Critical Week: I'll drink to that

In this full week between two short ones, I've been working to get ahead of things before taking a break starting next week. So I've been both attending screenings and watching films at home on links. And there were a couple of big ones along the way. Blake Lively and Anna Kendrick are back for the frothy comedy-thriller Another Simple Favour, this time set in gorgeous locations around Capri. Both silly and violent, it's also very entertaining. Florence Pugh and Sebastian Stan lead a ragtag ensemble in Thunderbolts*, a more character-based Marvel film than usual, with a terrific linear narrative that outs the effects nonsense into emotional context.

BEST OUT THIS WEEK:
Where Dragons Live • Thunderbolts*
Parthenope • Another Simple Favour
ALL REVIEWS >

Nicolas Cage gives one of his wonderfully bonkers performances in The Surfer as a guy who simply wants to return to surf the waves on the Australian beach where he grew up. Then things get outrageously messy. From Scotland, the 18th century samurai-Western mashup Tornado is set in the Highlands, slow and riveting, and superbly played by Koki, Tim Roth, Jack Lowden and more. From Italy, Paolo Sorrentino's Parthenope is yet another sumptuously gorgeous free-spirited epic odyssey, enjoyable and yet oddly out of reach. From Brazil, Karim Ainouz's bracingly colour-drenched dramatic thriller Motel Destino is bursting with passion and yearning. The Argentine drama Most People Die on Sundays has a much lighter tone than the title suggests, and it's a warm exploration of identity and connection. And the British doc Where Dragons Live is a fascinating look at a middle-class family sifting through its personal history.

This coming week, I'll have a few things to watch over the long weekend before heading off to visit my parents for a couple of weeks. Films include the musical drama Midnight in Phoenix, and there's also a stage production of Blood Wedding at the Omnibus in Clapham.

Critical Week: Back to nature

It's been another crazy week in awards season, with nominations announced for the British Academy Film Awards and several more industry guilds, plus two more groups I vote in - the Dorian Awards and the Online Film Critics Society. Even more time-consuming was my work as chair of the London Critics' Circle, as we put together our ceremony, which will be on February 5th. On the website, I'm updating the various awards pages, as well as the Shadows Sweepstakes, compiling all the awards in one place to see who's winning the overall race. Yes, I'm still a movie nerd.

BEST OUT THIS WEEK:
Alice, Darling • Holy Spider
In From the Side
ALL REVIEWS >

Along the way, I caught up with four movies, all of which are out in the UK and/or US this week. Three of these films are powerfully intimate dramas. The French drama More Than Ever stars Vicky Krieps as a woman grappling with her mortality alongside her husband, played by the late Gaspard Ulliel. Half of the film takes place on a Norwegian fjord, so the film has an intriguing mix of French and Scandinavian emotion. Anna Kendrick stars in the Canadian drama Alice, Darling, as a woman in a harshly controlling relationship. As her friends offer help, things get both gripping and moving. From Argentina, The Substitute stars Juan Minujin as a teacher caught in a collection of stressful situations that feel rather plotted, but the actors and camerawork are terrific. And finally there was the documentary 1946: The Mistranslation That Shifted Culture, a scholarly exploration of how homosexuality entered the Bible through a translation error in 1946 and proceeded to spark an anti-gay movement. It's detailed and powerful, made by and for believers.

This coming week I have press screenings of M Night Shyamalan's new horror mystery Knock at the Cabin, Gerard Butler in the action thriller Plane and the Chinese action epic sequel The Wandering Earth II, and I'll also catch up with Jennifer Lopez in Shotgun Wedding, Richard Gere in Maybe I Do, and the indie films Seriously Red and Concerned Citizen. If there's time. 

Critical Week: On a mission

Well, the 93rd Oscars managed to completely reinvent their ceremony for the pandemic era, although the severely simplified structure left it feeling a bit awkward. A host would have helped provide some humour, context and connectivity. The one comedy bit didn't work at all (aside from Glenn Close's apparently not-so-impromptu jig), and the order shuffle at the end left it ending on a dry note. But the winners were all hugely deserving, and it was great so see people celebrating in one place together.

BEST OUT THIS WEEK:
Limbo • About Endlessness • Laddie
The County • Truman & Tennessee
Heavy Trip • The Outside Story
PERHAPS AVOID:
Without Remorse
ALL REVIEWS >

Back to the movies, the big movie this week was Without Remorse, Michael B Jordan's take on the Tom Clancy franchise-launcher. Jordan delivers the goods, but the film is rather tough going. More intriguing is the sci-fi drama Stowaway, with its low-key approach and philosophical themes, plus a terrific four person cast led by Toni Collette and Anna Kendrick. Much bigger still, Mortal Kombat is a big-scale battle epic that holds the interest in a guilty pleasure way, despite the simplistic plot.

