Stage: Trolling for justice

Evelyn
by Tom Ratcliffe
dir Madelaine Moore
with Nicola Harrison, Rula Lenska, Yvette Boakye, Offue Okegbe
music/sound Michael Crean
set TK Hay
costumes Trynity Silk
lighting Rachel Sampley
Southwark Playhouse, London • 23.Jun-16.Jul.22

Based on a true story, this stage drama traces a compelling series of events in a way that builds intrigue while asking much larger questions about identity and the destructive impact of gossip, especially of the trolling variety. With a loose production style, the cast takes a nicely offhanded approach to the characters. But it's frustrating that the show is staged so awkwardly, with hesitant dialog, bizarre theatrical flourishes and a rather drably uninteresting set.

The story takes place in a seaside retirement community, where Sandra (Harrison) arrives to rent a room from Jeanne (Lenska). Since this isn't strictly allowed, Sandra needs to pose as Jeanne's goddaughter. But Jeanne's nurse Laura (Boakye) is instantly suspicious of Sandra, especially when Sandra begins seeing Laura's brother Kevin (Okegbe). Eventually, Laura becomes convinced that Sandra is actually Evelyn Mills, a notorious woman from the news who covered for her violent husband after he killed their infant daughter.

Taking a motif from the setting, the show is framed with jarring appearances from Punch, Judy and Crocodile (played in masks by Okegbe, Harrison and Boakye), who bray loudly at rumours that are swirling online about Evelyn's past actions and present whereabouts, turning her into a sort of folk villain. Later they are also joined by Crean, a one-man band who performs the music and soundscape on-stage wearing a gimp mask. All of this gives the show a bizarrely sinister tone that turns increasingly dark. There are only very brief moments of lightness here and there, mainly due to Jeanne's mischievous approach to life.

Harrison is strong in the central role as a woman simply trying to have a quiet life, but unable to escape the suspicions that are beginning to circle her, augmented by the way she plays Sandra as a rather manipulative opportunist. This makes each small deception feel like it may hint at much larger lies, but the truth about her remains elusive. Boakye gets the biggest dramatic moments as the increasingly frazzled and somewhat prickly Laura, while the likeable Okegbe gives Kevin a hapless physicality that makes him a realistically oblivious nice guy. Meanwhile in the most fully fleshed-out performance, Lenska delivers all the best lines with impeccable timing to add both humour and deeper emotion.

This play is so complex that it needs much tighter direction and a more focussed visual sense of the sets and costumes. As staged here, it almost feels like we're watching an early rehearsal that's only partially realised. But the material is strong enough to hold the interest, so what it has to say about the mob mentality is provocative and even devastating.

For details, visit SOUTHWARK PLAYHOUSE >

photos by Greg Goodale • 27.Jul.22

Critical Week: Leader of the pack

It's been a very busy week, but there have been few screenings. The one big one was a festive press screening for the second Despicable Me spin-off prequel Minions: The Rise of Gru. It's as delightfully silly as expected, and rather a lot more manic than the last movie. The splintered plot is somewhat frustrating, but the gags are quick and consistent.

BEST OUT THIS WEEK:
George Michael: Freedom Uncut
Elvis • Olga • Apples • Wildhood
ALL REVIEWS >

I also caught up with the Swiss drama Olga (which I'd missed on its UK release last month), about a Ukrainian gymnast facing identity issues. It's powerfully involving, inventive and eerily timely. There was also the Brazilian documentary Uyra: The Rising Forest, a gorgeous odyssey about artistic indigenous activists raising awareness of an environment under threat. And I'm also on the short film jury for London Indian Film Festival, so watched 10 seriously engaging shorts. Tomorrow I'll meet with the other jurors to decide a winner of the Satyajit Ray prize.

It'll be another rather offbeat week ahead, and films to watch include the Ukrainian drama Sniper: The White Raven, the anime adventure Pompo: The Cinephile and the short film collection Boys on Film 22: Love to Love You.

