Critical Week: Let your colours burst

Pride month kicked off this week, and I had my first few LGBTQ+ movies to watch. Showing at San Francisco's Frameline, Being Thunder is a remarkable documentary about Sherente Harris (above), a two-spirited Native American teen from Rhode Island who is challenging artificial gender roles. It's a gorgeously observant film worth looking for. Offbeat indie comedy-drama The Carnivores takes a loose, skilfully improvised approach as it tells the story of two Texan women with dog and relationship issues. And from Chile, My Tender Matador stars the great Alfredo Castro as a crossdresser who befriends a revolutionary in the Pinochet-era. It's moving and beautifully thought-provoking.

BEST OUT THIS WEEK:
A Quiet Place Part II • After Love
My Tender Matador • The Carnivores
Undine • I Am Samuel • Gunda
PERHAPS AVOID:
Introducing Jodea • Gully
ALL REVIEWS >

Closer to the mainstream, Flashback is a swirly thriller starring Dylan O'Brien in his meatiest role yet, although the supernatural elements kind of blur everything. An edgy drama set in inner-city Los Angeles, Gully features another terrific role for Kelvin Harrison Jr, although the movie is too fragmented to ever come into proper focus. The micro-budget comedy Introducing Jodea has some charm as it tells a story in the movie industry, but the cast and crew reveal their inexperience. And finally, I indulged myself in Friends: The Reunion, a couple of hours of shameless nostalgia that felt a bit contrived and over-structured. It was fun to see these six iconic actors in their less orchestrated reactions and interactions. And the celebrity fans were fun (Gaga! Bieber!), although they highlighted a number of recurring cast members who were oddly missing.

Films to watch this coming week both in cinemas and on screener links include Lin-Manuel Miranda's musical In the Heights, Aussie romcom Ellie & Abbie (and Abbie's Dead Aunt), horror comedy School's Out Forever, Spanish romance Carmen and Lola and Hungarian drama Treasure City.

Screen: June TV roundup

There's been rather a lot to watch lately on episodic television, handily filling in some free time between watching movies. These are the shows I've followed over the last month or so, and another handful of series are coming to a close in the next few weeks. Basically, there's always something to watch...

Mare of Easttown
Skilfully written by Brad Ingelsby and directed by Craig Zobel, this murder mystery is much more about its small-town Pennsylvania community than the convolutions of the murder/kidnapping case(s). At the centre, Kate Winslet delivers another textured powerhouse performance as a local police detective whose life seems is not so quietly unravelling. She's absolutely riveting: engaging, tenacious, compelling and, as an actor, generously allowing ace costars like Jean Smart, Evan Peters, Angourie Rice and Guy Pearce to steal their scenes. Best of all is that it doesn't matter whodunit: this is a story about resilience, connection and healing. It's rare to see a TV show produced at this level of quality across the board; this is essential viewing. (Sky)

Hacks
The fantastic Jean Smart continues to subvert every genre on television, triumphing in a range of dramatic roles (see Watchmen and Mare of Easttown). And now she reminds us that she's a queen of comedy too with a storming, scene-chomping role as a veteran Joan Rivers-style Las Vegas stand-up. She's so good that you hardly notice that the cast around her are experts as well. Co-lead Hannah Einbinder is solid in an oddly thankless role, but others are more likeable, most notably Carl Clemons-Hopkins. Meanwhile, Smart continually surprises us with her on-point delivery of devastating punchlines. And the writers keep quite a lot going on in this show, with emotional undercurrents and sharp commentary about show business. (HBO)

Halston
Ewan McGregor is terrific in this glossy series about the iconic American designer who rose to fame in the 1970s and then vanished in the 1980s. It's beautifully produced, creating intriguing characters with seriously spiky interaction. And it certainly never shies away from the darker angles of the story, including Halston's turbulent relationships, rampant drug use and a stubborn streak that ultimately cost him the right to use his name. It's perhaps a bit slick and flashy, focussing on the glamorous highs rather than the emotional lows, and rushing through his final years. But there are a few grittier sequences, from outrageous arguments to wrenching grief, that make it resonate. (Netflix)

