Critical Week: Run away and join the circus

The lockdown continues to slowly ease in Britain, with most museums and cinemas reopening this week. Watching a movie in a mask isn't great, but it's great to see movies on a big screen again. And in addition to a press screening (with others coming up), I also attended a press launch for a museum exhibition. Even so, it's about time we had a silly animated circus adventure to take our mind off all of this. Animal Crackers isn't a great movie, but it's lively, colourful and wacky enough to do the trick.

BEST OUT THIS WEEK:
The Shadow of Violence • Casting
Summerland • The Vigil
PERHAPS AVOID:
Unhinged
FULL REVIEWS >

There were also some mid-range movies punching above their weight. Dave Franco's directing debut The Rental is a ripping thriller about a weekend getaway gone very wrong. Survive the Night is a clunky home invasion horror with a stone-faced Bruce Willis. Summerland is a skilfully made exploration of unexpected human connections with a terrific Gemma Arterton. And Life With Music is a rather sudsy drama about nostalgia starring Patrick Stewart and Katie Holmes.

Further from the beaten path, The Vigil is a stunning horror thriller rooted in Hasidic Jewish tradition, while Casting is an inventive improvised German comedy-drama about an attempt to cast a movie. There were also two docs: Pornstar Pandemic is an unstructured collection of footage in which adult actors talk about how they're coping with lockdown, while 2015's Scrum looks at the lives of players on Sydney's gay rugby team. And there's also a collection of four superb football-themed shorts from the UK, Germany and France called The Male Gaze: Strikers & Defenders.

I have one press screening in the diary this coming week, for Seth Rogen's An American Pickle. And on my list to watch at home, there's Roberto Begnini in Pinocchio, Gillian Jacobs in I Used to Go Here, the ensemble thriller What We Found, the horror fantasy Peripheral, the fantasy adventure Mortal, the Algerian memoir Papicha and the dark Guatemalan's drama La Llorona.

Critical Week: Road rage

It's been nearly five months since my normal everyday schedule ended abruptly, and I had a couple of firsts this week that make it feel like there may be light at the end of this long tunnel. I went to a restaurant with table service (outdoors on a gorgeous evening), and on only my third trip into Central London I had my first press screening in an actual screening room (with severe distancing measures). The movie on that big screen was Unhinged, a vicious thriller with Russell Crowe that arrives in cinemas next week.

BEST OUT THIS WEEK:
Most Wanted
Stage Mother • Myth
FULL REVIEWS >

Other movies this week were an above-average mix, including the ripping true story Most Wanted, a Canadian drug-case drama starring the excellent Antoine Olivier Pilon and Josh Hartnett; the wrenchingly personal drama Retaliation, about the fallout from child abuse starring a raw Orlando Bloom; the gritty immigrant drama American Fighter; the ambitiously offbeat hybrid of WWII action and a haunted house in Ghosts of War, starring Brenton Thwaites and Skyler Astin; the corny but topical childbirth comedy Babysplitters, starring Community's Dani Pudi; and the clever guerrilla filmmaking comedy-drama Myth.

My list of films to watch over the coming week includes the animated comedy Animal Crackers, Patrick Stewart in Life With Music, Bella Thorne in Infamous, the indie romance Around the Sun, the backstage TV comedy Casting, the horror movie The Vigil, the arthouse film Last and First Men and the intriguingly titled doc Pornstar Pandemic.

Event: Positively Offensive

During lockdown, press releases have become increasingly random, but I'm always on the lookout for something original. So I perked up at the idea of a "virtual launch event" for Offensive Fashion, mainly because I had no idea what this might be like. When I registered my interest, the brand sent me a party box for the event containing a very nice Offensive polo shirt that feels both soft and very durable, plus a silicon resistance band, sleep goggles, a plastic beer stein, a bottle of beer and the makings of a gin and tonic. Clearly this was going to be a party. I got everything ready, put on the shirt and clicked in at the designated time.

Like every meeting during this quarantine, the event was held using Zoom, so it was just a bit chaotic, but also good fun. It opened with brand ambassador Olivia Cox, a TV presenter and fitness blogger, leading the audience in a home workout. I didn't have enough floorspace to do most of her exercises, but I put the silicon band to use as possible while watching her work up a proper sweat.