Dance: Flamenco beyond boundaries

¡Viva!
director Manuel Liñán
dancers-choreographers Manuel Liñán, Manuel Betanzos, Jonatán Miro, Hugo López, Miguel Heredia, Yoel Vargas, Daniel Ramos
singers David Carpio, Antonio Campos
guitar Francisco Vinuesa
violin Victor Guadiana
percussion Kike Terrón
Sadler's Wells, London • 21-22.Jun.22

Triumphantly kicking off a two-week Flamenco Festival at Sadler's Wells, ¡Viva! gives the Compañía Manuel Liñán the opportunity to gleefully celebrate this textured artform by playfully subverting its strict gender rules. The result is a colourful flourish of pure flamenco that's allowed to find its expression far beyond the usual barriers. It's witty, energetic and staggeringly skilful, with a moving emotional kick, as it were.

This show celebrates how flamenco creates an on-stage conversation between dancers, musicians, singers and the audience. In this case, Liñán leads six dancers, two singers and three musicians in a variety of set-pieces that overflow with humour, passion and physicality. The dancers are men decked out as women in colourful gowns, petticoats, wigs and flowers. But this isn't drag: they are honouring traditions while proving how flamenco transcends gender. And a twist in the final scenes cements this idea in a provocative, important way.

Each scenario in the show is thoroughly engaging, with a riot of sparky interaction as the performers swirl around each other, cheering each extraordinary achievement and pushing each other further. Every dancer gets a chance to shine in his own extended number, highlighting distinct personality traits and skill-sets. In one, everyone becomes obsessively fascinated by some very fancy footwork, in others they are goading each other to dance, or to stop dancing, or to dance until they can no longer remain on their feet. In the most thrilling sequence, two dancers perform a balletic flamenco dance-off, using castanets to tap, since ballet shoes don't.

Along with a terrific sense of camaraderie and musicality, this continually entertaining show features several bursts of rapid-fire footwork that take the breath away. And the cross-dressing premise adds deeper currents of meaning, blurring ideas of masculinity and femininity, elegance and power. It also provides for some stunning costumes, including some fascinating on-stage transformations. Indeed, Liñán notes that the show was born from the time he was a young boy dressing up in his mother's skirts, dancing in secret with makeup on his face and flowers in his hair. So this show also becomes a celebration of unmasking.

For details about the Flamenco Festival (21.Jun-2.Jul.22), visit SADLER'S WELLS >

photos by Marcos G Punto • 21.Jun.22

Screen: June TV Roundup

There seems to have been rather a lot more television series released over the past few months than usual, as streaming services wage war with each other. Many are high-profile shows with A-list casts, and it's simply impossible to watch everything. Especially when you have a day job that requires watching films and stage shows! Anyway, here's what I've managed to catch since the last TV roundup in April, starting with seven new shows, then four series that wrapped up their runs, then nine more that have been back with new seasons...

Heartstopper
This British romance is one of the most joyous TV series in recent memory, following a group of teens navigating relationships, with added complexities as they are still discovering who they are and whom they're attracted to. The characters are so bracingly realistic that it's easy to identify with all of them, as the writing, direction and acting are packed with knowing details. Young leads Joe Locke and Kit Connor deserve to become stars, and it will be very cool to watch them grow up over the next two seasons. But then everyone on-screen is excellent, including a terrific side role for Olivia Colman. (Netflix)

Moon Knight
Oscar Isaac is the main reason to watch this rather nutty action series about a man with multiple personalities who is the superpowered human avatar to a tetchy Egyptian god. This allows Isaac to have a lot of fun with his multi-faceted role in a show that's deliberately bonkers. The plot is enjoyably freewheeling, with some big stylistic flourishes that add visual panache to a range of adventures as our hero stumbles from one outrageous situation to another, simply trying to survive (and perhaps save humanity) amid the bickering deities. Ethan Hawke is also terrific as his nemesis, as is the superb May Calamawy in a complex leading role. (Disney)

Severance
An inventive premise gives this show an instant kick of intrigue, as does its bonkers 1970s aesthetic, with endless corridors and advanced-but-archaic tech. Adam Scott is solid in a rare serious role as a man whose ordered life, in which his personal and professional consciousnesses have been severed, begins to unravel. All of this is perhaps a bit gimmicky, hinging on something intriguing that never quite makes sense. But the show's internal logic is compelling, as are startling characters played by the fabulous likes of John Turturro, Christopher Walken and Patricia Arquette. (Apple)