The Falcon and the Winter Soldier
A lot more like standard Marvel fare than WandaVision, this series features the usual witty banter, too-dense plotting and outrageously over-produced action. I was tempted by stars Anthony Mackie, Sebastian Stan and especially Wyatt Russell, playing against type as the new Captain America. The actors kept me watching to the end, even when the writing had me rolling my eyes with frustration. There are some intriguing plot elements, but everything is so painfully obvious, quick to violence and ludicrously momentous that it might have worked better as a spoof. And even the adjusted title at the end is wrong: clearly it should be Captain America and the White Wolf. Still, fans will eat it up. (Disney)

Girls5eva
From the makers of Unbreakable Kimmy Schmidt, this comedy has the same absurd, lightning-fast sense of humour as it follows the four surviving members of a girl band who are making a comeback attempt at 40. This quartet is superbly written and played (by Sara Bareilles, Busy Philipps, Renee Elise Goldsberry and Paula Pell), with a constant stream of riotous gags. And big-name cameos adds witty touches, including producer Tina Fey as Dolly Parton. Thankfully, the silliness is grounded in knowingly funny observations on everything from the vicious music industry to the perils of ageing, with pointed nods to themes relating to gender and sexuality. (Peacock)

Jupiter's Legacy
Based on a comic by Mark Millar (Kick-Ass/Kingsman), this darkly shaded superhero series has similarities with The Boys, but isn't quite as deliberately nasty. The central conflict is fascinating, pitting traditional rule-based morality against today's more reactionary ethics. Although the writers never really take this anywhere. And while the cast is strong across the board, no one emerges as a vivid central figure to rally around. The most interesting people (like Andrew Horton's loyal son Brandon) are oddly sidelined in favour of less nuanced characters (like Josh Duhamel's self-righteous patriarch). More adventurous writing might make this better in seasons to come. (Netflix)

Frank of Ireland 
Almost infuriatingly bonkers, this Dublin comedy starring Gleeson brothers Brian and Domhnall is far too cartoonish to properly engage with. But it's very funny as these chucklehead buddies embark on a series of crazy antics centring on family, girls and their community. Nothing much grabs hold as all of the characters are noisy, over-the-top nutcases, led by the painfully dim and self-involved Frank (Brian) and his even dopier best pal Doofus (Domhnall). Frank's mother Mary (Pom Boyd) is just as ridiculously obtuse, while the only vaguely sensible person is Aine (Greene), as she's desperately trying to escape Frank's orbit. You would too. (C4)

Invincible
With a Scooby-Doo tone and a premise similar to The Boys, this adult-aimed animated series is funny, violent and exhilarating. The animation is generic but eye-catching, while the voice cast is extraordinary, featuring the powerhouse likes of Steven Yeun, JK Simmons, Sandra Oh, Mahershala Ali, Zachary Quinto, Andrew Rannells and Mark Hamill, for starters. They make even the smaller side characters burst with personality. The story of father-and-son superheroes has plenty of wrinkles and textures to it, bringing out much bigger themes about the nature of humanity through recognisable relationship issues. And the writers have room to get much more daring (more queerness, less blood) in future seasons. (Netflix)

Why Are You Like This
This politically incorrect comedy from Melbourne takes a few episodes to find its footing, and then it's over (there are only six half-hour instalments). The three self-absorbed 20-somethings at the centre are very difficult to like at first, but actors Naomi Higgins, Olivia Junkeer and Wil King find ways to deepen them in a series of rather pathetic attempts to get on with their lives. The main problem is that they blame everyone and everything for their own problems, causing misery everywhere they go. But their antics are also rather endearing, and the themes deepen over the course of this season. (Netflix)

