Critical Week: Dance the night away

It's been another relatively quiet week for me at the cinema, as I have spent most of my time organising the London Critics' Circle Film Awards – we're holding our 45th ceremony on Sunday night, and there's rather a lot to do to prepare for the starry evening. It's always an unusually intimate, relaxed awards show, with A-listers mixing with rising stars and of course the critics themselves. Highlights will be giving special awards to Daniel Craig and Zoe Saldaña. The afterparty will be great fun.

BEST OUT THIS WEEK:
No Other Land
Saturday Night • Hard Truths
ALL REVIEWS >

So I only had time to watch a couple of movies. There was the goofy romcom You're Cordially Invited with Reese Witherspoon and Will Ferrell, funny enough to be entertaining, but nothing special. And the blackly comical thriller Companion is smart and inventive, with terrific central performances from an ensemble cast that includes Sophie Thatcher and Jack Quaid. I attended a rather fabulous big-screen preview of the Disney+ TV series Paradise, attended by James Marsden, Sterling K Brown and Julianne Nicholson. And there was also a theatre press night, with the dark comedy The Gift at the Park Theatre.

This coming week, I'll be catching up with Renee Zellweger, who's back for Bridget Jones: Mad About the Boy, Ryan Destiny in The Fire Inside and Francois Ozon's dark drama When Autumn Falls. There's also the press night for Antigone (On Strike) at the Park Theatre.

Stage: Down the rabbit hole

The Gift
by Dave Florez
director Adam Meggido
with Nicholas Burns, Laura Haddock, Alex Price
design Sarah Perks • lighting David Howe
music & sound Abby Galvin
Park Theatre, Finsbury Park • 22.Jan-1.Mar.25 ★★★

Springing from a high-concept premise then spinning wildly out of control, this snappy black comedy is written in such an entertaining way that we barely realise that it's playing with big issues rather than actually grappling with them. Dave Florez has a wonderful way with dialog, injecting witty banter that livens up a series of raucously uncomfortable moments. The steady stream of jokey puns and acerbic observations often feels overwritten, but it's also very funny, as it's essentially a portrait of three people who use wit to obscure what they really think.

It opens on a spotlit cake box on a kitchen counter, which Colin (Nicholas Burns) received that morning. Now he's joined by his sister Lisa (Laura Haddock) and brother-in-law Brian (Alex Price), peering at the human excrement inside and wondering who could have possibly sent it. Lisa knows that Colin is unlikely to take this with a grain of salt, and sure enough he begins obsessing about both who and why. Laura and Brian make a joke of it, and try everything they can to calm him down, but their own relational issues come into play as the situation grows into an existential crisis for all three of them.

Set completely in Colin's living room over several months, the play's dialog brims with pointed zingers as these people find amusing ways to refer to this head-scratching predicament as it escalates exponentially. The actors' dive in fully, making each of these characters big personalities who are equally likeable and infuriating. At the centre, Burns gives Colin a nicely quirky observational sensibility that leads him down all kinds of rabbit holes, overwhelmed by the task of apologising to every person he may have wronged. There are elements of panic and confusion that are easy to identify with, and these of course set off alarm bells for Haddock's pragmatic Lisa and Price's jocular Brian, who is perhaps too quick with a wisecrack for everything.

Indeed, there's a relentless intensity to this play, with such a continuous flow of spiky humour that the characters and situations begin to feel artificial. It's thoroughly enjoyable to watch, simply because the spiralling conversations are so jam-packed with fizzy wordplay, although this means that we are hearing people tell hilarious stories rather than watching events unfold on-stage. And many of the deeper issues, such as the machismo swirling between Colin and Brian, are brushed off as silly rather than properly explored. 

Much more interesting are the little rifts that reveal themselves between the characters, within marriage, friendships and between siblings. And Colin's inability to just get on with his life is also fascinating. These are by far the most involving things about this play, even as it remains focussed on its central gag and final punchline. 

For info, PARK THEATRE >

photos by Rich Southgate • 18.Jan.25 

Critical Week: Nothing to see here

This has been a very odd month for me, watching my hometown Los Angeles battle such devastating wildfires from afar, while also grappling with the political ramifications of what's happening across that country in Washington, DC. Meanwhile, I have been busy as the chair of the London Film Critics' Circle, as we prepare to present our winners at a starry ceremony in about 10 days. So my movie-watching has been somewhat limited. But I did manage to catch Back in Action, the action comedy starring Jamie Foxx and Cameron Diaz in the usual story of former spies whose past catches up with them. The plot is simplistic, but the film is well-made, they have great chemistry, and the cast includes Andrew Scott and Glenn Close, so it's well worth a diverting watch on Netflix.