Big Boys
Complex and introspective, this show is presented as a comedy but features a strong kick of emotional drama along the way. Based on a memoir, it centres on young Jack (Derry Girls' Dylan Llewellyn), who defers his university studies to keep his mother (Camille Coduri) company after his father's death, then struggles to come to terms with his homosexuality. On campus, he befriends Danny (Jon Pointing), who opens up his world in increasingly unexpected ways. It's a rare show that depicts an close friendship between a gay and straight man who need each other to make sense of the world around them. (C4)

Our Flag Means Death 
Based on the true story of a man who abandoned his family to become a pirate, this show's pilot is directed by Taika Waititi, who then pops up as the fearsome Blackbeard in this wildly amusing comedy set on a pirate ship in 1717. Rhys Darby manages to make the effete gentleman captain Bonnet strongly endearing, and his hilarious ragtag crew includes the likes of Joel Fry, Vico Ortiz, Samson Kayo, Ewen Bremner and Mathew Maher. It's utterly ridiculous, but manages to poke witty holes into the masculinity of its posturing characters. And while everything is very silly, there's a deeper point here about the mentality that drives men to war. (HBO)

Ten Percent
A remake of the hilarious French comedy Call My Agent, this London variation holds closely to the original for the first few episodes, then begins to spread its wings in some uniquely British ways. Led by Jack Davenport, the offbeat cast is solid, and each episode contains starry cameos that are more knowing than jaw-dropping. It's a superb skewering of the insanity of a talent agency, amped up by the arrival of a couple of Americans who add fake Hollywood smiles to every nasty thing they do. The bland direction and slack pacing may leave it feeling a little undercooked, but by the end of this season the show finds its stride and leaves us looking forward to more. (Prime)

The Pentaverate 
Mike Myers plays at least half of the roles in this wildly inventive comedy adventure centred around a secret society that runs the world. The difference is that this one is nice. Only a Canadian would have come up with this premise, and Myers packs the show with terrific characters, laugh-out-loud gags and witty pop culture references, including many that lampoon his own career. Starry guests (Rob Lowe, Keegan-Michael Key, Ken Jeong) and massive effects sequences add to the freewheeling, escalating plot. And while it is very gimmicky, it's far more effective and involving than expected. (Netflix)

T H A T ’ S   A   W R A P

Derry Girls: series 3
Three years later, this great sitcom storms back at full force with indelible characters in riotously funny situations. There isn't a dull moment in these episodes, which are stunningly well-crafted to bring out amusing details in each character while propelling five teens into early adulthood. The 1990s setting adds political subtext that takes on increasing resonance, especially in the final episode, which beautifully sticks the landing. The five young leads are so good that we never want them off-screen. The surrounding adults add knowing textures in even the silliest situations. And Siobhan McSweeney still walks off with the whole show as the bitingly sardonic Sister Michael. (C4)

Killing Eve: series 4 
Carrying on with that snarky glint in the eye, this show continued pushing its characters into awkward corners, now as a three-sided drama featuring killers Eve, Villanelle and Carolyn (the frankly awesome Sandra Oh, Jodie Comer and Fiona Shaw). Because the situations are both terrifying and absurd, each actor can add a range of textures that hold the interest. So while the variations in tone are uneven, the show has a driving energy that carries us right to the end. After the previous three seasons, the series' final moments feel a little unsatisfying, going out with a bang rather than something more textured and transgressive. (BBC) 

Ozark: series 4b 
Iit was nerve-wracking to hit play on these final episodes, knowing that the writers have no qualms about getting very dark, and then darker still. It seemed impossible that there could ever be someone nastier than Darlene (Lisa Emery), and then Javi (Alfonso Herrera) turned up. And now his mother Camila (Veronica Falcon) takes the crown. Meanwhile as the Byrdes, Jason Bateman, Laura Linney, Sofia Hublitz and Skylar Gaertner continue deepening characters who are pushed into various corners. And Julia Garner still shines brightest as the fearsome Ruth. Of course some of the conclusions are frustrating, but it's difficult to recall another TV series this intense. (Netflix)

