Critical Week: Say cheese

Covid restrictions are lifting in Britain, but I haven't had many press screenings this week, mainly because many of the films opening this month are ones I saw at a festival last year. Thankfully, this gives me some extra time to work on the forthcoming London Critics' Circle Film Awards - there are less than three weeks to pull everything together for that, even as a virtual event. Bigger films this week included A Journal for Jordan, a sentimentalised true drama starring Michael B Jordan and Chante Adams, directed by Denzel Washington. It's a good story, but feels too gentle and worthy. And then there's the silly fantasy fairy tale The King's Daughter, in which Pierce Brosnan plays Louis XIV, whose daughter (Kaya Scodelario) befriends a mermaid (Bingbing Fan) and refuses to fall for the suitable man. It's ridiculous but fun.

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And then there's the jaunty Spain-set comedy Rifkin's Festival, which has some terrific touches but is another uneven film from the troublesome Woody Allen. From Brazil, The Pink Cloud is eerily prescient, shot in 2019 but expertly capturing the feeling of lockdown in its story about a toxic cloud that traps a new couple in a flat for years. Buzzy Japanese filmmaker Ryusuke Hamaguchi skilfully tells three separate stories in Wheel of Fortune and Fantasy, and their thematic angles dovetail beautifully. And in the documentary Torn, filmmaker Max Lowe recounts the involving, twisty story of his mountain-climbing superstar father and his legacy.

This coming week I have mainly documentaries to watch, including The Real Charlie Chaplin, Taming the Garden, Boris Karloff: The Man Behind the Monster and awards contenders Procession and The Rescue.

Critical Week: Just hanging around

I took a few days off around the weekend, so had a quieter screening week than usual - but I greatly enjoyed the chance to spend four days doing basically nothing in the countryside. Before and after that, I caught a couple of big movies, including the Maze Runner sequel The Scorch Trials, another clunkily contrived teen-dystopia thriller that has energy and a sharp young cast, but never feels remotely engaging. Toni Collette and Drew Barrymore play lifelong best pals in the London-set comedy-drama Miss You Already, a deeply resonant film that refreshingly dodges cinema's male-centred rules thanks to director Catherine Hardwicke and writer Morwenna Banks.

I also caught up with this year's Woody Allen's movie Irrational Man, a meandering but thoughtful and smart comedy-drama starring Joaquin Phoenix and Emma Stone in a lighter variation on Allen's iconic Crimes and Misdemeanours. A little further afield, Mark Strong and Vera Farmiga star in the Romanian drama Closer to the Moon, based on a fantastic true story but told with an odd mix of jaunty farce and dark tragedy. And the sharp, thoroughly entertaining British indie comedy SuperBob looks at the personal life of a hapless superhero.

This coming week, we have Robert Pattinson and Dane DeHaan in Life, Jake Gyllenhaal and Keira Knightley in Everest, Kevin Costner and Maria Bello in McFarland, Rhys Ifans and Charlotte Church in Under Milk Wood and the American indie festival hit Tangerine.

Critical Week: A dog's life

One of the quirkier press events critics face is the presentation of footage from an unfinished film. Sometimes this involves chatting with filmmakers and cast members while watching scenes that aren't quite complete, other times they show us essentially an extended trailer. Usually we don't want to see snippets and scenes before we have a chance to see the whole film, but Disney's upcoming animated adventure Big Hero 6 is rather interesting, and they lured us along with promises of a San Fransokyo breakfast (turns out that sushi is rather delicious at 10am) as well as a screening of the completed short film Feast (above), which will accompany the feature. Producer Roy Conli had so much energy that he easily whipped us into a frenzy of anticipation for the movie. The footage we saw (about 30 minutes total) was seriously impressive, and Feast is simply amazing. The film opens in November in the US and January in the UK, so who knows when UK critics will see the whole thing.

As for regular screenings, we were shown two big films just days before they opened in Britain: Magic in the Moonlight is a warm and funny rom-com from Woody Allen with Colin Firth and Emma Stone, while The Giver is yet another teen dystopia thriller with a potent cast including Jeff Bridges, Meryl Streep and Brenton Thwaites. Kevin Costner is terrific in Draft Day, an NFL variation on Moneyball that's likely to struggle to find an audience outside America. The Babadook is a fiercely clever horror film from Australia, layering the terror with deeper meaning. Not Cool is a silly comedy that has a bit of unexpected substance. And there were two dreamy and ultimately rather cold freak-outs: The Scribbler dips into mental illness, while You and the Night touches on sex-obsession.

