Critical Week: The holiday's over

The new James Bond movie was already delayed by six months when it became one of the first casualties of the pandemic way back in March 2020. So finally getting to see it was a momentous occasion, with press screenings held alongside the London world premiere (we didn't get the stars, but we had martini-flavoured popcorn). And it was worth the wait, because No Time to Die is a big, beefy, complex finale to Daniel Craig's five 007 films.

BEST OUT THIS WEEK:
Getting Away With Murder(s)
No Time to Die
Freshman Year • The Carnival
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Other films paled in comparison. Best Sellers is a mildly amusing literary comedy with Michael Caine and Aubrey Plaza. Falling for Figaro is a silly opera comedy with Danielle Macdonald and Joanna Lumley, but there's more going under the surface. And then there was American Night, a lurid Italian made Tarantino-wannabe thriller that has some style but never gels. Much better were two astute docs: David Wilkinson's Getting Away With Murder(s) takes a fresh approach to seeking justice for those who carried out the Holocaust, while Marco Berger provocatively explores masculinity in The Carnival. I also saw a preview screening of a beautifully delicate British drama that I can't say anything about - it's not out until next year.

London Film Festival screenings this week included the bonkers but strongly pointed Berlin winner Bad Luck Banging or Loony Porn, the sharply astute Belgian drama Playground, the stylish British horror Shepherd, and the gorgeously animated Japanese drama Belle.

This coming week, there are still more London Film Festival press screenings ahead of the opening night next Wednesday, including the Palme d'Or winner Titane and the opening night film The Harder They Fall. I'll also be watching Wes Anderson's The French Dispatch, the musical Dear Evan Hansen and the doc Pier Kids.

Critical Week: At the movies

I saw fewer films this week for a variety of reasons, including extended celebrations of my birthday and a two-day trip to Brighton to visit a friend. It was nice to take a break from the screen and catch some (intermittent) sunshine for a change. But I was glad to be back in cinemas for a couple of high-profile press screenings. Jim Broadbent and Helen Mirren star in the crowd-pleasing true story The Duke, which is perhaps fizzier than it should be, but audiences will love it. And Scarlett Johansson is back for her long-awaited lead role in Black Widow, an action movie livened up by deeper-than-expected filmmaking and performances. Florence Pugh particularly shines alongside Johansson, plus scene-stealers David Harbour and Rachel Weisz.

BEST OUT THIS WEEK:
Martin Eden • Black Widow
The Truffle Hunters • The Surrogate
ALL REVIEWS >

More offbeat films included the horror thriller Son, an unnerving exploration of maternal excess that keeps us tense but struggles to stick the landing, and the Spanish romance Carmen & Lola, an involving and remarkably authentic story set in Madrid's Roma subculture. There was also the short film collection Upon Her Lips: Heartbeats, with eight mini-dramas exploring angles on female attraction.

This coming week I'll be watching Ewan McGregor in The Birthday Cake, Robert De Niro in The Comeback Trail, Karen Gillen in Gunpowder Milkshake, the award-winning French comedy Bye Bye Morons, the horror mystery The Boy Behind the Door and the Danish thriller Shorta.

Critical Week: King of the jungle

There was yet another new movie version of Edgar Rice Burroughs' iconic Tarzan screened for press this week - German animation that has high technical quality but some dodgy artistic and plot elements. Kellan Lutz performs and voices the king of the jungle, and when everything comes together, it's very entertaining. Emile Hirsch and Stephen Dorff play brothers in The Motel Life, a strong, low-key drama that taps into a real sense of desperation. So it's also rather grim.  Mindless action came in the form of In the Blood, starring Gina Carano as a new bride who kicks into battle mode when her husband disappears. Gorgeous Caribbean scenery helps us ignore the silly script.

Further afield, Robin Weigert is terrific in the drama Concussion, a warm, offhanded exploration of middle-aged desire. The Lisbon-set thriller After the Night takes us into a bustling favela for a fast paced all-night thriller that's low on detail but strong on atmosphere. And the Swedish film The 100-Year-Old Man Who Climbed Out the Window and Disappeared is an engaging blend of black comedy, dark drama and cheeky history.

This coming week's biggie is The Amazing Spider-man 2, and other screenings include Chiwetel Ejiofor in Half of a Yellow Sun, the comedy Jesus People, and Mike Myers' documentary Supermensch. I'm also attending the launch event for Jean-Paul Gaultier's exhibition at the Barbican, which promises to be a lot of fun combining fashion and film. Watch this space...

On the Road: Frozen, alone and fearsome

After only watching two films in the past two weeks, I had a bit of a flurry this weekend in Los Angeles, starting with Disney's new animated movie Frozen, about two sisters (voiced by Kristen Bella and Idina Menzel) struggling with what seems to be a family curse. Based on a Hans Christian Andersen story, the plot has some real weight and the characters are unusually strong, offering a strong twist on the usual Disney formula . Although the filmmakers couldn't resist filling the screen with silly jokes and comic relief characters, the animation is gorgeous and the themes are handled with a refreshing lightness,

I also had a couple of awards-consideration screenings on Saturday, my first two in Los Angeles. Both were pretty harrowing films, for different reasons. First was the true thriller Lone Survivor, in which Mark Wahlberg, Ben Foster, Taylor Kitsch and Emile Hirsch get into serious trouble on a mission in Afghanistan. It's riveting and exhausting, and a bit too rah-rah heroic for its own good. But it's also electrically charged and sharply well made. Second was the dysfunctional drama August: Osage County, starring Meryl Streep as a fearsome matriarch who locks horns (and then some) with her equally tetchy daughter Julia Roberts. The ace ensemble includes Chris Cooper, Margo Martindale, Benedict Cumberbatch, Ewan McGregor, Abigail Breslin, Juliette Lewis and Julianne Nicholson. And the insights from playwright/screenwriter Tracy Letts are startlingly honest. It sometimes feels hugely over-dramatic, but every scene strikes a nerve.

