Venezia83: The crowd goes wild

It's the weekend, and I'm already exhausted as I cover the 83rd Venice Film Festival, but that's largely because of the blisteringly hot weather. Thankfully, the cinemas and the press workroom are cool, but I feel like I'm baking as I walk between them. Not exactly pizza and pasta weather. And I feel for the celebrities out there on the red carpet in their suits and sequins! Anyway, here are notes on five more very different films...

Don’t Look Back in Anger
dir Will Lovelace, Dylan Southern; with Noel Gallagher, Liam Gallagher 26/UK ****
After Oasis loudly broke up in 2009, launching a 2025 world tour was big news. Fans and the media waited impatiently to see if brothers Noel and Liam Gallagher could appear on-stage together after not speaking for 15 years. This energetic documentary recounts the process with sparky attention to detail, celebrating the band, the music and the global fanbase. And of course the power of forgiveness.

A Place to Heal [15/18]
dir Cedric Kahn; with Zoe Monpart, Malou Khebizi 26/Fr ***.
Because of its naturalistic acting and intimate camera style, this film feels like a documentary until plot points begin to creep in. Actor-director Cedric Khan cleverly puts the audience right into the middle of the action in a home for teens struggling with mental health issues, making sure that we feel the issues and emotions that swirl around both the kids and their carers. So the film is lively, edgy, funny and also darkly moving as it exposes the pain some young people must live through.

Our Share of Sand
dir-scr Shalini Adnani; with Maya Mehta, Mohammed Zeeshan Ayyub 26/Ind ****
Mohammed Zeeshan AyyubWarm and involving, this gentle drama from India has a subtle undercurrent of tension that emerges throughout the narrative, even as it remains a knowing coming-of-age story. Writer-director Shalini Adnani has a terrific eye for both characters and settings, capturing the rhythms of life in an intriguing corner of the world. And the characters emerge with strong personalities, each on his or her own journey. 

Falling House
dir Mohsen Gharaie; with Laleh Marzban, Rima Raminfar 26/Irn ***.
There's a lot of power in this ambitious Iranian film, which shifts from a family comedy into a dark drama, then dips into psychological horror territory. The extended running time makes the nastiness feel somewhat overwhelming, as a family is ripped apart from within. But filmmaker Mohsen Gharaie keeps the audience engaged with strong characters and some bleak resonance. 

Tijuana, Todavía [aka: Tijuana, Still]
dir-scr Gabriel Gutierrez Morales; with Humberto Busto, Petr Filimonov 26/Mex ****
There's a slice-of-life authenticity to this Mexican drama, which is just across the border from California. This is the engaging story of an odd couple friendship that quietly develops into a deeper. connection, maybe even romance. Writer-director Gabriel Gutierrez Morales and his fine cast is telling an important story that embraces humanity across cultures. And it finds lovely textures in its honest depiction of Mexican society.

Full reviews will be linked eventually to Shadows' VENICE FILM FEST PAGE >

Venezia83: Big heads

Now fully in festival mode, I'm neither eating nor sleeping enough here at the 83rd Venice Film Festival, largely because I'm watching too many movies. But the weather is glorious, so I will get out and explore this staggeringly beautiful city whenever I get some free time. Here are some more notes on film's I've seen, each of which allowed me to reconnect with a filmmaker who is often unnervingly gifted at both challenging and entertaining, starting with the best film here so far...

Wild Horse Nine
dir-scr Martin McDonagh; with John Malkovich, Sam Rockwell 26/UK *****
With his bracingly black wit, Martin McDonagh takes a satirical swipe at American foreign policy in this hilariously offbeat buddy comedy set on Easter Island in 1973. Using fiercely astute dialog that's never dumbed down for the audience, the film hits its target with razor-sharp zingers. It also finds a strongly emotional core in a story of two men in a very dark business who must grapple with their souls.

The Basics of Philosophy
dir-scr Paul Schrader; with Jack Huston, Sofia Boutella 26/US ***.
Unlike other filmmakers, Paul Schrader continues to explore issues of morality, religion and sexuality, unafraid  of the complexities and downright messiness in ideas and situations. Once again, this story touches on where these three meet, as a man grapples with whether he has control over his nature. The production design is oddly stark, and the music almost unnervingly light, but it definitely gets us thinking.

Queer Edward II
dir-scr Theo Rollason; with Derek Jarman, Tilda Swinton 26/UK ****
With comprehensive access, cinematographer Seamus McGarvey roamed the sets as Derek Jarman made his resolutely queer Edward II for the BBC in 1991. And director Theo Rollason now assembles this material to provide unusually resonant context for the period, including the project's collision with OutRage and the Aids epidemic. But most of all, it captures Jarman's sheer joy at doing what he was meant to do. 