A bit higher brow, Benedict Cumberbatch stars in the Cold War biopic The Courier, a tautly written, directed and acted thriller about a normal guy pulled into the spy game. Bob Odenkirk is solid in the derivative but engaging action thriller Nobody. Sebastian Stan and Denise Gough really go for it in the uneven Americans-in-Greece romance Monday. China's maestro Zhang Yimou brings his stunning visual approach to the riveting 1930s spy thriller Cliff Walkers. Veteran filmmaker Agnieszka Holland finds some superb textures in the fact-based 1950s Czech drama Charlatan. The dryly funny and enormously violent Dutch thriller The Columnist has its moments. And the stylish doc Some Kind of Heaven explores the lives of residents in America's most enormous retirement community, basically Disney World for pensioners. Hint: it isn't heaven for everyone.

Films to watch this coming week include the animated adventure The Mitchells vs the Machines, the marital drama The Killing of Two Lovers, the house party comedy The Get Together, the moviemaking action comedy In Action and the horror comedy Fried Barry.

Screen: July TV Roundup

With the glut of TV shows, and some extra time to try to catch up with things, I'm making these TV Roundups monthly from here on. As always, I find watching an episode or three a brain-cooling tonic after a film screening, so I prefer comedies of course. But a great drama works too. There were some terrific ones over the past two months...

LOVE AND LAUGHTER

Normal People

From Ireland, this half-hour drama has a visceral realism to it, which is one of director Lenny Abrahamson's strong suits. It's also resolutely mopey and overserious, which makes it difficult to get into. But sticking with it is rewarding, as it traces an on-off relationship from school days into young adulthood, touching on some enormous issues along the way. The point, of course, is that the word "normal" doesn't mean what we like to think it means. Everyone has deep issues that alter their lives in unexpected ways. And this couple is so beautifully played by Daisy Edgar-Jones and Paul Mescal that both have deservedly become global stars as a result of this quiet, introspective series. (BBC)

Love, Victor

A spin-off from the film Love, Simon, this series takes the same super-soft approach to a teen's coming out. Michael Cimino is cute in the title role, a character who is very easy to root for as, instead of coming out as gay, he opts for the easy route of having a girlfriend, which is much more acceptable to his religious Latina family. Ana Ortiz and James Martinez are terrific as his parents, but the show's scene-stealers are Isabelle Ferreira as his surly sister Pilar and Anthony Turpel as his goofy new pal Felix. The show is full of great moments, and some complex interaction. But like the film it's a bit too gentle for its own good. (Hulu)

Space Force

There's a great idea behind this show, but the writers oddly hedged back from making it a full-on sitcom, instead giving it the tone of a drama with amusing humour woven through it. There are a lot of funny things and silly characters, but the script never quite breaks through with either a laugh-out-loud joke or pointed satire. Steve Carell is likeable as always, playing it straight as the head of the new military branch, but John Malkovich steals every scene from him. Meanwhile, Lisa Kudrow is oddly wasted. It's engaging enough to keep watching (it's better than the similarly underpowered The Orville or Avenue 5), but the premise cries out for more edge than this tepid treatment. (Netflix)

Staged

Set during lockdown, this knowing sitcom features Michael Sheen and David Tennant as exaggerated versions of themselves as they decide to rehearse a play, Six Characters in Search of an Author, so they're ready to go on stage when theatres reopen. It's sharply written and played, peppered with hilarious gags about life in the covid era as well as witty waves of insecurity and arrogance. Both actors are superb, playing on their public personae, the rivalry between Wales and Scotland and little power games. Their wives pop in from time to time, pointedly, as does their director Simon Evans and shameless scene-stealers like Samuel L Jackson and National Treasure Judi Dench. (BBC)

Everything's Gonna
Be Okay

Josh Thomas is likeably hapless (see also his earlier sitcom Please Like Me), but he certainly shouldn't be trying to get away with playing a guy in his mid-20s anymore: he's 33 and looks it. Still, the show has a nicely unhinged premise, as his lively character assumes guardianship of his two teen half-sisters after their father dies. The ensuing antics refreshingly steer clear of the usual TV cliches, giving the comedy, drama, emotion and sexuality a real-life jolt that's both topical and never predictable. It's all rather brittle and sometimes squirm-inducing, but there's a sweet undercurrent to all of it. (Freeform)

SERIOUS STUFF

Love Life

Anna Kendrick is terrific in this intriguing series, which explores her character's romantic life from high school until she meets her true love. Terrific support from Jin Ha, Nick Thune, Scoot McNairy and the always awesome Hope Davis adds intriguing textures to each episode, as does the gorgeous voice of Lesley Manville as the omniscient narrator. It's packed with clever ideas and powerful moments, although the overall series feels a bit over-constructed, and one episode is completely superfluous. And as it slides through the years, it's like a more obvious American variation on Normal People. (HBO)

