Believer, which started well then fell apart; the somewhat undercooked relational thriller Fair Play; the witty Dutch animated adventure Oink; and Wes Anderson's witty and stylish four shorts based on Roald Dahl stories, starting with The Wonderful Story of Henry Sugar. Films this coming week include Mind-Set and Cat Person. And at London Film Festival I'll be watching Bradley Cooper's Maestro, Todd Haynes' May December, Sofia Coppola's Priscilla, Andrew Haigh's All of Us Strangers, Saoirse Ronan in Foe, Annette Bening in Nyad, Austin Butler in The Bikeriders and many more.