Then another brand ambassador, Manchester's DJ Jazz Purple, who has produced music with Becky Hill, Tinie Tempah and others, chatted about creativity during lockdown. He has created an Offensive Soundcloud playlist to offer an escape at the end of a day working from home. Here's a LINK >

This was followed by a gourmet burger demonstration that was a bit cruel, because there were no burger ingredients in that box. Barbecue expert Daniel Cooper led the audience through the process of making the perfect burger, from mincing the steak (there was also a vegan variation) to cooking it on a BBQ in his back garden.

To distract us from our rumbling stomachs, a third brand ambassador, British catwalk model Pascal Wilke, joined us from his home in Germany to discuss fashion issues during lockdown. Wilke's ethos is to stay cool and not take life too seriously.

Along the way, everyone participated in an Oktoberfest competition, pouring that beer into the stein and holding it out at arm's length as long as possible. This was the only point where we could see the other Zoom participants and cheer each other on. I managed to keep mine aloft longer than I expected, but lost the will long before the eventual winner.

The event didn't contain much information about Offensive, other than being able to see everyone in their crisp shirts and a running conversation about sustainability, healthy living and eco-awareness. So I did a bit of research...

Offensive Fashion launched this spring with a range of sustainable T-shirts and polos and a goal to be "feel-good clothing" that starts a conversation. As cofounder Simon Bradberry says, "Our brand is for people who are 'on the offensive' - ready to embrace the opportunities life offers and take on whatever it throws at them. Our garments are inoffensive to the planet, and possibly the most comfortable thing you'll have in your wardrobe!"

Cofounder Tamsin Bradberry explains: "Given our passion for the wellbeing of people and planet, we're excited to produce ethically made garments that feel good to own and wear, avoiding the need to buy throw-away garments on the high street." A primary goal was to make garments that are long-lasting but made in a fair way that has a low environmental impact. There's even a mental health element, as each garment comes with a smile-inducing tag that doubles as a positive vibes bookmark.

For information: OFFENSIVE FASHION >

NB. In case there's any doubt, I was not paid to write this. But I did get a free shirt and a couple of drinks!

Critical Week: Under attack

There's been some tentative move to ease lockdown, but cinemas are still mainly showing old movies (The Empire Strikes Back is No 1 on the UK box office chart this week). I had my first meal in a restaurant since early March -- well outside it on a distanced table. But the weather has been gloomy, which is more suited for watching movies at home really....

BEST OUT THIS WEEK:
The Sunlit Night • The Painted Bird
Palm Springs
PERHAPS AVOID:
Fatal Affair • Getting It • Divos!
FULL REVIEWS >

The biggest movie I saw this week was the gripping WWII thriller Greyhound, which no doubt would have looked better on a big screen. As always, Tom Hanks is solid as a captain shepherding a convoy of ships through a pack of Nazi submarines in the North Atlantic. Much better is the Andy Samberg comedy Palm Springs, a bit of time-loop madness that's both clever and surprisingly deep. By contrast, Fatal Affair is a simplistic and derivative thriller that wastes excellent actors like Nia Long and Omar Epps.

As for arthouse titles, The Sunlit Night is a very smart comedy-drama about a young American painter (Jenny Slate) working in Arctic Norway for a summer. It's quirky and involving. Carmilla is an atmospheric 19th century gothic freak-out based on a pre-Dracula vampire novel. It looks amazing. From Denmark, Dreambuilders boasts seriously impressive, ambitious animation and some great characters. But the goofy comedy Divos! never lives up to its promise, and Getting It has a solid story but works too hard to praise its writer-director-star. There were also two entertaining, offbeat docs: In Bright Axiom is about a playful secret society that sparks imagination and collaboration, while Superhuman: The Invisible Made Visible explores the untapped power of the mind's connection to, well, everything.

Films to watch this coming week include Elisabeth Moss in Shirley, Brenton Thwaites in Ghosts of War, Josh Hartnett in Most Wanted, underground boxing thriller American Fighter, horror movie Open 24 Hours and the Italian drama Piranhas.

Critical Week: The room where it happens

The weather has taken a dark, cool turn in London, which is perhaps for the best as lockdown eases further, with pubs and restaurants now open. I had my first professional foray into central London this week, as a guest on a BBC Radio programme, but the West End still feels very odd.