Mrs America

Cate Blanchett is a force of nature as the terrifying Phyllis Schlafly, the fiercely independent woman who inexplicably squashed the Equal Rights Amendment in the 1970s and essentially created the "family values" movement that still holds sway with right-wing evangelicals. Blanchett's Schlafly is so iconic in this fiendishly well-produced series that the supporting cast almost fades into the background, including the equally majestic Tracey Ullman (as Betty Friedan), Rose Byrne (as Gloria Steinem) and Margo Martindale (as Bella Abzug). This is a riveting look at an early clash between politics and populism that still resonates strongly today. (HBO)

Dispatches From Elsewhere

Adapted from the documentary The Institute, this show has a surreal, Gondry-esque approach with eye-catching in-camera effects and characters who continually reveal added details (including animated backstories). It's a little loose and rambling, making a very obvious point about how people thrive through connecting with each other and taking on challenges. But the deliberately too-clever scripts are nicely written to draw us into the intrigue, and the cast is wondrous (including Richard E Grant, Sally Field and series creator Jason Segel). The problem is that it's not easy to care, especially as the show crawls up inside itself. (AMC)

Tales From the Loop

With eight stand-alone but interlinked episodes, this series paints a fascinating bigger picture about a town in a quirky alternate 1960s. But the show's languid hour-long pace is far too indulgent, and each of these episodes would be improved by being edited to a sharp, provocative 30 minutes. Even the strongest episodes would have been much more engaging with less wistful gazing. Still, the filmmaking is beautiful, and the excellent actors (including heavy-hitters like Jonathan Pryce and Jane Alexander) create complex characters with messy internal lives and a surprising capacity for cruelty as the supernatural touches their lives. But the mopey tone undermines the potential. (Prime)

Messiah

A fascinating exploration of the nature of religion this series centres on a man (the quietly charismatic Mehdi Dehi) who appears in the Middle East and goes on to build up thousands of followers in America with his miraculous works, challenging theology and refusal to recognise borders. Of course the CIA takes notice, led by Michelle Monaghan's operative. The show is lavishly produced in terrific locations, although it's more than a little distracting that they've over-styled this Messiah to look like a storybook Jesus, albeit one who speaks Arabic and tells his Palestinian followers to throw away their weapons. As the show references religious traditions, it's both inventive and provocative (Netflix)

Jeffrey Epstein:
Filthy Rich

This four-part documentary series is not easy to watch as it delves into the organised paedophile ring Epstein got away with for decades, simply because he bought his way out of the justice system. The opening episode alone is deeply chilling, as it chronicles people who tried to stop him 20 years ago but failed because of his money and powerful connections. These women are brave and definitely believable. Strikingly well-assembled, the doc carefully maintains its focus on Epstein, but it's impossible not to see the men who are so frequently photographed alongside him, sharing private jokes and clearly part of a system of abuse that's terrifying. (Netflix)

A Series of Light

Superbly shot and edited, this series of five British shorts looks great, boosted by natural screenwriting and a willingness to get very dark as each centres on a young men at a pivotal point in his life. Since they relate to sexuality, the stories are full on, sometimes overplayed by an inexperienced cast. But it's easy to root for the characters as they face different fears, and there's a strong sense of panic and isolation, identity issues and the echoing repercussions of bad decisions. This makes each episode rather grim and cautionary, with ironically little lightness. But all of them offer something pointed to think about. (Prime)

BACK FOR MORE

The Politician: series 2

Jumping ahead a few years, this series continues the political climb of Payton, played by Ben Platt firing on all cylinders. This season traces his campaign for New York state senate, taking on an incumbent and her loyal assistant, fabulous roles for Judith Light and Bette Midler, who effortlessly steal the entire show. Meanwhile, Payton's mother (a storming Gwyneth Paltrow) is testing the political waters herself in California. This colourfully lively show's outrageous characters completely overshadow the lower-key gang around Payton, which leaves their subplots feeling somewhat melodramatic and irrelevant. But the show's overall trajectory is fascinating. Bring on season 3. (Netflix)

What We Do in the Shadows: series 2

The ongoing mock-doc (based on the 2014 movie) about a group of vampires living on Staten Island is a constant stream of hilarious gags, plus cleverly understated effects. Despite living for centuries, their cluelessness knows no bounds (like their excitement about being invited to a "Superb Owl" party - think about it). The gifted actors deliver each ridiculous joke with a straight face, often improvising something sublimely absurd. And the over-arching plot is surprisingly involving too, pushing each of these colourfully loveably dopey vampires in unexpected directions, largely due to the understated genius of their familiar, played to perfection by Harvey Guillen. (FX)

Killing Eve: series 3

The tone has changed for this third season, which feels more like a straightforward action thriller than the quirky character-based mayhem of seasons one and two. It still has its moments, and Sandra Oh and Jodie Comer are still terrific as the spy and the assassin who are inexorably drawn to each other. So is Fiona Shaw as Eve's jaded boss, plus the always great Harriet Walter. But merrily maiming and murdering side characters has depleted the show's emotional undercurrent, which frankly is always what holds the interest. It's beginning to feel rather cold and calculating, which is fitting but not as clever. And the last moment in the final episode missed a trick. (BBC)