Paradise City 
A bit of a mess, this cheesily written soap set in the hard-rock music industry has a wide array of characters, many of whom are superfluous, and lots of arch storytelling touches, including supernatural wackiness with camp angel and demon figures. More problematic is a strong undercurrent of misogyny in both the imagery and male-centred plot points (even when a woman is involved, it's all about the man). There isn't an unsubtle moment on the screen, but it's still watchable simply because of the intriguing premise and full-on approach. Also, the rock-n-roll vibe is strong, and the lead actors are solid even when their characters are strangely inconsistent. (Prime)

BACK FOR MORE

This Time: series 2
Alan Partridge is back for another hilarious season of painfully well-observed awkwardness. Steve Coogan plays this role so effortlessly (and so unapologetically) that he has become a part of Britain's national culture over three decades. Coogan's understanding of this character is so deep that it provides laughs at every level, from big slapstick silliness to riotously witty details (watch his field reports carefully). It's almost shocking that Alan can still be so enjoyably squirm-inducing after all these years. And this particular incarnation of him also offers a wonderfully fresh pastiche of glib TV news-chat shows. (BBC)

Everything's Gonna Be Okay: series 2 
Josh Thomas is a talented guy, but his character in this sitcom (a young guy who has become guardian of his teen sisters) is so insufferable that he's difficult to believe, especially in the self-involved way he mistreats his ridiculously gorgeous and nice boyfriend (Adam Faison). And he's only able to see problems faced by his sisters (Maeve Press and Kayla Cromer) as part of his own story. The offbeat approach makes the show watchable, especially with characters who refuse to fit into the usual boxes. But it's very difficult to engage with Nicholas on any level. (Freeform) 

The Neighbor: series 2 [El Vecino]
The goofy residents of a Madrid apartment block are back, as Javier (Quim Gutierrez) now has to share his superpowers with ex-girlfriend Lola (Clara Lago). There's also a global threat from some sort of reptilian race, and a galactic civil servant (Javier Botet) struggling to make sense of what's happening amongst these idiots. These eight brisk episodes are very easy to watch, eliciting a lot of smiles and a few solid laughs as they skewer corrupt politicians and messy relationships. But there isn't much else to it, and the broadened cast leaves the central characters feeling thinner than before. But the cliffhanger finale promises more to come. (Netflix)

Lucifer: series 5b
This nutty season wraps up with a few oddly tame episodes that are too plot-heavy to allow us to enjoy the gleefully ridiculous antics of the sexy characters. Even the murder-of-the-week storylines are part of a bigger narrative arc that pushes everyone toward a major confrontation, leaving Lucifer (the increasingly over-the-top Tom Ellis) in a whole new place. For a show that's basically just mindless fun, these episodes feel rushed and serious, and they also feature even more of this series' trademark fragmented conversations in which characters neither listen nor say what they truly think. Although any show that adds Dennis Haysbert to its cast (as God no less) is worth a look. (Netflix)

IT'S ALL OVER

Younger: series 7
This dopey sitcom (in which the situation never provided much comedy) is finally wrapping up the scrambled romantic lives of its characters. It's become increasingly saccharine season by season, while the actors look like they've been severely nipped and tucked, except star Sutton Foster, who's now styled as a 50-year-old for some reason (after pretending to be in her 20s for the years). But all of the actors are hugely watchable, including Hilary Duff, Nico Tortorella, Debi Mazer and the great Miriam Shor, who sadly only occasionally skypes in this season. So I've decided to stick it out, even though the writers are clearly determined to offer the wrong happy ending. (MTV)

Shameless: series 11 
This epic comedy-drama wrapped up its run with 12 momentous episodes, as the extended Gallagher family finally faces up to the gentrifying forces in South Chicago, and Frank (the awesome William H Macy) begins to suffer alcohol-induced dementia. It's a clever way to bring things to a close, playing on the characters' quirks to push them in new directions and force some big decisions. And while the show's wilder impulses have been tamed somewhat over the years, each of these colourful characters gets to go out with a bang. And some well-earned emotion too. (Showtime)

