Critical Week: Campfire stories

It's the week after the London Critics' Circle Film Awards, so much of my time has been spent wrapping up details and sifting through the photos (I published my annual album on Instagram - in four parts). There were only a few film screenings, and with the cold, wet weather I was happy to stay indoors. The big movie was Bridget Jones: Mad About the Boy, the goofy but enjoyable fourth chapter in the saga of the London singleton so endearingly played by Renee Zellweger, this time alongside romantic foils Chiwetel Ejiofor (above) and Leo Woodall. Plus fabulous scene-stealers like Hugh Grant and Emma Thompson. 

BEST OUT THIS WEEK:
The Seed of the Sacred Fig
September 5
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Ke Huy Quan is a terrific lead in action comedy Love Hurts, adeptly underplaying the drama while adding wit to the action sequences. The movie is silly, but watchable. Ryan Destiny is fiercely engaging in the boxing biopic The Fire Inside, which is sharper than expected thanks to director Rachel Morrison and writer Barry Jenkins, plus the terrific Brian Tyree Henry in a nuanced variation on the coach role. And Francois Ozon is back with the very French drama When Autumn Comes, which twists and turns through its gently offbeat story, layering personal drama with insinuating intrigue. I also attended the press night for the inventive political play Antigone [on strike] at the Park Theatre.

This coming week, the Avengers are back for Captain America: Brave New World, and I'll also be watching coming-of-age romcom Bonus Track, New York romance Barrio Boy, French drama Holy Cow, Palestinian refugee drama To a Land Unknown and the stage play Miss Brexit at the Omnibus in Clapham.

Critical Week: Hold that thought

I'm even busier this week as the date approaches for the 44th London Critics' Circle Film Awards, which I am organising on Sunday. So much to organise, including the slippery business of wrangling celebrities. But the ceremony and party are going to be great. Meanwhile, the big movie this week was Matthew Vaughn's Argylle, in which Henry Cavill plays a suave super-agent living in the mind of novellist Bryce Dallas Howard. The idea is clever, but the film is far too busy, loud, violent, twisty and long to work properly. Still, some colourful moments and a great cast (Sam Rockwell, Samuel L Jackson, Ariana DeBose) make it almost watchable. The animated adventure Migration is a lot more fun, gorgeously animated and packed with great characters thanks to screenwriter Mike White (of The White Lotus fame).

BEST OUT THIS WEEK:
The Zone of Interest • Skin Deep
American Fiction • Disco Boy
How to Have Sex • Blue Giant
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Further afield, the drama Shayda centres closely on the experiences of an abused Iranian wife seeking shelter in Australia. It's beautifully acted, involving and hugely emotional. The Japanese animated jazz-infused drama Blue Giant is packed with a spectacular imagery and music, and a strongly engaging story. And the dark drama Pornomelancholia is the thoughtful, naturalistic story of a young man who wants to become a pornstar in Mexico. I also got the chance to revisit my best film of 2023, Andrew Haigh's All of Us Strangers, as it finally opened in UK cinemas last weekend. It hit me in a very different way the second time - astonishing filmmaking that I will revisit again.

This coming week I'll be watching the biopic One Love: Bob Marley, the thriller Out of Darkness and the drama Hoard, among other things and getting some sleep.

Critical Week: What you wish for

Things have shifted up a gear here in film awards season, with more screenings and links than it's possible to watch. Everyone wants us to consider their movies, and there simply isn't time to watch everything, so we're all making lists and watching what we can. It can be a bit overwhelming, but there are of course worse jobs out there. The big movie this week was Disney's new animated feature Wish, and I was invited to the gala UK premiere in Leicester Square and also a Christmas party the next day. The film is sweet and entertaining, but there's not much to it. A more satisfying animated movie is Adam Sandler's Leo, a nutty romp about a classroom lizard who helping the students with their problems. It's both silly and smart, and also very funny. 

BEST OUT THIS WEEK:
Robot Dreams • Napoleon • Monster
Totem • American Symphony
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Bridging between arthouse and blockbuster, Michael Mann's Ferrari recounts a pivotal period in the life of the car maker, played by Adam Driver. The entire cast is excellent (including Penelope Cruz and Shailene Woodley), and the film is strikingly well shot and edited. Tilda Swinton gets a superb double role as mother and daughter in The Eternal Daughter, an enigmatic haunted house movie from Joanna Hogg. I loved its atmospherics. Finnish master Aki Kaurismaki's Fallen Leaves has won some big awards this year, and it's easy to see why. It's a wonderfully deadpan romantic comedy, fiercely original with topical touches. And another award-winner, Japanese master Hirokazu Kore-eda's Monster is a gorgeously constructed drama that carries a huge emotional kick.

And then there was the Mexican mystery thriller Lost in the Night, a riveting offbeat thriller that refuses to be what we want it to be. The wacky German satire Captain Faggotron Saves the Universe is amateurish but has its own charm. And the lively documentary Scala!!! is a delight, tracing London's iconic repertory cinema with style, humour and insight. Away from the cinema, I also saw Lovetrain2020 and the new Young Associates mixed bill (review up soon) at Sadler's Wells and Connor Burns: Vertigo at Soho Theatre.

Things keep getting busier this week, with films including the musical remake of The Colour Purple, Timothee Chalamet in Wonka, Eddie Murphy in Candy Cane Lane, George Clooney's The Boys in the Boat, Jeffrey Wright in American Fiction, Isabelle Huppert in The Sitting Duck, Melissa McCarthy in Genie, George MacKay in Femme, Hong Kong crime thriller The Goldfinger, the John Galliano doc High & Low and the Olympics doc We Dare to Dream.

Critical Week: I feel pretty

This is the final week before my first ballots are due in this year's awards cycle. I vote in three sets of film awards - London Critics, The Dorian Awards, Online Critics - and it can be tricky to make sure I'm voting for the right movie that's eligible for the right award. Even more difficult is seeing movies that are major contenders when the distributors simply refuse to show them to us. And I still have gaps among this year's titles (haven't yet had a chance to see Licorice Pizza or Don't Look Up, for example). 

BEST OUT THIS WEEK:
Lamb • Being the Ricardos
West Side Story • I Am Syd Stone
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But I did catch up with three big ones this week: Steven Spielberg's dazzling remake of West Side Story is worth catching on the biggest screen possible, with its explosion of fantastic dance choreography, iconic songs and a hugely moving story. Guillermo del Toro's remake of Nightmare Alley has a powerhouse cast (including Bradley Cooper, Cate Blanchett, Toni Collette and Rooney Mara) and is a hyper-stylish mystery noir. And Peter Dinklage has the title role in a musical remake of Cyrano, spectacularly directed by Joe Wright with a strong emotional kick.

Slightly more adventurous films include Todd Stephens' Swan Song, which stars Udo Kier as a retired stylist who rediscovers his fabulous self; the creepy and blackly witty Icelandic drama Lamb, starring Noomi Rapace; the ambitious, provocative and rather scattershot journalism comedy-drama France, starring Lea Seydoux; and the sensitive Swiss-Turkish drama Beyto. I also had Peter Duncan's riotously entertaining filmed pantomime Cinderella and another excellent collection of shorts in The French Boys 2.

Over the next week, I'll continue to catch up with movies big and small, including Tom Holland in Spider-Man: No Way Home, Harris Dickinson in The King's Man, Mahershala Ali in another movie called Swan Song, Tate Donovan in Wild About Harry, the Belgian drama Lola and the Sea, the Turkish drama Not Knowing and the animated adventure Summit of the Gods.