One Day at a Time:
series 4

At its new home on Pop, this series just keeps getting better, anchored by terrific mother-daughter roles for Rita Moreno and Justina Machado, plus side roles that somehow manage to be goofy, topical and complex at the same time. Each character is likeable, even as they're fully ridiculous. And the smart scripts feel as fresh as ever, unafraid to be very silly as they touch knowingly on a wide range of very big issues relating to Latin families and the LGBT community, without ever getting too political. Which makes everything resonate much more widely. Sadly, the season was truncated by the pandemic, wrapped up with a witty animated episode. (Pop)

JUST LIKE REAL LIFE

Topicality in isolation: 

Comedy news shows have come to life during lockdown, as the hosts have done some of their best work from home, even as their frustration shows. Each has found innovative ways to keep up with the headlines. As always, John Oliver's Last Week Tonight strikes the best balance, picking apart the big stories with astute humour. Trevor Noah has shone brightly with The Daily Show, offering especially powerful commentary on things like the Black Lives Matter protests. Bill Maher has maintained Real Time's balance of viewpoints, edgy opinion, big-name guests and witty gags, plus hilarious inserts of vintage audience reactions. And Samantha Bee went into the woods for Full Frontal, raging hilariously and pointedly at the growing sense of injustice in society.

Style to spare: 

The fifth series of Queer Eye (Netflix) maintained the terrific line-up of make-overs that carry emotional punches (it's not easy to get through an episode dry-eyed). Four of the Fab Five are fascinatingly deep, while the scene-stealing fifth is a bit of a cartoon. There was only one weak episode: why make over an 18-year-old who hasn't yet found her style? Meanwhile, the second season of fast-paced, car-crash doc series Putting On (Revry) picks up two years later with the likeably overconfident On Mekahel, working on his underwear brand. On is still a breathtakingly oblivious control freak who can't understand why his designs don't appeal to men who aren't gym-ripped. And he insists his fiance Dave, a felon who can't get a passport while on parole and still hasn't divorced his wife, must travel to visit On's family in Israel before getting married in Paris. Sure enough, On gets his way.

Life's a drag:

RuPaul has had four drag queen competition series over the past few months: the 12th season of Drag Race (Netflix), the fifth season of Drag Race All Stars, and the first seasons of both Celebrity Drag Race and Canada's Drag Race. That's a lot of drag, but the producers are great at keeping these shows fresh with gimmicky innovations and lots of twists. And their real strength is assembling hugely entertaining casts for each series. Meanwhile, the second season of Werq the World (WoW) continues to insightfully document backstage at the Drag Race tour. Its structure also makes it an empowering look at how each performer overcomes resonant obstacles in pursuit of their dreams. And We're Here (HBO) is like a mash-up of Queer Eye, Drag Race and Priscilla Queen of the Desert, as three drag queens take on small towns across America. The observations are fascinating and often strongly moving, and the drag is properly transformational.

Game on:

I don't watch many game shows, but I sampled a few while in lockdown. Floor is Lava is a genuinely great idea staged in an entertainingly epic way. The sets are amazing, and the contestants gung-ho. But it's beaten to death by the editing, which repeats everything that happens at least 10 times. Stop treating audiences like idiots. Adam Scott is superb as the host of Don't, an under-imagined stunt-based quiz show that's only watchable because of Ryan Reynolds' snarky narration. And The Wall UK is another quiz show, but at least it's hosted by Danny Dyer, who offers some fun even if each game is ham-fistedly stretched out over an hour.

NOW WATCHING: Snowpiercer, I Will Destroy You, Luminaries, I Know This Much Is True, Homecoming (2).

COMING SOON: Brave New World, Wandavision, Down to Earth, Muppets Now, The Umbrella Academy (2).

Critical Week: Just walk away

Lockdown continues in London, as I try to keep my eye on new films that are available on streaming platforms. It's been a very mixed bag this week, with the bigger titles more disappointing than some smaller gems. The main frustration at the moment is that there's nothing else to do but watch a movie, which for me is work. So sometimes I dip into a TV series, and I try to take a walk outside every day or two just to keep my legs from locking up. The weather has improved dramatically this week, so it's not very easy to stay in, especially when movies aren't terribly inspiring.

The Netflix action comedy Coffee & Kareem looked promising, but just never comes together at all, despite valiant efforts from Ed Helms and Terrence Little Gardenhigh (above), plus Taraji P Henson. Universal made the bold decision to release the sequel Trolls World Tour straight to streaming, while all other big releases are being delayed. But the film is perfect for watching at home - less inventive than the first one. And Disney debuted its live-action remake The Lady and the Tramp on its streaming service, again unsurprising since it's not terribly ambitious, although it is good fun.