BEST OUT THIS WEEK:
The Prince • Mucho Mucho Amor
Spaceship Earth • Guest of Honour
We Are Little Zombies • Seahorse
PERHAPS AVOID:
The Beach House
Inheritance • Parallax
FULL REVIEWS >

There's no word on when press screenings will start up again, so we're still watching links. The big movie this week was Hamilton, a filmed version of the Broadway musical with the original cast. It's utterly electric - timely, engaging, important. I'll resume attempts to get a ticket for the stage version once theatres reopen. This week's action movie is The Old Guard, starring Charlize Theron as head of a group of immortal mercenaries. There's a surprising depth to it. And Burden is the true story of a klansman (Garrett Hedlund) caught between his racist mentor (Tom Wilkinson) and a patient woman (Andrea Riseborough). It's a bit obvious, but powerful.

As for offbeat films, there were the gentle comedy Saint Frances, a coming-of-age tale about a woman in her mid-30s; The Spy, the fascinating true story of a Norwegian woman caught between Nazis and Swedes during WW2; The Beach House, a deliberately vague horror thriller that's not easy to connect to; Parallax, an over-ambitious Inception-like brainbender; We Are Little Zombies, a bonkers Japanese musical romp with deep undercurrents about grief and pop culture; and the documentary Mucho Mucho Amor, which movingly explores the life of iconic fortune teller Walter Mercado. I also watched the Netflix pandemic collection Homemade, 17 shorts shot during lockdown by some very high-profile international filmmakers. It's of course hit and miss, with highlights from Paolo Sorrentino, Pablo Larrain, Rungano Nyoni, Johnny Ma and Maggie Gyllenhaal.

Films to watch this next week include Tom Hanks in Greyhound, Andy Samberg in Palm Springs, the cycling drama The Climb, the romantic thriller Fatal Affair, the Italian drama The Players, the musical Divos and the doc In Bright Axiom.

Screen: July TV Roundup

With the glut of TV shows, and some extra time to try to catch up with things, I'm making these TV Roundups monthly from here on. As always, I find watching an episode or three a brain-cooling tonic after a film screening, so I prefer comedies of course. But a great drama works too. There were some terrific ones over the past two months...

LOVE AND LAUGHTER

Normal People

From Ireland, this half-hour drama has a visceral realism to it, which is one of director Lenny Abrahamson's strong suits. It's also resolutely mopey and overserious, which makes it difficult to get into. But sticking with it is rewarding, as it traces an on-off relationship from school days into young adulthood, touching on some enormous issues along the way. The point, of course, is that the word "normal" doesn't mean what we like to think it means. Everyone has deep issues that alter their lives in unexpected ways. And this couple is so beautifully played by Daisy Edgar-Jones and Paul Mescal that both have deservedly become global stars as a result of this quiet, introspective series. (BBC)

Love, Victor

A spin-off from the film Love, Simon, this series takes the same super-soft approach to a teen's coming out. Michael Cimino is cute in the title role, a character who is very easy to root for as, instead of coming out as gay, he opts for the easy route of having a girlfriend, which is much more acceptable to his religious Latina family. Ana Ortiz and James Martinez are terrific as his parents, but the show's scene-stealers are Isabelle Ferreira as his surly sister Pilar and Anthony Turpel as his goofy new pal Felix. The show is full of great moments, and some complex interaction. But like the film it's a bit too gentle for its own good. (Hulu)

Space Force

There's a great idea behind this show, but the writers oddly hedged back from making it a full-on sitcom, instead giving it the tone of a drama with amusing humour woven through it. There are a lot of funny things and silly characters, but the script never quite breaks through with either a laugh-out-loud joke or pointed satire. Steve Carell is likeable as always, playing it straight as the head of the new military branch, but John Malkovich steals every scene from him. Meanwhile, Lisa Kudrow is oddly wasted. It's engaging enough to keep watching (it's better than the similarly underpowered The Orville or Avenue 5), but the premise cries out for more edge than this tepid treatment. (Netflix)