Grace & Frankie: series 7b 
Jane Fonda and Lily Tomlin have been so flat-out fabulous in these seven seasons that it's difficult to say goodbye to their characters. These last episodes don't scrimp on the tangled messiness, as the show continues to grapple with geriatric issues with openness and humour. This has been a rare show that has embraced sex, inebriation, honesty and power for people of all ages. There are times when things get more than a little cartoonish, but the sheer charisma of the entire cast makes each scene shine. And each actor unflinchingly embraces the more difficult aspects of their characters, which only makes all of them that much more loveable. (Netflix)

B A C K   F O R    M O R E

Bridgerton: series 2 
Shifting to the next Bridgerton sibling, this second season maintains the Austen-esque approach, introducing its prickly leads (the superb Jonathan Bailey and Simone Ashley) as romantic foils right at the start. The wrinkles and obstacles they face are enjoyably messy, and scenes are packed with sparky supporting characters, including fabulous divas Queen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh). Putting modern-day vibes in an 19th century setting makes the show fizzy, thoroughly entertaining and sometimes moving too. So the eight episodes go by far too quickly. The show needs to keep expanding its diversity; we all know where it needs to go now. (Netflix)

Young Rock:
series 2 
Dwayne Johnson continues to unpick his childhood, shifting between various periods to explore his lively relationship with his parents, sport and politics. This second season follows on seamlessly from the first, as the young Rocks (Adrian Groulx, Bradley Constant and Uli Latukefu) are allowed to grow up on screen alongside the terrific Joseph Lee Anderson and Stacey Leilua as his feisty parents. There's also more Randall Park goofiness in the amusingly cynical framing scenes with Johnson, plus added Sean Astin as a nemesis this year, although his subplot gets a bit lost along the way. (NBC)

Star Trek - Picard: series 2 
While this second season succumbs to the Star Trek universe's odd affinity for wacky sciency anomalies and multiverse messiness, it also takes a swerve into something more existential with the return of both the Borg and the mischievous Q (John de Lancie). Also, much of the action is set in 2024 Los Angeles, which adds a present-day kick. Of course, the primary joy is seeing Patrick Stewart back in action, accompanied by a superb ensemble of costars. And there are cool cameos from several others from his The Next Generation days. Ultimately, what sets this show apart is its deeper themes and internalised storylines. So it's worth a look even for non-fans. (Paramount) 

Euphoria: series 2 
Kicking off with that same bleak, dark tone that made the first season a bit hard going, this new set of shows thankfully begins to dig a bit deeper fairly early on. It's still very heavy, and often rather preachy in a wallowing-in-the-muck sort of way. But it's made watchable by its willingness to delve intensely into things most shows gingerly step around. And this allows the cast to create often shockingly vivid characters. Zendaya is particularly superb as Rue, although her self-destructive behaviour is exhausting. Others are more nuanced, even if the writers continually push the casual drugs and violence way over the top. (HBO)

The Flight Attendant: series 2
Kicking off at the same frantic, out-of-control pace as the first season, these episodes immediately feel more tightly written. Even as the plot spirals out in several cleverly insane directions, the ongoing craziness surrounding Cassie (Kaley Cuoco) is entertaining and involving, including the way she consults with the various aspects of her personality. The central mystery is so bonkers that it's impossible to imagine where it's heading, especially as each clue seems to be downright impossible. Everyone in this show is hyper-distracted, and the things Cassie does are frankly idiotic. But it's fun to just hang on for the ride. (HBO)

Upload: series 2 
This second season feels truncated at seven episodes, and apparently a third series is coming. It's a show that allows you relax and stop thinking, brought to life by the criminally likeable Robbie Amell as a guy whose consciousness was uploaded to a virtual resort when he died. He continues to pine for his "angel" assistant Nora (Andy Allo) while his overbearing girlfriend Ingrid (Allegra Edwards) pays his bills keeps a much too-close eye on him. The rich/poor divide is more integral in this season, complete with the addition of a group of anti-upload activists who want to bring down the entire system. But it's still mercifully predictable and funny. (Prime) 