BEST OUT THIS WEEK:
The Colours Within • The Brutalist
ALL REVIEWS >

A bit more highbrow is Steven Soderbergh's take on the horror genre with Presence, although it's more of a gentle ghost story than a freakout. The pace and introspection might annoy genre fans, but it's strikingly shot and acted with unusual subtlety. From Ireland, Four Mothers is a hugely engaging comedy about a young writer (James McArdle) caring for his sparky mother (the great Fionnula Flanagan) when three of his friends drop off their own demanding mothers for a weekend. It's knowing, funny and thoroughly entertaining. The documentary Luther: Never Too Much is a warm celebration of Luther Vandross' indelible musical talent, packed with terrific performance and backstage footage, but only a brief glimpse into his personal life. And it was great to finally see Peter Weir's haunting and dreamy classic Picnic at Hanging Rock projected on a big screen, pristinely restored for its 50th anniversary.

This coming week, I'll be watching are Companion with Jack Quaid and You're Cordially Invited with Reese Witherspoon, plus a big-screen preview of the TV series Paradise. But most of my time will be spent organising the London Critics' Circle Film Awards ceremony on Sunday 2nd February.

Stage: In a really good place

Glamrou: Drag Mother
with Amrou Al-Kadhi
Soho Theatre, London •  20-25.Jan.25 ★★★★

More performance art than a stand-up drag show, this one-hour piece comes directly from Amrou Al-Kadhi's soul, revealing a perceptive, funny and strongly engaging way of looking at the world. It's framed as a battle between Amrou and his sardonic Iraqi mother, who continually takes over the show and speaks to the audience to debunk Amrou's wildly imaginative stories about his life. So the show has a lot to say about the immigrant experience, how it feels to both be queer and to have a queer son, and the strength that comes from getting into drag and putting on a show.

Oozing glittery star power, Glamrou takes the stage with earnest showbiz gratitude, addressing the small Soho Theatre audience as "Wembley" and launching into a moody rendition of Bad Romance, accompanied by two musicians. Glamrou's full-diva attitude is hilarious as she speaks about her boyhood in Baghdad during the British invasion, growing up with an Islamist mother. Then mother takes over, telling the true story of Amrou's wealthy upbringing in Knightsbridge. She also points out the irony that in a Muslim family, Amrou is a man who can do whatever he wants, but he chooses to dress as a woman.

Intriguingly, elements of Amrou and his mother bleed into each other, discovering deeper connections and raising some surprisingly provocative issues. Amrou speaks about his big break as an actor in Spielberg's Munich (2005), then being typecast as a terrorist. This is echoed on a big screen as movie clips and childhood photos are projected alongside some fascinating memorabilia that explores his created backstory, as he felt pushed by teachers to live up to expectations. This intimately address nuanced issues connected to his ethnicity, religion and sexuality.

The juxtaposition of Amrou's fantasist storytelling with his mother's earthier honesty is often unnervingly clever, creating a show that's smart and very silly, but never frivolous. Even a series of musical numbers are performed with shades of personality and attitude, creating moods and feelings the audience doesn't expect. As Amrou continually says, "At 34, I'm in a really good place," but he always feels the flames around him. Indeed, his complex inner life sits alongside both struggles and triumphs. And of course this is something all of us can identify with.

For more, GLAMROU >

21.Jan.25

Stage: A mi manera

Copla: A Spanish Cabaret
writer-performer Alejandro Postigo
musicians Violeta Valladares, Jack Elsdon
director Sergio Maggiolo
video design Ricardo Ferreira
The Other Palace, London • 14-26.Jan.25 ★★★★

Entertaining on several layers, this terrific show explores a specific strain of Spanish music that evokes big emotions, provoking audiences for over a century with implications that subvert what's considered traditional morality. It's performed by Alejandro Postigo with charm, wit and a sharp political undercurrent that continually elicits laughter even as he makes important points about sexuality and immigration. And while it sometimes feels like a Ted Talk as it uses a large video screen to teach us about copla, the show is also strikingly personal, which makes it deeply moving for anyone who feels at odds with the status quo. And the music is simply gorgeous.

In The Other Palace's studio space, the stage looks like a dressing room, with hats, shawls, fans and dresses on the wall plus some glittery flourishes, all of which come into play. Violinist Violeta Valladares and keyboardist Jack Elsdon serenade us as we enter, and then Postigo arrives with a conspiratorial grin, explaining his qualifications before launching into a bracingly enjoyable tour through copla's history in Spain and Latin America. Strong resonance emerges everywhere, such as the tracing of an early copla classic written in French as Mon Homme, performed in Spain and then popularised as My Man by a string of divas from Fanny Brice to Billy Holiday, Barbra Streisand, Diana Ross and Whitney Houston.

Copla is distinguished by its big drama, telling stories of love outside what is considered proper, so it has always appealed to outsiders, most notably drag artists. In between gorgeous performance numbers in which he cleverly mixes Spanish and English lyrics, Postigo speaks intimately about how this music captured his attention as a child, then became more important to him as he discovered his queer identity. So the way the music was censored in the Franco era becomes a running theme, and it's driven home beautifully in clips of Postigo interacting with his lively 101-year-old grandmother.