Staged

Set during lockdown, this knowing sitcom features Michael Sheen and David Tennant as exaggerated versions of themselves as they decide to rehearse a play, Six Characters in Search of an Author, so they're ready to go on stage when theatres reopen. It's sharply written and played, peppered with hilarious gags about life in the covid era as well as witty waves of insecurity and arrogance. Both actors are superb, playing on their public personae, the rivalry between Wales and Scotland and little power games. Their wives pop in from time to time, pointedly, as does their director Simon Evans and shameless scene-stealers like Samuel L Jackson and National Treasure Judi Dench. (BBC)

Everything's Gonna
Be Okay

Josh Thomas is likeably hapless (see also his earlier sitcom Please Like Me), but he certainly shouldn't be trying to get away with playing a guy in his mid-20s anymore: he's 33 and looks it. Still, the show has a nicely unhinged premise, as his lively character assumes guardianship of his two teen half-sisters after their father dies. The ensuing antics refreshingly steer clear of the usual TV cliches, giving the comedy, drama, emotion and sexuality a real-life jolt that's both topical and never predictable. It's all rather brittle and sometimes squirm-inducing, but there's a sweet undercurrent to all of it. (Freeform)

SERIOUS STUFF

Love Life

Anna Kendrick is terrific in this intriguing series, which explores her character's romantic life from high school until she meets her true love. Terrific support from Jin Ha, Nick Thune, Scoot McNairy and the always awesome Hope Davis adds intriguing textures to each episode, as does the gorgeous voice of Lesley Manville as the omniscient narrator. It's packed with clever ideas and powerful moments, although the overall series feels a bit over-constructed, and one episode is completely superfluous. And as it slides through the years, it's like a more obvious American variation on Normal People. (HBO)

Mrs America

Cate Blanchett is a force of nature as the terrifying Phyllis Schlafly, the fiercely independent woman who inexplicably squashed the Equal Rights Amendment in the 1970s and essentially created the "family values" movement that still holds sway with right-wing evangelicals. Blanchett's Schlafly is so iconic in this fiendishly well-produced series that the supporting cast almost fades into the background, including the equally majestic Tracey Ullman (as Betty Friedan), Rose Byrne (as Gloria Steinem) and Margo Martindale (as Bella Abzug). This is a riveting look at an early clash between politics and populism that still resonates strongly today. (HBO)

Dispatches From Elsewhere

Adapted from the documentary The Institute, this show has a surreal, Gondry-esque approach with eye-catching in-camera effects and characters who continually reveal added details (including animated backstories). It's a little loose and rambling, making a very obvious point about how people thrive through connecting with each other and taking on challenges. But the deliberately too-clever scripts are nicely written to draw us into the intrigue, and the cast is wondrous (including Richard E Grant, Sally Field and series creator Jason Segel). The problem is that it's not easy to care, especially as the show crawls up inside itself. (AMC)

Tales From the Loop

With eight stand-alone but interlinked episodes, this series paints a fascinating bigger picture about a town in a quirky alternate 1960s. But the show's languid hour-long pace is far too indulgent, and each of these episodes would be improved by being edited to a sharp, provocative 30 minutes. Even the strongest episodes would have been much more engaging with less wistful gazing. Still, the filmmaking is beautiful, and the excellent actors (including heavy-hitters like Jonathan Pryce and Jane Alexander) create complex characters with messy internal lives and a surprising capacity for cruelty as the supernatural touches their lives. But the mopey tone undermines the potential. (Prime)

Messiah

A fascinating exploration of the nature of religion this series centres on a man (the quietly charismatic Mehdi Dehi) who appears in the Middle East and goes on to build up thousands of followers in America with his miraculous works, challenging theology and refusal to recognise borders. Of course the CIA takes notice, led by Michelle Monaghan's operative. The show is lavishly produced in terrific locations, although it's more than a little distracting that they've over-styled this Messiah to look like a storybook Jesus, albeit one who speaks Arabic and tells his Palestinian followers to throw away their weapons. As the show references religious traditions, it's both inventive and provocative (Netflix)

Jeffrey Epstein:
Filthy Rich

This four-part documentary series is not easy to watch as it delves into the organised paedophile ring Epstein got away with for decades, simply because he bought his way out of the justice system. The opening episode alone is deeply chilling, as it chronicles people who tried to stop him 20 years ago but failed because of his money and powerful connections. These women are brave and definitely believable. Strikingly well-assembled, the doc carefully maintains its focus on Epstein, but it's impossible not to see the men who are so frequently photographed alongside him, sharing private jokes and clearly part of a system of abuse that's terrifying. (Netflix)