Space Force:
series 2
An unusually strong cast makes this comedy entertaining, anchored by Steve Carell and John Malkovich immaculately underplaying absurdly ridiculous characters. Plus adept supporting cast members like Ben Schwartz, Diana Silvers, Tawny Newsome and Jimmy O Yang. The premise might be corny, and much of the humour feels underpowered, especially running gags about the lack of funding in this new US military branch. But above-average writing gives the actors something to chew on even in the most absurd scenes. It also helps to have guest stars like Jane Lynch, Lisa Kudrow and Patton Oswalt popping in. (Netflix)

Girls5Eva: series 2 
Fast and breezy, this rapid-fire comedy sends this riotously ridiculous girl group on another wildly outrageous journey, this time as they try to get their barely revived career back up and running with a new album and tour. As before, the songs are absolutely hilarious, while the four central characters played perfectly by Sara Bareilles, Busy Phillips, Renee Elise Goldsberry and Paula Pell manage to stretch their stereotypes in all sorts of intriguing directions. And the show continually finds ways to explore the music business with striking insight, even as it indulges in the silliest jokes imaginable. (Peacock)

Elite: series 5  
Mindlessly trashy, this new season once again kicks off with a murder, then cycles back to build up to it as the teen characters throw a wildly sex-fuelled, drunken party seemingly every night. Stakes are upped by continuing last year's mystery while indulging in new red herring shenanigans. As always, it's a lot of escapist fun to watch these fabulously wealthy, ludicrously hot people squirm in a veritable hurricane of soapy calamities. As the show continues, its point of view is increasingly fragmented, so there's no longer a central figure to root for. But then, nobody in this show is very likeable, so it's easy to just sit back and watch the mayhem. (Netflix)

NOW WATCHING: Obi-Wan Kenobi, Becoming Elizabeth, Star Trek: Strange New Worlds, Ms Marvel, Pistol, Physical (2), The Boys (3), Stranger Things (4).
COMING SOON: House of the Dragon, Only Murders in the Building (2), Love Victor (3).

Critical Week: You little devil

It's been a busy week in London, as temperatures have become warmer by the day, culminating Friday in what might be the hottest June day on record. Meanwhile, I've seen a few films, including Scott Derrickson's horror thriller The Black Phone, which is hugely violent and unsettling but perhaps not that scary, and the Toy Story spinoff Lightyear, which is a rollicking and very entertaining space adventure.

BEST OUT THIS WEEK:
Good Luck to You, Leo Grande
Everything Went Fine
Brian and Charles • Lightyear
ALL REVIEWS >

Outside the mainstream, I saw the fiendishly clever Spanish satire Official Competition, starring Penelope Cruz and Antonio Banderas as obsessive filmmakers trying to create a lasting cinematic masterpiece. Also from Spain, Timothy Spall and Sarita Choudhury play offbeat, continually surprising characters in the gentle drama It Snows in Benidorm. Two young women get trapped atop a dizzyingly tall antenna tower in the nerve-jangling thriller Fall. Jemaine Clement is the host of a body-positive retreat in Nude Tuesday, a witty film from New Zealand with dialog in gibberish and even crazier subtitles. Teens try to stage a New Year's heist in Turbo Cola, a comedy that turns into a darker drama along the way. And Satyajit Ray's 1963 female empowerment masterpiece The Big City has been restored and put on the big screen.

There were also a few more unusual things this past week. David Austin gave an interview at a special press screening of the documentary George Michael: Freedom Uncut, which he directed with the iconic musician before his death in 2016. It's finally gets a cinema release next week. On the stage, I got a chance to see Starcrossed, a witty spin on Romeo & Juliet at Wilton's Music Hall. It's smart, playful, moving and wonderfully queer. And I also attended the Critics' Circle's National Dance Awards at the Barbican, and it was great to chat with winners and nominees at the party.

Things are mercifully quieter this coming week, with no press screenings in the diary largely due to the rail strikes that will cripple of the UK transport system all week. I do have some online screenings, including Chris Hemsworth in Spiderhead, Ben Foster in The Survivor, the Sundance winner Cha Cha Real Smooth, the gymnast drama Olga and the Brazilian odyssey Uyra.