CATCHING UP

The Queen's Gambit 
I put off watching this because, well, chess and drugs. But when I had a bit of time, I quickly realised why the whole world was caught up in the series. It's bracingly well-written and beautifully directed with some seriously clever flourishes. And it features yet another stellar performance from Anya Taylor-Joy, plus a terrific cast of fellow Brits. I particularly loved the clever way chess comes to life on-screen, without ever getting bogged down in the details. And the personal odyssey Beth takes through the narrative arc is properly epic, and very moving too. (Netflix)

I GIVE UP

Dad Stop Embarrassing Me • About 10 minutes into the first episode it's clear that this is a turkey slathered with inane dialog and awkwardly insulting slapstick. The cast (led by Jamie Foxx) is promising, but it feels like like one of those painfully unfunny SNL sketches that just won't end. (Netflix)

Cinema Toast • This anthology series starts with a great idea: re-editing public domain film footage with a new soundtrack to tell different stories. Each episode takes nuttiness to the extreme in a way that's experimental rather than entertaining. Far too indulgent. (Showtime)

~~~~~~~ ~~ ~~~ ~~~~

NOW WATCHING: The Underground Railroad, The Mosquito Coast, The Upshaws, Star Wars: The Bad Batch, Special (2), Pose (3), The Handmaid's Tale (4), Younger (7).

LOOKING FORWARD: Blindspotting, Physical, Kevin Can F**k Himself, Dave (2), Lupin (2), Love Victor (2), The Kominsky Method (3), Master of None (3), Elite (5).

Critical Week: Dog days

With cinemas open again in the UK, things are slowly getting back to normal, and I've had a few press screenings and even a premiere to attend in-person this week. It's great to see movies on the big screen again - I'd begun to forget the joy of being in a darkened room away from distractions. The social distancing guidelines mean the communal experience in audience reaction isn't quite back to normal, but it's getting there. We have another month like this before restrictions will be re-evaluated and perhaps even lifted. Of course, all of this means that freelance critics must now return to negotiating with distributors for precious screening seats, facing seemingly random decisions. For example, despite holding a number of screenings, Disney only offered me an online screening link for the 101 Dalmatians prequel Cruella. I loved the film's subversive approach, its feisty script and characters, and especially the sterling scene-stealing work from Emma Stone and Emma Thompson.

BEST OUT THIS WEEK:
First Cow • Zebra Girl
A Quiet Place Part II • Cruella
PERHAPS AVOID:
Earwig and the Witch
ALL REVIEWS >

Jason Statham reteams with Guy Ritchie for Wrath of Man, an unusually gritty and bleak movie for both of them. It's very well-made, riveting and darkly involving. Zack Snyder makes his return to the zombie genre with Army of the Dead, an entertaining but overlong rampaging heist epic set in a locked-down Vegas. James Corden is back to voice the title role in Peter Rabbit 2, but the script this time lacks the witty humour. Kids will love the silliness. Director Stephanie Zari and actors Sarah Roy and Tom Cullen attended the premiere of Zebra Girl, a superbly crafted British drama with waves of wit and emotional horror. And I was in heaven finally watching Nomadland on the big screen this week. It was my favourite movie from 2020, but I'd only seen it on my laptop. It's a masterpiece, and looks even more spectacular projected.

In addition to getting my second vaccine, this coming week I have Dylan O'Brien in the sci-fi thriller Flashback, Elia Suleiman's acclaimed It Must Be Heaven, the actor doc The Most Beautiful Boy in the World and the war dancer doc Being Thunder.

Stage: Notes from the dark side

Villain in Tinseltown
by David Harrold
dir Helen Niland
with Jonathan Hansler
White Bear Theatre, Kennington •  18-29.May.21

Adapted from Oscar-winning British actor George Sanders' autobiography Memoirs of a Cad, this witty one-man show skewers Hollywood from the inside out. While exploring the nature of stardom and ambition in the old studio system, the script finds chilling insights into today's social media landscape, where influencers sacrifice authenticity for fame. So even if it stretches a bit further than its reach, the show is packed with knowing commentary and provocative ideas.