A Series of Light

Superbly shot and edited, this series of five British shorts looks great, boosted by natural screenwriting and a willingness to get very dark as each centres on a young men at a pivotal point in his life. Since they relate to sexuality, the stories are full on, sometimes overplayed by an inexperienced cast. But it's easy to root for the characters as they face different fears, and there's a strong sense of panic and isolation, identity issues and the echoing repercussions of bad decisions. This makes each episode rather grim and cautionary, with ironically little lightness. But all of them offer something pointed to think about. (Prime)

BACK FOR MORE

The Politician: series 2

Jumping ahead a few years, this series continues the political climb of Payton, played by Ben Platt firing on all cylinders. This season traces his campaign for New York state senate, taking on an incumbent and her loyal assistant, fabulous roles for Judith Light and Bette Midler, who effortlessly steal the entire show. Meanwhile, Payton's mother (a storming Gwyneth Paltrow) is testing the political waters herself in California. This colourfully lively show's outrageous characters completely overshadow the lower-key gang around Payton, which leaves their subplots feeling somewhat melodramatic and irrelevant. But the show's overall trajectory is fascinating. Bring on season 3. (Netflix)

What We Do in the Shadows: series 2

The ongoing mock-doc (based on the 2014 movie) about a group of vampires living on Staten Island is a constant stream of hilarious gags, plus cleverly understated effects. Despite living for centuries, their cluelessness knows no bounds (like their excitement about being invited to a "Superb Owl" party - think about it). The gifted actors deliver each ridiculous joke with a straight face, often improvising something sublimely absurd. And the over-arching plot is surprisingly involving too, pushing each of these colourfully loveably dopey vampires in unexpected directions, largely due to the understated genius of their familiar, played to perfection by Harvey Guillen. (FX)

Killing Eve: series 3

The tone has changed for this third season, which feels more like a straightforward action thriller than the quirky character-based mayhem of seasons one and two. It still has its moments, and Sandra Oh and Jodie Comer are still terrific as the spy and the assassin who are inexorably drawn to each other. So is Fiona Shaw as Eve's jaded boss, plus the always great Harriet Walter. But merrily maiming and murdering side characters has depleted the show's emotional undercurrent, which frankly is always what holds the interest. It's beginning to feel rather cold and calculating, which is fitting but not as clever. And the last moment in the final episode missed a trick. (BBC)

One Day at a Time:
series 4

At its new home on Pop, this series just keeps getting better, anchored by terrific mother-daughter roles for Rita Moreno and Justina Machado, plus side roles that somehow manage to be goofy, topical and complex at the same time. Each character is likeable, even as they're fully ridiculous. And the smart scripts feel as fresh as ever, unafraid to be very silly as they touch knowingly on a wide range of very big issues relating to Latin families and the LGBT community, without ever getting too political. Which makes everything resonate much more widely. Sadly, the season was truncated by the pandemic, wrapped up with a witty animated episode. (Pop)

JUST LIKE REAL LIFE

Topicality in isolation: 

Comedy news shows have come to life during lockdown, as the hosts have done some of their best work from home, even as their frustration shows. Each has found innovative ways to keep up with the headlines. As always, John Oliver's Last Week Tonight strikes the best balance, picking apart the big stories with astute humour. Trevor Noah has shone brightly with The Daily Show, offering especially powerful commentary on things like the Black Lives Matter protests. Bill Maher has maintained Real Time's balance of viewpoints, edgy opinion, big-name guests and witty gags, plus hilarious inserts of vintage audience reactions. And Samantha Bee went into the woods for Full Frontal, raging hilariously and pointedly at the growing sense of injustice in society.