House of the Wind [Maison du Vent]

dir-scr Auguste Bernard Kouemo Yanghu; with Josette Kwanya, Moudjeu Pouadeu 26/Cam ****

As the title suggests, this drama is set in a house through which a gentle breeze blows, as an elderly woman ponders the changing world. The film beautifully captures details of life in Cameroon, with warm humour and emotions that continually pull us deeper. While it feels over-long, it is beautifully written, directed and performed, with a fascinating story that has strongly personal insights alongside important points about the legacy of colonialism. And it encourages us to open our hearts.

Full reviews will be linked eventually to Shadows' VENICE FILM FEST PAGE >

Venezia83: Breaking news

The 83rd Venice Film Festival kicked off on Tuesday with the world premiere of Danny Boyle's new film Ink, with an extraordinarily glittering red carpet of celebrities in attendance. Of course, I watched the movie at another screening entirely, as the press is mainly kept at a distance from the stars these days. The weather is sunny and hot this year, so I'm enjoying my commutes across the lagoon from Venice proper (where I'm sytaying) to the Lido (where the festival is held). But the hunt for a reliable phone signal and/or wifi isn't quite as much fun. Still, there's always gelato to keep me smiling. Here are notes on five films...

Ink
dir Danny Boyle; with Jack O'Connell, Guy Pearce 26/UK ****
James Graham adapts his stage play for the screen, which is then turned into an explosion of imagery and sound by director Danny Boyle. It's the story of how tabloid reporting expanded in 1969 Britain, recounted with close-up camerawork, energetic cutaways and journalistic angst. At times, style drowns out substance, but there's also a sense of urgency as we see how news reporting got to where it is today. 

Bucking Fastard

dir-scr Werner Herzog; with Kate Mara, Rooney Mara 26/Ire ****
A genuine oddity, this fable-like film feels more like it came from Yorgos Lanthimos than Werner Herzog. But it's based on a true story, and the iconic German filmmaker brings his distinct quirkiness to an odyssey about two sisters who defiantly march to their own beat. And as the film crackles with charm and wit, their tenacious quest is for a world full of love, so the emotions continually catch us by surprise. 

Everest: The Other Side

dir Jimmy Chin, Elizabeth Chai Vasarhelyi; with Jim Morrison, Hilaree Nelson 26/US ****.
Jaw-dropping cinematography puts us right on the slopes with intrepid climbers as they spend five years trying to do something unprecedented: after scaling the rarely climbed northern face of Everest, Jim Morrison and Hilaree Nelson intend to ski back down. Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi get fully involved, tracing huge emotional currents throughout this unpredictable story.

Agata the Writer

dir-scr Kuba Dorabialski; with Mia Wasikowska, Vedrana Bozinovic 26/Bos ***.
Defiantly resisting a standard movie narrative structure, Polish filmmaker Kuba Dorabialski wrote, directed, edited, photographed and composed the music for this ambitious meta-drama. The story is a fascinating exploration of the place where art and history converge, knowingly blurring lines between books, movies and journalism as an author confronts her motivations. While it's darkly intriguing, Dorabialski's approach is also indulgent and stylised, which leaves it feeling somewhat academic.

Salón de Belleza

dir Nathalia Acevedo; with Sam Louwyck, Erwan Kepoa Fale 26/Mex ***.

From Mexico, this experimental drama is shot in a richly immersive style that creates a hypnotically enigmatic ambience. Filmmaker Nathalia Acevedo is gifted at capturing details that reveal characters and settings in an unusually visceral way, telling an evocative story without the need for dialog. The lead character is simply called “the individual”, making him an everyman in a surreal but profoundly human odyssey. 

Full reviews will eventually be linked to Shadows' VENICE FILM FEST PAGE >

FrightFest: There's something out there

The 27th FrightFest wraps up tonight after bringing another colourful lineup of ghastly movies to appreciative Leicester Square audiences. And with so many world premieres, a lot of filmmakers and cast members have been mingling with their fans. Here are notes on six more films I caught, several of these are world premieres...

Ithaqua
dir Casey Walker; with Luke Hemsworth, Kevin Durand 26/Can ***.
Strikingly shot in the snowy Canadian wilderness, this film nicely captures the period and setting, and it's populated by characters who are intriguing and enjoyably messy. Filmmaker Casey Walker sets up the story robustly, revealing the relationships, clashes and challenges before things take a an even nastier turn. The tension that comes along is genuinely unnerving, especially as this turns into an original ghostly zombie horror.