Press screenings are also underway for the 58th BFI London Film Festival (which runs 8-19 October). I've caught up with a few, including Jason Reitman's Men, Women and Children, Christophe Honore's Metamorphoses, the period Maori action movie The Dead Lands and a new documentary about Hockney. Comments will come during the festival.

Coming this week along with the LFF screenings: Ben Affleck and Rosamund Pike in Gone Girl, Dakota Fanning in Emma Thompson's Effie Gray, Susan Sarandon in The Calling, Ira Sachs' Love Is Strange, Peter Strickland's The Duke of Burgundy, Michael Bay's take on Teenage Mutant Ninja Turtles and more...

Critical Week: Where'd the time go?

Time travel movies always do your head in a bit, although Rian Johnson's Looper isn't as impenetrable as some. No, my problem this past week was recovering from the full-on Paralympics schedule I kept up over the previous two weeks. But I'm starting to feel a bit more normal now, just as meetings are kicking in to organise the Critics' Circle Film Awards in January! Clearly there's no rest for me in the near future.

Anyway, back to Looper, which was screened last week to UK critics: we're embargoed from saying much about the film, which stars Joe Gordon-Levitt and Bruce Willis as the same hitman character meeting up in a time loop. So what can I write about. We also saw Woody Allen's latest Euro-pudding, To Rome With Love, which is very fluffy but still worth a look. Oliver Stone's Savages is a return to Natural Born Killers nastiness without the bite, mainly due to a pretty dire script that even a terrific cast can't rescue. And it gets worse: Sam Riley and Garret Dillahunt star in Walter Salles' take on the Jack Kerouac novel On the Road, which simply doesn't hold together at all, despite gorgeous production values.

The nicest surprise of the week was British comedy sequel Nativity 2: Danger in the Manger, of which I didn't expect much. It starts in the same annoying vein as its predecessor, but wins us over with an infusion of Christmas spirit that worked on me even on a sunny September morning. Two other independent films held my interest even though they're both flawed: Sally Potter's drama Ginger & Rosa is a dark coming-of-age drama starring Elle Fanning and newcomer Alice Englert. While Jason Biggs is superb in the lively grassroots politics comedy titled, erm, Grassroots.

This coming week is even busier, screening-wise, with Anna Kendrick and Rebel Wilson in the comedy Pitch Perfect, Olivia Munn and Paul Schneider in The Babymakers, the British action thriller Tower Block, the Swedish political comedy Four More Years and the Queen documentary Hungarian Rhapsody, plus a chance to revisit Raiders of the Lost Ark on the Imax screen.

Critical Week: Mel's got a gun!

London critics were last week treated to a screening of Mel Gibson's new action romp, How I Spent My Summer Vacation, which isn't even being released in cinemas in the USA (where it's going straight to video with the title Get the Gringo). It's a mess, but fans of gratuitous, mindless violence will probably enjoy it. Speaking of mindless, filmmaker Todd Graff kind of wastes both his premise and cast in Joyful Noise, a church choir comedy starring Queen Latifah and Dolly Parton that's silly and warm but in dire need of some proper sass.

In the prestige department, we had director James Marsh's cool, steady-handed IRA thriller Shadow Dancer, starring Andrea Riseborough and Clive Owen; the cool, rather dull futuristic romance Clone, with Matt Smith and Eva Green; and the cool, sleekly unsettling Colombian thriller The Hidden Face. And there were three docs as well, including the comprehensive theatrical edit of the thoroughly entertaining Woody Allen: A Documentary, the hugely endearing real-life adventure Mission to Lars, and the harrowing privatisation horror-doc Catastroika.

This coming week we have another very late press screening of Tim Burton's Dark Shadows, just a few days before it opens. We'll also see the ensemble rom-com What to Expect When You're Expecting, the acclaimed horror The Innkeepers, the British comedy Fast Girls, the animated feature Top Cat: The Movie, the Nazis on the moon romp Iron Sky, the Japanese drama Mitsuko Delivers, and a documentary about Ping Pong.