Style to spare: 

The fifth series of Queer Eye (Netflix) maintained the terrific line-up of make-overs that carry emotional punches (it's not easy to get through an episode dry-eyed). Four of the Fab Five are fascinatingly deep, while the scene-stealing fifth is a bit of a cartoon. There was only one weak episode: why make over an 18-year-old who hasn't yet found her style? Meanwhile, the second season of fast-paced, car-crash doc series Putting On (Revry) picks up two years later with the likeably overconfident On Mekahel, working on his underwear brand. On is still a breathtakingly oblivious control freak who can't understand why his designs don't appeal to men who aren't gym-ripped. And he insists his fiance Dave, a felon who can't get a passport while on parole and still hasn't divorced his wife, must travel to visit On's family in Israel before getting married in Paris. Sure enough, On gets his way.

Life's a drag:

RuPaul has had four drag queen competition series over the past few months: the 12th season of Drag Race (Netflix), the fifth season of Drag Race All Stars, and the first seasons of both Celebrity Drag Race and Canada's Drag Race. That's a lot of drag, but the producers are great at keeping these shows fresh with gimmicky innovations and lots of twists. And their real strength is assembling hugely entertaining casts for each series. Meanwhile, the second season of Werq the World (WoW) continues to insightfully document backstage at the Drag Race tour. Its structure also makes it an empowering look at how each performer overcomes resonant obstacles in pursuit of their dreams. And We're Here (HBO) is like a mash-up of Queer Eye, Drag Race and Priscilla Queen of the Desert, as three drag queens take on small towns across America. The observations are fascinating and often strongly moving, and the drag is properly transformational.

Game on:

I don't watch many game shows, but I sampled a few while in lockdown. Floor is Lava is a genuinely great idea staged in an entertainingly epic way. The sets are amazing, and the contestants gung-ho. But it's beaten to death by the editing, which repeats everything that happens at least 10 times. Stop treating audiences like idiots. Adam Scott is superb as the host of Don't, an under-imagined stunt-based quiz show that's only watchable because of Ryan Reynolds' snarky narration. And The Wall UK is another quiz show, but at least it's hosted by Danny Dyer, who offers some fun even if each game is ham-fistedly stretched out over an hour.

NOW WATCHING: Snowpiercer, I Will Destroy You, Luminaries, I Know This Much Is True, Homecoming (2).

COMING SOON: Brave New World, Wandavision, Down to Earth, Muppets Now, The Umbrella Academy (2).

Critical Week: In at the deep end

Passing the 100-day mark in the London lockdown, this week also included my birthday, so I took it a little easier as far as screenings were concerned. There was also continually shifting ground relating to the reopening of UK cinemas. Most are now waiting another month, and won't open until August, because both the cinemas and the distributors need as much capacity for seating as possible in order to pay the bills. Press screenings are much less likely, because these are usually tiny rooms with very few seats, so it's looking like online viewing links will be the only option for us for awhile. I miss going to the movies for a communal experience. But even film festivals are bypassing press screenings, moving everything to streaming. So this may become a permanent change, but I hope not.

BEST OUT THIS WEEK:
A White, White Day
Four Kids and It • Cut Off
PERHAPS AVOID:
The F**k-It List
FULL REVIEWS >

As for the films I watched this past week: The F**k-It List is a well-acted teen comedy-drama (Eli Brown, above, is particularly good), but it's full of badly contradictory messages that sound great but are actually very dodgy. Will Ferrell's passion project Eurovision Song Contest: The Story of Fire Saga really should be more sharp-edged than this. But as an homage to the annual competition, it has some iconic moments of its own, and a great soundtrack. And Four Kids and It is a lively family adventure with some quirky comedy that nicely subverts any sentimentality. It's not terribly complex, but is enjoyable while it lasts.

Further afield, Cut Off is a strikingly well made thriller from Germany with a superbly complicated plot and the always terrific Moritz Bleibtreu. Midnight Kiss is a strongly written slasher comedy about a group of friends on holiday in Palm Springs over New Year when a killer strikes. Black Magic for White Boys is a close-to-the-knuckle freeform comedy with some provocative racial overtones. And for my birthday I revisited a favourite from 1987, that gloriously snarky fairy tale for adults The Princess Bride. Bliss.

Coming up this next week, I'll be watching Charlize Theron in The Old Guard, Garrett Hedlund in Burden, Tobias Menzies in Carmilla, the romcom Desperados, the thriller Parallax, the comedy Saint Frances, the Japanese musical We Are Little Zombies and the doc Mucho Mucho Amor.