On the set of the 1959 sword-and-sandal epic Solomon and Sheba in Spain, George (Hansler) is pondering his career. He's a suave, astute nice guy who has become typecast as a villain in the movies. And he considers why this seems to be true across the industry, as on-screen baddies are the kindest, most generous actors working, while the heroic stars in the spotlight tend to be self-centred and aloof. George says he loves taking these more colourful side roles, and yet he clearly aspires to the limelight, recounting stories about his glamorous costars. This includes his close friendship with screen icon Tyrone Power and his marriage to ostentatious socialite Zsa Zsa Gabor. 

When the script centres on anecdotes and personal observations about the business, including a lot of namedropping, it's riveting and resonant, albeit not particularly juicy. Less successful are extended philosophical ramblings, some of which are delivered by disembodied voices. Hansler is wonderfully deadpan as George chain-smokes and guzzles glasses of wine, meandering through stories with riotous honesty. His catty observations reveal a determination to always speak the truth, however painful it may be. And his first-hand recollection of Power's death on-set is heartbreaking.

The lavender-hued stage is a cleverly designed dressing room (by Piran Jeffcock), with a rack of costumes that all come into play. And the inventive lighting design (by Chuma Emembolu) keeps things visually in motion. Rather muffled by the sound system, there are voices, music and sound effects from off-stage, both memories in George's mind and the general bustle of the movie set. And George's frazzled wardrobe fitter (uncredited) makes a few amusing appearances to help him into and out of various outfits. 

George's monolog is generally sharply cynical about the film industry, and it strikes quite a few zinging chords along the way. There are also several very funny moments, as well as glimpses of deep emotion that might have been more effective to unpack than the more generic "art of living" theorising. Most interesting is what the play reveals about the nature of celebrity, what it costs personally to rise to the peak of popularity and the fact that there is a way to maintain integrity and be a success as an actor who isn't perhaps a star.

20.May.21

Critical Week: In your face

After a very long five-month lockdown, cinemas are once again open in the UK, and distributors are flooding screens with both new films and several that have been previously released online but really should get some big screen love. I'm hoping to revisit some titles over the coming weeks. New films I watched this week include Mainstream, which stars Andrew Garfield as an influencer who takes social media by storm. It's a bold, overreaching film that demands attention. On the big screen with an awesome sound system, I watched John Krasinski's sequel A Quiet Place Part II, once again starring Emily Blunt, Millicent Simmonds and Noah Jupe as a family trying to keep silent around terrifying monsters. It's a nail-biter, packed with thrillingly scary set-pieces.

BEST OUT THIS WEEK:
Hating Peter Tatchell • Nomadland
Ammonite • Minari • Undergods
PERHAPS AVOID:
Those Who Wish Me Dead
Rare Beasts
ALL REVIEWS >

Less effective was the thriller Those Who Wish Me Dead, with Angelina Jolie as a tough guy smokejumper. The plot was even more contrived than that, but the filmmaking is solid. A Hitchcock homage, The Woman in the Window is gloriously well-made, with a terrific cast led by Amy Adams and a plot that barely holds water. Finn Whitehead stars in the loose, relaxed drama Port Authority, as a homeless teen who falls for a trans dancer. Another British-based animated drama from Studio Ghibli, Earwig and the Witch is visually innovative but narratively awkward. From Austria, Why Not You is an involving, very dark drama about a young man struggling in the aftermath of a terrorist attack. And from Australia, Hating Peter Tatchell is a riveting, expertly assembled doc about the groundbreaking London-based activist.