Sundance London: Take control

The 10th Sundance Film Festival: London comes to a close this evening at Picturehouse Central, after four days and 15 features, plus short films and various events. I attended one last screening today - of the surprise film (see below), at which the director gave an animated Q&A. And this is the one that turned out to be my best of the fest. I managed to catch all but one of the features; each is above average and worth seeing. Whether they'll all get proper releases is another question. Here's a final collection of comments...

Honk for Jesus. Save Your Soul.
dir-scr Adamma Ebo; with Regina Hall, Sterling K Brown 22/US ***.
Loosely based on a true story, this church-based drama has the aura of a Christopher Guest-style improv comedy, but its humour is on-the-nose rather than riotous. Which is partly because mega-churches are absurd enough without exaggeration. Writer-director Adamma Ebo takes a knowing approach that finds  amusing gags that are sometimes obvious or unnerving. And there's enough complexity in the story to take in both broad nuttiness and darker emotions.

S U R P R I S E   F I L M
Bodies Bodies Bodies
dir Halina Reijn; with Amandla Stenberg, Maria Bakalova 22/US ****
Gleefully mashing-up genres, this riotous black comedy takes the form of a slasher horror movie, but is packed with slapstick mayhem, interpersonal tension and social commentary. It's expertly assembled by the filmmakers and a seriously up-for-it cast to freak us out and make us laugh. But even more intriguing is that the movie pushes us to think about the nature of relationships for today's generation of young people. 

Resurrection
dir-scr Andrew Semans; with Rebecca Hall, Tim Roth 22/US ***
Aside from being grisly and creepy, there isn't much to this bonkers dramatic horror, which sends a woman on a nightmarishly symbolic journey into maternal guilt and paranoia. It's strikingly well-played by Rebecca Hall and an ace supporting cast, and writer-director Andrew Semans keeps the surreal nastiness churning from start to finish. But it's never quite as meaningful or provocative as he seems to think it is.

The Princess
dir-scr Ed Perkins; with Princess Diana, Prince Charles, 22/UK ****
Compiled entirely from news and paparazzi footage, this documentary traces the life of Princess Diana from the day photographers started chasing her until her coffin disappeared from their view. It's a remarkable film that reveals a narrative in how she appeared in the public eye, including clips of her interviews and commentators at the time. Filmmaker Ed Perkins assembles this without overt messaging, although the point is unnervingly clear.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

Sundance London: Make a connection

Sundance Film Festival: London may only last four days, but the 15 films in the lineup are all buzzy titles that audiences and critics have an appetite for. And one of the best things about this festival is that every screening includes a Q&A with filmmakers and/or cast members. Even if someone can't attend, such as Lena Dunham with her new drama Sharp Stick (above), she shows up in a zoom call, interviewed about the film specifically for those of us who had just watched it. Of course, this means that the lovely spaces at Picturehouse Central are all taken over by VIP or press events (I can at least get into the press ones). Here are some more highlights...

Sharp Stick
dir-scr Lena Dunham; with Kristine Froseth, Jon Bernthal 22/US ****
After a 12-year break from filmmaking Lena Dunham is once again inventively challenges the way women are depicted on screen. She cleverly spins a lightly fantastical tale about a young woman's coming of age that's so defiantly complex and thoughtful that it often feels shocking. But it shouldn't be, and that's the point. Packed with layered, frankly amazing characters, it's the kind of film that should start important conversations.

Hatching [Pahanhautoja]
dir Hanna Bergholm; with Siiri Solalinna, Sophia Heikkila 22/Fin ***.
Cleverly mixing over-the-top beauty with insidious nastiness, this Finnish thriller remains sunny and smiley even as scenes become very grisly indeed. Blackly comical touches combine with underlying emotions to pull the audience in, as director Hanna Bergholm draws out important themes and thoroughly freaks out the audience. As it warps into gleefully yucky body horror, the film also finds surprising meaning in the personal drama, including some moving emotions.

Brian and Charles
dir Jim Archer; with David Earl, Chris Hayward 22/UK ****
With disarming charm that sneaks up on the audience, this offbeat British comedy-drama is packed with wonderfully quirky characters who bring a relatively simple narrative to sparkling life. Director Jim Archer takes an amusingly deadpan approach that adds an involving kick to the script, which was written by lead actors David Earl and Chris Hayward. So even if the story is rather silly, it's underscored with real heart.