BEST NEW FILMS THIS WEEK:
Same Boat
Who You Think I Am • Danger Close
PERHAPS AVOID:
Coffee & Kareem • Gold Dust 

Much better is the Curzon release Who You Think I Am, a slinky French thriller with romantic comedy overtones starring Juliette Binoche. Tigertail is a dull but moving drama about a Taiwanese-American man (the great Tzi Ma) reminiscing about choices he made. The Lost Husband is a very gentle downhome romance-novel style story starring Leslie Bibb and Josh Duhamel. Danger Close is a grippingly well-made battlefield movie dramatising a little known battle involving Anzac forces. And The Iron Mask is a bonkers Russian-Chinese coproduction featuring Jackie Chan and Arnold Schwarzenegger, an elaborately staged action fantasy odyssey.

Even further afield, Sea Fever is a claustrophobic horror movie from Ireland set on board a fishing boat. Also at sea, Same Boat is a genuinely hilarious comedy thriller shot guerrilla style on a cruise ship - it's a proper gem of a film. There's more horror in Behind You, a nasty bit of demon ghost grisliness that's creepy if not actually scary. The micro-budget Gold Dust is a not terribly funny comedy romp about treasure hunters in the desert. And Seeing Is Believing is a short film collection featuring high-quality segments from six countries exploring issues of identity and sexuality.

Coming up this week, more lockdown! Films I need to watch include the Sam Claflin romcom Love Wedding Repeat, the pitch-black comedy Why Don't You Just Die, the Baghdad-set terrorism drama Sergio, the sexu thriller Getaway, the monster movie Abominable and more horror 1BR.

Critical Week: To new friends

It's been another eclectic week in London screening rooms. We had the genre mash-up A Simple Favour, starring Anna Kendrick and Blake Lively in a story that includes suburban comedy, buddy drama and Hitchcockian mystery. Another odd mix, The Happytime Murders stars Melissa McCarthy and a cast of puppets as a serial killer is on the loose. It's misguided but has its moments. And Action Point is a Jackass-style comedy from Johnny Knoxville about a perilous theme park. The stunts are sometimes funny, but nothing else is.

Gaspar Noe was in town to unleash his new film Climax on British audiences at FrightFest last weekend. It's a brilliantly swirling dance-based descent into hellish confusion. And I had a chance to talk to Noe about it. Other FrightFest titles I caught: Upgrade is a futuristic thriller starring Logan Marshall-Green as a guy who has his body rebuilt by technology, which of course goes awry. The Man Who Killed Hitler and Then the Bigfoot is surprisingly nothing like its trashy title; it's an involving drama about an old man (Sam Elliott) coming to terms with the things he did as a young man (Aidan Turner). The Australian romp Boar, refreshingly uses puppets instead of digital effects to send a gigantic wild pig on a hyper-violent killing spree in the Outback. And The Cleaning Lady is eerie horror about a silent cleaner with a secret agenda.

Three more offbeat movies: From Germany, The Year I Lost My Mind is about a young man who begins stalking his own robbery victim in unsettling, underdeveloped ways. The documentary George Michael: Freedom was directed by the man himself just before he died, tracing his life with sensitivity and lots of amazing interviews and music. Shown on British TV last year, it's coming to cinemas as a director's cut. And Ruminations documents the life of Rumi Missabu, one of the original Cockettes. It's colourful and essential for fans of the late-60s gender-blurred performers.

Coming up this next week we have Jack Black and Cate Blanchett in The House With a Clock in its Walls, Annette Bening in The Seagull, Paul Dano's directing debut Wildlife, Jeremy Irons in An Actor Prepares, South African drama Five Fingers for Marseilles and the artist-activist doc I Hate New York.

Critical Week: Saluting the holidays

I only had three screenings in my final week of the working year, but then I was rather busy with getting the London Critics' Circle Film Award nominations announced - a terrific event. The films I caught included Pitch Perfect 3, which is being billed as the curtain call for the a cappella franchise, and definitely shows the strain in coming up with something for these talented women to do. It's a shame to go out with such a whimper after the seriously great first two movies. All the Money in the World is notorious for director Ridley Scott's last minute decision to scrub star Kevin Spacey from the movie and replace him with Christopher Plummer. But perhaps future viewers will be able to enjoy this superb true thriller without the baggage. It's one of Scott's best films, a taut drama with terrific performances from Michelle Williams, Charlie Plummer and indeed Christopher Plummer. And Woody Allen's Wonder Wheel also brings some baggage with it, but is notable for Kate Winslet's staggering performance as a desperate housewife in 1950s Coney Island. It's also shot and lit gloriously by veteran cinematographer Vittorio Storaro. And I also caught up with this little gem...