Over the course of this hour-long show, Postigo reveals himself as he explores the universal impact of copla, which crosses cultures and subcultures powerfully revealing a deeper identity and a sense of belonging. Postigo's performance involves several evocative visual gender shifts, mixing masculinity with femininity both in his ever-changing outfits and his soaring voice, climaxing with a show-stopping performance of My Way before a joyous karaoke-style singalong. It's a cheeky, informative and hugely entertaining show that carries a lovely emotional kick.

For information, THE COPLA >

photos by Jake Bush & John Kentish • 17.Jan.25

 

Critical Week: I feel pretty

While all eyes continue to be on Los Angeles as the extent of the fire damage becomes even more horrifically clear, the film industry here in London continues relatively as normal. Bafta announced their film awards nominations on Wednesday, the usual expected lists with idiosyncratic touches here and there. And among screenings this week, Michelle Yeoh popped in (on great form) for a lively Q&A at a press screening for Star Trek: Section 31, which spins her Discovery character Philippa Georgiou off for her own action-comedy mayhem. It will be interesting to see how franchise fans take on the film's riotous tone.

BEST OUT THIS WEEK:
I'm Still Here • The Writer
A Complete Unknown
ALL REVIEWS >

There was also a late screening of Leigh Whannell's latest reworking of a monster classic: Wolf Man. Stars Christopher Abbott and Julia Garner make the most of the emotional angles in the somewhat thin script, and the grisly suspense will keep fans entertained. Tom Hanks and Robin Wright reunite with Robert Zemeckis for Here, a gimmicky experimental film that places a camera in one place for millions of years. The effects and imagery is impressive, but the mini-melodramas feel arch. From Lithuania, the New York-set drama The Writer features just two actors as they talk over the course of one afternoon, and it's properly gripping stuff, taking on big issues and quietly intimate emotion. Finally there was Charlie Shackleton's Zodiac Killer Project, documenting the film he never got to make. It's witty and inventive, and premieres at Sundance.

This coming week, among the films I'll be watching are Steven Soderbergh's Presence, the Irish drama Four Mothers, the musician doc Luther: Never Too Much and a restored screening of Peter Weir's Picnic at Hanging Rock, which I've never seen projected.

Critical Week: Troubled teens

After a very nice break, screenings have started up in London again, and I've had a couple this week. It's been a gentle start to a new year, with the usual offbeat January releases alongside awards-season gems that are being released this month. My first screening was the comedy-horror Get Away, written by and starring Nick Frost (Sebastian Croft and Maisie Ayres, pictured, play his kids). It's nutty and gleefully grisly enough to keep fans happy, but is a bit undercooked. Claes Bang stars in a big-scale account of the Swiss legend of William Tell. The settings are gorgeous and the starry cast is terrific, even if it's never hugely involving.

BEST OUT THIS WEEK:
Hard Truths • A Real Pain
The Girl With the Needle
Babygirl • Maria
ALL REVIEWS >

From France, the always enjoyable Laure Calamy stars in It's Raining Men, a comedy about a middle-aged woman who tries to spice up her marriage by hooking up with other men. It feels a little simplistic, but is likeable enough. A UK production filmed in India, filmmaker Sandhya Suri's Santosh is a riveting if slightly underpowered procedural thriller with very strong character beats. And the meta-comedy Extremely Unique Dynamic his hilariously packed with layers of gags as it highlights the friendship between filmmakers Harrison Xu and Ivan Leung.

This coming week, among the films I'll be watching are Michelle Yeoh in Star Trek: Section 31, Julia Garner in Wolf Man, Tom Hanks in Here and the documentaries Changing the Game and Zodiac Killer Project.

Critical Week: Happy holidays

It's been a nice week, hanging out with friends, celebrating the new year and watching very few films. I had a couple more to watch before finalising my lists of the best and worst of 2024, but I didn't go crazy trying to see everything. I'll be catching up on more over the coming weeks, and they'll enter the fray for 2025. The starriest one I watched this week was Joshua Oppenheimer's epic musical The End, with Tilda Swinton, George MacKay and Michael Shannon. It's about a family living underground two decades after society collapsed, and it has a lot to say about several massive topics. Although over two and a half hours it becomes a little numbing. 

BEST OUT THIS WEEK:
Nickel Boys • Nosferatu
We Live in Time
2073 • What I Am Not
ALL REVIEWS >

Meanwhile, Jeremy Saulnier's Rebel Ridge was a very nice surprise. Despite the blunt title, the film is a nuanced, thoughtful dramatic thriller about a guy whose specialty is de-escalating violence. Aaron Pierre is terrific in the lead role, as is Don Johnson as the backwoods Louisiana police chief running a very dodgy operation. Well worth a look even if the plot is a bit swampy. There were also two acclaimed documentaries: the shattering Sugarcane uses personal stories to skilfully recount stories of child abuse in Catholic schools for indigenous children in Canada. And Grand Theft Hamlet is an inventive, enjoyable film tracing the attempt to stage Shakespeare's play within the murderous virtual world of Grand Theft Auto.

This coming week press screenings will start up again with Claes Bang in William Tell, Nick Frost in Get Away, Laura Calamy in It's Raining Men and the Lithuanian drama The Writer.