Critical Week: Woody goes west

London-based critics had our first screening of Woody Allen's new comedy-drama Blue Jasmine, which sees him return to America after working in Europe for most of the past decade. But he's not back in New York: it's San Francisco this time, and it's one of his best scripts in years. It also features a knock-out performance from Cate Blanchett. We also caught up with Paul Rudd and Emile Hirsch in David Gordon Green's tender, endearingly offbeat comedy-drama Prince Avalanche, plus Keri Russell in the rather silly comedy Austenland, which is likely to appeal mainly to 40ish single women.

In the arthouse department, we had Cold Comes the Night, a tense, quiet and ultimately lightweight thriller with Alice Eve and Bryan Cranston. Kristin Scott Thomas once again steals the show in the French comedy-drama Looking for Hortense, but her role is secondary to Jean-Pierre Bacri in a less interesting role as a man in a muddle. Rikki Beadle-Blair's new British drama Bashment is a searing, fiercely important look at racism and homophobia in the music scene. Kuma is a fascinating, eerily urgent drama about a Turkish family in Vienna, caught in a tangled web of culture and class. And Lucy Walker's The Crash Reel is an astonishing documentary about traumatic brain injury, made much more personal as it's also the story of snowboarder Kevin Pearce.

This coming week we finally get to see Kick-Ass 2, just before it opens. And we have screenings of the next franchise-starter The Mortal Instruments: City of Bones, Jim Broadbent and Lindsay Duncan in Le Week-end, the Patrick Wilson/Rose Byrne reunion Insidious 2, Clio Barnard's acclaimed The Selfish Giant, the award-winning Chilean comedy-drama Gloria, and the Swedish prostitution epic Call Girl. I'll also get to revisit Gregg Araki's Nowhere and Rene Clement's Plein Soleil.

EIFF 1: The kickoff

The rebooted 66th Edinburgh International Film Festival kicks off tonight with William Friedkin's Killer Joe, starring Emile Hirsch, Juno Temple, Gina Gershon, Matthew McConaughey and Thomas Haden Church.

Killer Joe
dir William Friedkin; with Emile Hirsch, Matthew McConaughey 11/US ***.
This film's unhinged plot constantly catches us off guard with its bizarre twists and turns, all of which are grounded on the hapless characters. But despite strong filmmaking, it feels like we're watching a play, especially in the contained final act... FULL REVIEW >

Hail
dir Amiel Courtin-Wilson; with Daniel P Jones, Leanne Letch 11/Aus ***
Based on the real experiences of Jones, who plays a version of himself, this intensely personal drama gets under the skin quickly and stays there. The filmmaking is sometimes a bit pretentiously arty, but there's such a gritty earthiness to the film that it's impossible to look away. Jones and Letch have terrific chemistry, bouncing off each other with charming sweetness and hot tempers that could tear each other apart. This is a story about an ex-con drug addict who desperately wants to make his squalid life better, but he's terrified of change. So what chance does he have? Haunting and important, but at times difficult to watch.

Pusher
dir Luis Prieto; with Richard Coyle, Agyness Deyn 12/UK **
Coyle is superb as a cocky low-life London drug dealer whose life takes a few nasty twists and turns - bad luck combined with risky decisions that squeeze him into a nasty corner. Coyle also has terrific chemistry with his sidekick Bronson Webb, which is strained to he breaking point, drawing out some intriguing subtext that the script seems frightened to explore. And this is a big problem. There's little here that hasn't been said in countless urban London dramas, and the central relationship between Coyle and Deyn never remotely ignites, which kind of leaves us unable to really sympathise with anyone in the story.

The Invader
dir Nicolas Provost; with Issaka Sawadogo, Stefania Rocco 11/Bel ***.
This extremely detailed exploration of one man's odyssey is provocative and riveting, even when it takes some grim turns. It centres on Amadou, an illegal immigrant from somewhere in French-speaking Africa (the charming, intimidating Sawadogo) who ends up in urban Belgium trying to survive. He's clearly a smart, resourceful guy, and everyone he meets likes him, but his status makes getting ahead impossible. After breaking from his traffickers, he meets Agnes (Rocco), and sees her as his greatest hope. But this of course puts a bit too much pressure on her, which leads Amadou into a spiral of dehumanising frustration. The film looks terrific, with a sharp sense of human physicality and glassy modern life. But where the story heads is also very, very dark, which makes he film sometimes feel rather melodramatic.

In non-festival screening news, I also watched: Steve Carell and Keira Knightley in the funny and ultimately moving apocalyptic drama Seeking a Friend for the End of the World; Benjamin Walker in Abraham Lincoln: Vampire Hunter, which we know would be ridiculous before we even saw it; Jean Dujardin and Gilles Lellouche in The Players, a French anthology about infidelity that's riotously funny and surprisingly pointed; another anthology film, 7 Days in Havana, an engaging if rather superficial collection of dramas directed by Gaspar Noe, Elia Suleiman, Benicio Del Toro and others; and the eerie drama Electrick Children, about a 15-year-old from an isolated religious community who is sure she's had an immaculate conception.