---

Faces Places [Visages, Villages]
dir Agnes Varda, JR; with Agnes Varda, JR 17/Fr ****
This quirky documentary teams up 88-year-old filmmaking icon Agnes Varda with 33-year-old artist JR as they travel spontaneously around France taking large-format photos and wallpapering them onto various enormous structures. Watching this is a delight, as these two lively figures spar with each other and explore the nature of art and culture. Agnes talks about her life and friendships, and constantly teases JR about the way he hides from the world, obscuring his name and personal life, and even his eyes behind sunglasses. And the people they photograph along the way capture a spark of life in very clever ways that have a big effect on onlookers. Powerful pictures include workers on different factory shifts reaching out to each other, wives of dock-workers towering above them, and Agnes' eyes and toes on train cars. There is also a clever sense of history, with vintage images posted on appropriate surfaces. It's all a little meandering, and sometimes rather too clever to accept as just a random sequence of encounters. But the way it touches on French culture, the history of cinema and larger issues like globalisation is deeply involving.

---

This coming week will be a chance to watch several screeners of films that were nominated in various awards I vote in. On my list are the docs Jane and The Work, the foreign films Raw and Aquarius, and late-in-the-year releases like Irish drama Sanctuary and German thriller In the Fade.

Critical Week: Teenage kicks

It's been a slow week for screenings, perhaps a brief intake of breath before the awards season kicks off in earnest. My first awards-consideration screenings are late next week. In the meantime, this weeks' screenings included The Edge of Seventeen, an unusually edgy teen drama starring Hailee Steinfeld with fine grown-up support from the likes of Woody Harrelson and Kyra Sedgwick. The other big movie was The Accountant, the slick but preposterous Ben Affleck autism-gangster thriller that's entertaining only if you don't think about it.

Further afield was the micro-budget British thriller The Darkest Dawn, which makes up for a simplistic script with some sharp acting and inventive effects. Ron and Laura Take Back America is an extended sketch-style comedy-doc lampooning head-in-the-sand right wing politics. And I also finally caught up with Clint Eastwood's 1997 southern gothic melodrama Midnight in the Garden of Good and Evil, starring baggy suited John Cusack and a scene-nibbling Kevin Spacey, plus a notable cameo from a young Jude Law.

Things are still slow over the coming days, with just three press screenings: Gael Garcia Bernal Pablo Larrain's biopic of the poet Neruda, the Italian drama One Kiss, and the UK premiere of the Korean thriller The Truth Beneath. I also have several screeners to watch at home....

LFF 3: Can't stop this feeling

There's no pause for the weekends for journalists covering the 60th BFI London Film Festival. In fact, it feels a bit more intense, perhaps because I have the feeling that I need a rest! Red carpet events continue every evening in Leicester Square with a parade of A-list stars and acclaimed lesser-known actors and filmmakers. And I'm sure there are parties going on somewhere. Here are some films for Saturday...

Trolls
dir Mike Mitchell; voices Anna Kendrick, Justin Timberlake 16/US ****
Almost ludicrously happy, this colourfully animated musical comedy makes up for a thin plot with quick wit. It's fairly impossible to wipe the smile off your face from start to finish, even in the movie's deliberately feeble attempt to generate some dark tension. And as Justin Timberlake's pathologically bouncy theme tune says, you can't help but want to dance.

Manchester by the Sea 
dir-scr Kenneth Lonergan; with Casey Affleck, Lucas Hedges 16/US ****
Anchored by the cast's raw performances, this drama is packed with big themes that everyone in the audience can identify with, from strained family connections to the lingering effects of grief. It sometimes feels like writer-director Kenneth Lonergan has dumped rather a lot of misfortune on these beaten-down characters, but the film maintains a strong sense of hope simply because none of them will give up.

Christine
dir Antonio Campos; with Rebecca Hall, Michael C Hall 16/US ****
The true story of Christine Chubbuck is turned into an eerily intense personal odyssey that grows increasingly uncomfortable to watch. Director Antonio Campos vividly explores Christine's growing stress without trying to explain it away, which makes it resonant as a depiction of the cumulative effect of the daily struggles everybody experiences. And Rebecca Hall is quite simply awesome in the role.

Toni Erdmann 
dir-scr Maren Ade; with Peter Simonischek, Sandra Huller 16/Ger ****
A riotously astute look at modern life, this German comedy holds the attention by simply refusing to be even remotely predictable. As writer-director Maren Ade follows a father and daughter through a twisty series of events, she not only highlights some pungent issues facing Europe, but she more importantly digs deep inside to reveal the prankster in all of us. And to remind us that we need to laugh more.

The Handmaiden 
dir Park Chan-wook; with Kim Min-hee, Kim Tae-ri 16/Kor ****
Korean maestro Park Chan-wook adapts Sarah Waters' novel Fingersmith into a stylish, twisty drama set in Korea and Japan during WWII. It's a visually ravishing film about passion and subterfuge, told in three chapters that flip the perspective in unexpected directions. So even if the themes are a little thin, the film looks so amazing and has such a wickedly labyrinthine plot that it's thoroughly riveting.