Bad Karaoke
dir Robert J Steinmiller Jr, Chris Lightbody; with Lexi Underwood, Case Walker 26/US ***.
With terrific character details and a raucous sense of pitch-black humour, this nutty horror comedy gets increasingly gruesome over the course of about 24 hours in an isolated cabin in the woods. Directors Robert J Steinmiller Jr and Chris Lightbody gleefully poke fun at the perils of karaoke, as well as the tried and tested tropes of scary teen movies. And it's all mixed together with a steady stream of goofiness.

Do You Want to Play?
dir-scr Nick Lyon; with Quinn Aune, Maxwell Mushallo 26/US ***
There's an oddly over-serious tone to this teen horror romp, which quickly establishes the premise and characters with melodrama rather than engaging detail. Writer-director Nick Lyon deploys grisly imagery early on, then follows a hideously masked supernatural villain terrorising a group of teens who are blithely playing around with the occult. So even if it never feels very original, there's some fun to be had.

Dracula: The Night Around Us
dir-scr Chris Schwab; with Eric Toms, Marlene Mc'Cohen 26/US ***.
Loosely based on the Bram Stoker novel, this low-budget freakout uses minimal dialog and lots of murkiness to keep the audience on edge. Writer-director Chris Schwab has a lot of fun with both jolting jump cuts and yucky closeups, making the most of the superbly grainy film stock. Offhanded humour adds a superbly engaging tone to what is otherwise a rather wacky gothic nightmare with heavy emotional overtones.

Hyena [aka: Hy3na]
dir Matthew Ninaber; with Storm Steenson, Kristen Kaster 26/Can **
Opening with a barrage of colourfully violent craziness, this lurid thriller then cuts back three weeks to recount the story of a wildly unhinged serial killer. With a quick pace, director-cowriter Matthew Ninaber indulges in outrageous grisliness while infusing everything with snarky broad humour. So it's a bit frustrating that the plot feels so oddly thin, with fragmented strands and too many slinky montage sequences. Plus the obvious twist.

Valley View Motel
dir-scr Nick Psinakis, Kevin Ignatius; with Laura Im, Soulo Smith 26/US ***.

Even with a limited budget, actor-filmmakers Nick Psinakis and Kevin Ignatius inventively infuse this thriller with a superb 1970s vibe, using the camerawork, a churning score and groovy costumes and cars. The also adeptly channel the Coen brothers, keeping things blackly comical as they throw a bunch of very messy characters together, pushing them to acts of desperation. So the final act is expertly staged horror slapstick.

Full reviews will be posted on SHADOWS' FRIGHTFEST PAGE >

FrightFest: I have a bad feeling about this

The 27th FrightFest is underway in London over the August long weekend, as always, bringing scary movies to audiences that love to be terrified. I'm only dipping my toes into the array of movies this year, and here are notes on films from the first three days...

Starsuckers
dir-scr Brett Butler, Jason Butler; with James Alex, Manon Ens-Lapointe 26/Can **
With over-saturated colours, this satirical horror comedy is flat-out ridiculous, populated with hilariously deadpan characters who are oblivious in their self-involvement or sentimentality. The Butler Brothers write and direct with a lot of witty style, although the plot is so absurd that it begins to wear thin early on. And while there are some strong points along the way, any message gets lost in the unhinged silliness.

Colony
dir Yeon Sang-ho; with Jun Ji-hyun, Koo Kyo-hwan 26/Kor ***.
A decade after his Train to Busan reinvented the genre, Korean filmmaker Yeon Sang-ho comes up with another new take on the zombie movie with this tense action thriller largely set within an infected Seoul high-rise. With its soapy plot threads, the script pulls the audience into the melodrama as chaos spirals out of control around enjoyably messy characters. And genre fans will enjoy the particularly yucky gore... FULL REVIEW >

Big Baby
dir-scr Spider One; with Brandon Scott, Krsy Fox 25/US ***.
Writer-director Spider One has some fun with the horror genre here, playfully juggling stalker movie cliches as well as the quirks of a creative person's imagination. Along with colourful production design and a self-aware script, there are also some deeper ideas in intriguing discussions relating to bullying and retribution. But of course the main point of the movie is to freak out the audience and some already frazzled characters.

Blood Secret
dir-scr Cameron Francis; with Katherine Lozon, Tiana Akers 26/US ***.
Cranking up the tension with a creepy sound mix and jarring editing, writer-director Cameron Francis makes the most of this offbeat thriller, which centres around a dinner between two women. But there are continual hints that there's also some ghostly nastiness happening around them. And both the actors and filmmakers have a lot of fun playing with various elements to keep the tension high before pushing everything over the top.