Fire of Love
dir Sara Dosa; with Katia Krafft, Maurice Krafft 22/Can ***.
With a wealth of amazing footage, this documentary follows intrepid volcanologists Katia and Maurice Krafft, who skilfully filmed their adventures around the world. Filmmaker Sara Dosa assembles this material to vividly capture their passion for both molten lava and each other. Much of the imagery is so astonishing that it leaves us gasping for breath. But it's the likeable couple at the centre that holds the interest.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

Sundance London: Keep dancing

Sundance Film Festival: London is back in its usual slot this year, after two disrupted editions. This is a slightly odd festival for the press, as they pack all of the industry screenings into two days before the actual events kick off. Which leaves us feeling like we're finished before anything begins. So I've already seen 10 of the 13 films in the programme, and I'll be catching a couple more at public screenings with cast and crew members in attendance at Picturehouse Central. The actors and filmmakers turned up last night for the opening film Good Luck to You, Leo Grande. Here are comments about that one, and a few others, plus my usual Critical Week below... 

Good Luck to You, Leo Grande
dir Sophie Hyde; with Emma Thompson, Daryl McCormack 22/UK ****
If you can get into this film's theatrical vibe, there are several very strong themes woven through the narrative that make it deeply involving. Essentially three scenes featuring two people in a room, the stagey set-up is echoed in the heightened dialog, which pointedly takes on several big issues. The observations are insightful and sharply important, as are the bravely transparent performances from the two lead actors.

Watcher 
dir-scr Chloe Okuno; with Maika Monroe, Karl Glusman 22/Rom ***.
Writer-director Chloe Okuno creates a superbly unsettling atmosphere in this quietly suspenseful thriller about an American in Romania. The film knowingly plays on the feeling of being a foreigner unable to communicate in an unknown place, while generating scares by twisting a range of cinematic cliches in intriguing directions. It's a shame there's not much more to the film, but it definitely gets our hearts pumping a bit faster.

Free Chol Soo Lee
dir Julie Ha, Eugene Yi; with Chol Soo Lee, KW Lee 22/US  ***.
While this documentary traces a true story in a rather straightforward manner, the important subject matter makes it worth a look. Chol Soo Lee's experience was shocking and sad, but also carries elements of redemption and complex humanity. And it highlights a rarely explored aspect of underlying racism in the American justice system. These ideas emerge strongly, even as the filmmakers remain more focussed on the compelling personal narrative.

We Met in Virtual Reality
dir-scr Joe Hunting; with Jenny, Dust Bunny, IsYourBoi, Toaster 22/UK ***
This extraordinary documentary was somehow shot virtually, as filmmaker Joe Hunting takes the audience into various digital environments to meet people who interact there. It's an extraordinary film, and remarkably personal as it hones in on relationships within VR communities, often spilling out into the real world as well. It's a great introduction to a virtual world, although newcomers may find it tricky to engage with the film's perspective.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

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

BEST OUT THIS WEEK:
Listen • All My Friends Hate Me
Il Buco • Moneyboys • Swan Song
ALL REVIEWS >

I've only seen four non-Sundance films in the past week - and each is opening this week in the US or UK. I was unable to attend the single press screening of Jurassic World: Dominion, so caught up with it at a local cinema. It's funny, thrilling and packed with witty nods in various directions, a superb summer blockbuster. The award-winning Italian drama Il Buco is a masterfully assembled exploration of historical progress; the doc A Sexplanation is a witty look at why Americans are so obsessed with sex, and also afraid of it; and Baloney documents rehearsals and performances of a San Francisco queer burlesque with warmth and insight.

Aside from Sundance, this coming week I'll be watching the Pixar prequel Lightyear, Antonio Banderas and Penelope Cruz in Official Competition, Ethan Hawke in the horror thriller The Black Phone, the British drama It Snows in Benidorm, the restored Satyajit Ray classic The Big City and the theatrical version of the doc George Michael: Freedom Uncut.