And from Venice, Amat Escalante's controversial dramatic monster horror movie The Untamed is also screening in London.

Critical Week: The pitch is back

For critics, one of the most anticipated films of the year was Pitch Perfect 2, the sequel to the surprisingly amazing 2012 comedy. So of course the highlight of the week was the press screening of the follow-up, which surpassed expectations (again), reuniting the Bellas for another hilarious adventure. The other big movie this week was of course Avengers: Age of Ultron, which has provoked a bit of a mixed response. But I'm looking forward to meeting them all at the press junket today!

We also caught up with Thomas Vinterberg's sumptuous version of Far From the Madding Crowd, starring Carey Mulligan, Matthias Schoenaerts, Tom Sturridge and Michael Sheen (I interviewed Carey and Matthias last week for this film). Lower profile films included Nia Vardalos as a seriously annoying mother in the otherwise decent comedy Helicopter Mom; the clever and occasionally scary computer-screen teen slasher horror Unfriended; the scruffy indie British caper comedy Taking Stock starring Kelly Brook; the corny and very childish Euro-animation Two by Two; the nicely moody gay mystery-horror Drink Me; and the superbly blood-boiling political doc The Emperor's New Clothes, by Russell Brand and Michael Winterbottom.

Screenings this coming week are a bit thin, but include Michael Fassbender in Slow West, Simon Pegg in Kill Me Three Times, the German drama West, the Hungarian drama Land of Storms, and the controversial world premiere doc A Sinner in Mecca, and the public action doc We Are Many.

Critical Week: Take it to the Supreme Court

I finally caught a late press screening this week for Woman in Gold, the true drama that opened in US cinemas last week and hits the UK this Friday. It's the superb story of a woman fighting for restitution after Nazis stole her family's possessions, and it has a terrific central performance from Helen Mirren, plus strong support from Ryan Reynolds and Daniel Bruhl. Another late screening was for Ryan Gosling's directing debut Lost River, a surreal recession-era drama about a struggling family. Meandering and essentially plotless, it struggles to engage despite notable performances from Christina Hendricks, Iain De Caestecker and Ben Mendelsohn.

Also this past week we had screenings of The Last Five Years, an engaging but fragmented and downbeat romantic musical starring Anna Kendrick and Jeremy Jordan; the award-winning Clouds of Sils Maria, Olivier Assayas' clever but elusive exploration of celebrity beautifully played by Juliette Binoche and Kristen Stewart; the dark Irish drama Glassland, which features a turn by Jack Reynor that won the Sundance acting award for his excellent work opposite Toni Collette and Will Poulter; the mesmerising German freak-out thriller The Samurai, about a young cop confronting a cross-dressing, sword-wielding psycho; and Undocumented Executive, a witty, scruffy comedy playing with immigration and class issues in America.

And there were two documentaries that are a must for fans: Lambert & Stamp explores the two guys responsible for The Who, tracing both the band's history and the music, film and art scenes along the way; and A Fuller Life is a remarkable look at the life of iconic filmmaker Sam Fuller in his own words and as reflected in his films.

This coming week we have Tom Hardy's thriller Child 44, Nia Vardalos' comedy Helicopter Mom, the Iranian festival favourite A Girl Walks Home Alone at Night, the Chinese drama Exit, Mia Hansen Love's rave scene drama Eden, and the acclaimed USSR hockey doc Red Army.

Critical Week: Postcard from La-la Land

In rainy Los Angeles, I've been able to catch up with several awards-season contenders at Oscar-consideration screenings around the city. The highlight was a raucously enjoyable screening of Into the Woods at the Writers Guild, including a spontaneous mid-film applause break after the show-stopping princely duet Agony. With an up-for-it all-star cast (Anna Kendrick is the film's soul, Chris Pine is the scene-stealer, Meryl Streep [above] gets the big numbers), the film is pure joy - then turns satisfyingly serious for the post-happy ending final act. Side note: the stage musical was my first-ever Broadway show, on a visit to New York back in the late-80s. 

The other highlight was a screening of Selma at the Directors Guild, followed by a memorable Q&A with director Ava DuVernay and lead actor David Oyelowo, both of whom deserve serious awards recognition for a remarkably grounded, resonant, relevant drama about three momentous months in the life of Martin Luther King. There were at least four standing ovations! Also this week: Bradley Cooper is excellent as a real-life military marksman in Clint Eastwood's grippingly stark American Sniper, and Mark Wahlberg is solid as an irritatingly unlikable guy in Rupert Wyatt's remake of The Gambler.

This coming week, before I return to London this weekend, I am planning to catch Angelina Jolie's inspirational true drama Unbroken, Tim Burton's painting-scandal biopic Big Eyes, and Peter Jackson's final Tolkien film The Hobbit: The Battle of the Five Armies. Then back in London I'll have one week to see the rest of this year's contenders before voting deadlines in the four awards I participate in: London Critics' Circle, Online Film Critics Society, Fipresci and Galeca's Dorian Awards.