Oddly, press screenings seem to be re-opening very slowly, and I only have one in the diary for this coming week, namely the dark drama Zebra Girl. But I suspect more will come along soon. In the mean time, there are screener links to watch for Zack Snyder's Army of the Dead, Emma Stone in Cruella, the Hollywood romcom Introducing Jodea and the documentary A Space in Time. I also have some theatre and dance performances to attend, so watch for those reviews here.

Critical Week: Chart a course

Britain is slowly emerging from lockdown after five very long months, and next week's shift includes reopening cinemas. It'll take awhile to get back up to full-speed, but it feels hopeful to be moving in the right direction. Meanwhile, I'm still watching everything on links, with the biggest film this week being the thriller Voyagers stars Tye Sheridan, Lily-Rose Depp and Colin Farrell in an oddly dull and timid riff on Lord of the Flies in space. Melanie Laurent is terrific in the claustrophobic thriller Oxygen, which has a lot of enjoyable twists and turns, even if it begins to feel a little silly. Kelvin Harrison Jr once again shines in Monster, a powerful legal drama that got stuck in distribution chaos for three years. And Robin Wright makes her feature directing debut with the beautiful but thin back-to-nature drama Land, in which she also delivers a terrific central performance.

BEST OUT THIS WEEK:
Never Gonna Snow Again
The Perfect Candidate
Servants • End of Sentence
The Crime of the Century
PERHAPS AVOID: The Reckoning
ALL REVIEWS >

From the Czech Republic, Servants is a visually stunning, thematically powerful drama set in a Catholic seminary during Soviet occupation. From Romania, Two Lottery Tickets is the dryly amusing story of three hapless friends trying to improve their aimless lives. The horror pastiche Psycho Goreman is packed with hilariously big characters and riotously grisly effects. And Alex Gibney's riveting, engaging two-part documentary The Crime of the Century is a must-see portrait of the opioid crisis from a variety of pointed perspectives.

With cinemas opening on Monday, I actually have a physical screening in the diary for next week, the first since early December, for the Emily Blunt thriller A Quiet Place Part II. Otherwise I have links to watch for various things, including Amy Adams in The Woman in the Window, Angelina Jolie in Those Who Wish Me Dead, Fionn Whitehead in Port Authority, the Austrian drama Why Not You and the short film collection The Dutch Boys. 

Critical Week: Get the party started

There's definitely a sense in London that this lockdown is finally coming to an end, with the promise that we'll soon be able to meet up in person again. Cinemas are re-opening in about 10 days after a long five-month closure, so press screenings will start up as well (I already have a few theatre press nights in the diary). In the mean time, I'm still watching everything using online links. The past week was another extremely mixed bag, from the loose, low-fi fun of the indie drama The Get Together, a messy romantic comedy centred around a chaotic house party, to the fabulous animated adventure The Mitchells vs the Machines, which has vividly developed characters and properly moving themes to add to its nutty action mayhem.

BEST OUT THIS WEEK:
Cowboys • Apples • Undergods
ALL REVIEWS >

Each movie brought its own mood: My New York Year (aka My Salinger Year) is a warmly comical take on the same story as The Devil Wears Prada, but set in a fusty literary agency (with a superb Sigourney Weaver in the scene-stealing role). The Killing of Two Lovers is a gritty independent drama that's somewhat indulgent in its storytelling but has a raw emotionality to it. The Reckoning is unintentionally camp 17th century British horror, riddled with cliches and some painfully awkward makeup and hairstyling choices. From South Africa, Fried Barry is a gleefully squalid odyssey about a junkie who's taken over by aliens. And the extremely low-budget action comedy In Action proves that just about anyone can make a movie if they have imagination and a sense of humour.

Films I need to watch over this coming week include Kelvin Harrison Jr in Monster, Colin Farrell in Voyagers, Melanie Laurent in the thriller Oxygen, the Slovakian drama Servants and the horror comedy Psycho Goreman.