I'm late with most things this week, including this post, for two reasons: firstly I'm organising the 44th London Critics' Circle Film Awards, a seriously complicated event that's coming up in just a week and involves a myriad of variables to sort out. And secondly, I am migrating everything to a new computer, My vintage iMac has been slowing down after 15 years of faithful service, so I finally took the plunge. This new one is another world entirely, outrageously nimble and I can open websites again! But I have to learn how to do pretty much everything in a new way.
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BEST OUT THIS WEEK:
Totem • Samsara
All of Us Strangers
PERHAPS AVOID:
Padre Pio
ALL REVIEWS > |
I've also of course been watching films, although not as many as I should have. I caught up with Snoop Dogg's comedy
The Underdoggs, which takes a true story and bends it into the usual formula involving the foul-mouthed coach of a scrappy team. Watchable but not very funny. Ian McShane plays a bored hitman in
American Star, gorgeously shot in the Canary Islands. It's very snow and meandering, but full of intrigue. The offbeat British drama-documentary hybrid
This Blessed Plot traces the witty journey of a filmmaker who can talk to ghosts. And there were two rather elusive South American films: from Chile,
The Settlers is a bold, gorgeous trek across the continent with historic repercussions, while the Argentinian odyssey
Eureka is even more ambitious, opening in the Wild West (with Viggo Mortensen) and ending in the Amazon, with a North Dakota police chapter in between. Perplexing but fascinating exploration of indigenous cultures.
This coming week I'll be watching Henry Cavill in the spy romp
Argylle, animated adventure
Migration, black comedy
Club Zero, Australian drama
Shayda, musician documentary
Dalton's Dream and the dark drama
Pornomelancholia.
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