Sundance London 4: Peace and quiet

The 3rd Sundance London Film & Music Festival wrapped up on Sunday night with a flurry of film screenings and musical performances. The whole event felt much more subdued this year, and not just because it was a day shorter. The main change was the lack of a place to properly hang out - the press and filmmakers' lounge was gone, as was the more intimate club space, replaced by a sprawling and rather amorphous bar/bowling alley/dance venue. There was nowhere to sit, chat or work. And the O2 isn't known for its friendly spaces. Still, the films were superb, and all were accompanied by Q&As with the filmmakers and actors. My last screening (The Voices, pictured above and reviewed below) on Sunday night featured Marjane Satrapi, Ryan Reynolds and Gemma Arterton in a lively and unhurried Q&A - that doesn't happen at most festivals. Here are comments on three final films...

The Voices
dir Marjane Satrapi; with Ryan Reynolds, Anna Kendrick 14/US ****
It's tricky to categorise this offbeat horror comedy, which maintains a playful tone even as things get genuinely dark and disturbing. But director Satrapi maintains a wonderfully witty visual vibe even as Michael R Perry's viciously clever script explores the pitch-black corners of mental illness. It's the story of Jerry (Reynolds), a tormented young man trying to get on with life after being instituted. He has a job in a bathtub factory and a helpful therapist (Jacki Weaver), and he has his eye on a girl in accounting (Arterton), although her colleague (Anna Kendrick) is the one who really likes him. But Jerry has also gone off his meds, and is hearing the voices of his loveable dog Bosco and bitter cat Mr Whiskers. And what they tell him to do is pretty horrific. The film touches on so many sub-genres that we never have a clue where it's going next. Is this a black comedy about a serial killer? A sharp tragedy about a guy who's criminally insane? A creepy fable about a murderer's inner turmoil? This complex layering makes the film far more involving than it should be, and also far scarier than expected for a comedy. So even if performances are a bit broad and uneven, the film exerts a strong grip on the audience, provoking laughter and nervous horror in all the wrong places.

Hits
dir-scr David Cross; with Meredith Hagner, Matt Walsh 14/US ***.
Actor-comedian Cross makes his feature directing debut with this offbeat ensemble comedy about instant fame. It's a sharply written script with a terrific cast that includes both newcomers and established stars. And even if Cross' direction wobbles, the film keeps us laughing as it makes some rather astute commentary on growing up in the reality TV era. Set in Upstate New York, the key figures are Katelyn (Hagner), a teen who believes that fame is an inherent right, and her father Dave (Walsh), who is pushed into prominence when he complains to the town council about their shoddy service. Swirling around them are another teen (Jake Cherry) who also believes he has the talent to make it big and has a crush on Katelyn, and three ridiculous hipster bloggers from New York (James Adomian, Wyatt Cenac and Derek Walters) who descend on Dave in the hopes that his cause boosts their profile. Yes, everyone in this film wants to get noticed, and no one wants to do the work. It's all a bit caustic and obvious, and scenes play out without much sense of momentum, but the brave actors make the most of the witty, telling dialog. And this often hilarious film carries an important kick.

Little Accidents
dir-scr Sara Colangelo; with Boyd Holbrook, Elizabeth Banks 14/US ****
Expanding her 2010 short into a feature, filmmaker Colangelo beautifully captures a small-town community in the grip of a series of tragedies that may or may not be accidental. Watching these characters grapple with the ambiguity of the situation is riveting, especially as each must muster the courage to tell the truth. It's a powerful drama that envelops us in its world and doesn't go easy on us. The main characters are Amos (Holbrook), injured in a recent mining accident and trying to get his life back on track; Bill and Diane (Josh Lucas and Banks), the manager of the mine and his wife, who live in relative splendour in the working-class West Virginia town; and Owen (Mud's Jacob Lofland), whose father died in the accident and who has a secret that is not easy to keep. These people circle around each other in ways that sometimes feel a bit contrived and scripted, but push the characters into fascinating corners, drawing out breathtaking a range of emotions. Performances are subtle and understated, and the setting adds beautifully to the film's overall tone of tense uncertainty. It's also a striking drama with themes so deep that the film is very hard to shake afterwards. Keep an eye on Colangelo.

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L   W E E K :
I only saw two non-Sundance films last week, but both were terrific. Roman Polanski's Venus in Fur stars Emmanuelle Seigner and Mathieu Amalric as an actress and director during a stage audition. As the power shifts between them in subtle, complex ways, both actors deliver powerhouse performances, captured with wit and invention by Polanski. But it's the script (by Polanski and David Ives, based on Ives' play) that is the main show: astoundingly clever. Less sophisticated, Advanced Style is a documentary about over-50 women in New York who are almost ridiculously glamorous. They're also fantastic movie characters, and we feel like we could follow them around all day long. A lot of fun, with some emotional moments as well.