Electric Meat
dir-scr Dan Schaffer; with Caspian Faye, Emily Booth 26/UK **.
Shot in moody black and white, this experimental movie establishes its freak-out tone from the opening scene, which is disorientingly twisty and violent. Writer-director Dan Schaffer uses flickering edits, a dense sound mix and inventive camera trickery to create all manner of bonkers nuttiness. And because the scenes play out without dialog, it's a challenge to find narrative nuances that might allow us to get involved.

Full reviews will be posted on SHADOWS' FRIGHTFEST PAGE >

Critical Week: Puppy dog vibes

This has been an unusually busy week for me for a variety of reasons, mainly because there have been pre-Venice screenings in London to give me a jump on the festival, which starts next week. Meanwhile, I also caught up with Gregg Araki's new art-world/sadomasochism comedy I Want Your Sex, which stars Cooper Hoffman and Olivia Wilde. It's colourful, lusty, funny and also a bit silly. Jacob Elordi leads the charge in Ridley Scott's thoroughly entertaining post-apocalyptic The Dog Stars, which has a refreshingly introspective tone interrupted by rather simplistic action and some nutty black comedy (Allison Janney alert!).

BEST OUT THIS WEEK:
Bitter Christmas • Coyote vs Acme
The Dog Stars • De Gaulle: Resistance
Boorman and the Devil
ALL REVIEWS >

I really loved the Cannes award-winning La Bola Negra, a sweeping Spanish epic directed by Javier Calvo and Javier Ambrossi. Using gay themes, it traces three plot threads between 1932 and 2017. Ambitious and hugely involving, there's even a fabulous sequence featuring a scene-stealing Penelope Cruz. The Girl in the River is an underwhelming mystery starring Maggie Grace, Devon Sawa, Tiffany Haddish and every genre cliche imaginable. The jazz pianist biopic Everybody Digs Bill Evans is shimmeringly artful and rather aloof, with a terrific cast that includes Anders Danielson Lie, Laurie Metcalf and Bill Pullman. From French filmmaker Dominik Moll, Case 137 stars Lea Drucker as an investigator looking into police violence after a street protest. Straight from the headlines, it's riveting and urgent. The intriguing Bolivian drama The Condor Daughter follows a young midwife on a riveting journey into the big city. And the doc Super Nature features glorious Super 8 footage of life around the globe.

I also watched films this week that will be at the 27th FrightFest (this weekend in London) or the 83rd Venice Film Festival (next week in Italy). Both festivals will have regular reports right here.

Coming up, I'll be watching quite a few more films for FrightFest and Venice over the long weekend, plus Saoirse Ronan in Bad Apples and the sequel Shaun the Sheep: The Beast of Mossy Bottom, then heading to Italy for Venezia83.

Critical Week: Stay sharp

I'm back in London after six days at the Edinburgh Fringe, where I watched and reviewed 15 shows. Back in London, film screenings are coming in thick and fast. I finally caught up with Hugh Jackman and Jodie Comer in the sharply well-made drama The Death of Robin Hood, which is very violent and rather relentlessly downbeat. By huge contrast, there's the nearly shelved Coyote vs Acme, starring Jon Cena and Will Forte opposite animated characters from Looney Tunes cartoons. It's a riot of energy, references and inventive imagery. And it's very, very funny.

BEST OUT THIS WEEK:
The Magic Faraway Tree
Teenage Sex & Death at Camp Miasma
ALL REVIEWS >

Andrew Scott and Brendan Fraser lead the charge in the D-Day drama Pressure, a riveting true story about men on a knife-edge decision. It's seriously well-written, directed and played. Zoey Deutch has the title role in the comedy pastiche Gail Daughtry and the Celebrity Sex Pass, but it's Jon Hamm and John Slattery spoofing themselves that makes this smart and very silly movie worth a look. Lea Seydoux stars in the Austrian drama Gentle Monster, as a woman whose life is upended by a police visit. It's powerful, complex and costars Catherine Deneuve. In addition, advanced screenings of films from next month's Venice Film Festival included the Bosnian drama Agata the Writer starring Mia Wasikowska. 

Coming up this next week, I'll be very busy watching Jacob Elordi in Ridley Scott's The Dog Stars, Olivia Wilde in I Want Your Sex, Maggie Grace in The Girl in the River, Cannes award-winner La Bola Negra, German satire Babystar, French crime drama Case 137 and Chabrol's restored 1969 classic La Femme Infidele. There will also be many more films from both FrightFest (which starts next Thursday in London) and the Venice Film Festival (I head to Italy the following week).