Critical Week: Mother knows best

The glittering Bafta Film Awards on Sunday had controversy in their wake, thanks to some bad decisions by both Bafta and the BBC regarding editing, disclaimers and an offensive but completely involuntary Tourette's tick. But the show itself included some terrific surprises that have shaken up awards season, including Wunmi Mosaku's well-deserved supporting actress award and especially Robert Aramayo taking lead actor alongside his rising star award for I Swear, a film that speaks far more meaningfully to the controversy than clumsy online commentators. Jessie Buckley also cemented her hold on lead actress with the best speech of the night. And the biggest highlight was seeing Huntr/x perform Golden live.

BEST OUT THIS WEEK:
Sirat • All You Need Is Kill
The Testament of Ann Lee
ThePresident's Cake
Palestine Comedy Club
PERHAPS AVOID:
Scream 7
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As for movies this week, Neve Campbell is back for Scream 7, a fact that fuels the movie's wittiest meta-jokes. Otherwise, this is the least scary, knowing, twisty instalment yet in the series. Lithuanian filmmaker Romas Zabarauskas is back with another thoughtful drama, The Activist, and this one has ripples of a thriller as it explores anti-LGBTQ+ violence. Matthew Simpson made the London-set thriller Disremember entirely on his own (both on camera and behind it), and it's a stylishly riveting thriller about memory and mental instability. And the documentary Palestine Comedy Club follows a group of seriously intrepid standups as they face the outbreak of war in their homeland with sharply observational wit. I also attended a special premiere of the steamy fifth episode of Bridgerton season 4 part 2, followed by a Q&A with cast members Luke Thompson and Yerin Ha, plus showrunner Jess Brownell and director Tom Verica (see below).

Coming up this next week, I'll be watching Ryan Gosling in Project Hail Mary, Glen Powell in How to Make a Killing, Pixar's new movie Hoppers, acclaimed Chinese epic Resurrection, Belgian drama Wild Foxes and anime crime drama The Last Blossom. I'm also attending the UK premiere of the new series The Madison, which stars Michelle Pfeiffer and Kurt Russell.

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Critical Week: You're winding me up

After the Bafta Film Awards on Monday, the final stretch of this year's awards race is as unpredictable as ever. Apart from Zoe Saldaña and Kieran Culkin, most categories are still up in the air. A flurry of awards this weekend will further muddy the water before it all climaxes at Oscar on March 2nd. Meanwhile, movies are still arriving in cinemas, and this week's biggest was The Monkey, another enjoyably creepy film from Osgood Perkins, this time with Theo James as twin protagonists. It's funnier than it is scary. 

BEST OUT THIS WEEK:
I'm Still Here
I Am Martin Parr
Picnic at Hanging Rock
ALL REVIEWS >

From the Netherlands, Invasion is a slickly made thriller set in sunny Caribbean locations as beefy marines take on an unexpected attack from a (fictional) rogue South American nation. It's fun but anticlimactic. The Brooklyn drama Barrio Boy is an involving depiction of Latino subculture with a story that explores homophobia in somewhat elusive ways. From China, the animated epic Chang'An is a spectacular mix of gorgeous imagery, visceral battles and moving poetry. And the entertaining, finely made documentary I Am Martin Parr explores the British photographer's inimitable career. I also attended the programme launch for the 39th BFI Flare film festival (coming 19-30 March), plus the monumental Vollmond at Sadler's Wells and the rhythmic Trash! at the Peacock.

This coming week I'll be watching Woody Harrelson in the underwater thriller Last Breath, Ralph Fiennes in The Return, Toby Jones in Mr Burton, Bruno Dumont's The Empire, Georgian drama April and the documentary Ernest Cole: Lost & Found.

Critical Week: The stars came out

Sunday was the 76th Bafta Film Awards, with a new venue at the Royal Festival Hall and a new host in the charmingly British Richard E Grant (with contributions from a lively but distracting Allison Hammond). It was a star-packed event, with a glittering audience of nominees and special guests, which allowed for the usual offbeat presenting duos (Eugene Levy with Cynthia Erivo?). Among the winners, the biggest surprise was Austin Butler being named Best Actor, which bodes well for Oscar night. And Barry Keoghan was a popular surprise winner for Supporting Actor, although perhaps Ke Huy Quan has the edge for Oscar. And then there was All Quiet on the Western Front with its unprecedented seven huge wins, including film and director over Tár and Everything Everywhere All at Once, top nominees that had to settle for just one prize each. But the issue of inclusivity still needs to be discussed, when awards like these (and the London Critics' Circle) opt for overwhelmingly white winners even with a superbly diverse set of nominees.

BEST OUT THIS WEEK:
Joyland • Broker • Juniper
ALL REVIEWS >

As for the movies I've been watching, the biggest one was a very late press screening of Elizabeth Banks' crazed action thriller Cocaine Bear, a riotously grisly throwback to '80s nature-gone-wild mayhem movies. It took me awhile to catch up with Hirokazu Kore-eda's Broker, another wonderfully humane drama that sympathises with people on the moral fringes. How to Blow Up a Pipeline is an entertaining caper adventure about a group of young people taking on Big Oil. The twisty antics kind of overshadow the serious themes, but it's good fun. From Argentina, Wandering Heart is a superbly naturalistic drama about a man trying to pull himself together after a breakup. And the Oscar-nominated doc A House Made of Splinters highlights a situation in war-torn Ukraine with a hugely resonant kick.

This coming week I'll be watching Michael B Jordan's Creed III, Lily James in What's Love Got to Do With It, Michael Shannon in A Little White Lie, the Aussie drama Lonesome and the French drama Love According to Dalva, plus a couple of theatre shows.

Critical Week: Fly away

I'm getting ready to get on a plane today and head off to Los Angeles. With this timing, it probably sounds like a glamorous Oscar trip, but actually I'll be there to celebrate my mother's 80th birthday! And as a side benefit I get to watch the Oscars during the day time, instead of staying up all night in London.

This week's screenings included Willem Dafoe's Venice Best Actor winning role as Vincent van Gogh in At Eternity's Gate, Julian Schnabel's beautifully artful biopic. The awesome Florence Pugh holds her own opposite Dwayne Johnson (grandstanding as himself) in the quirky British comedy-drama Fighting With My Family, based on the true story of a young woman from Norwich who became a WWE champion. Rebel Wilson has a lot of fun in the romcom pastiche Isn't It Romantic, although the lazy script almost scuppers her chances. Still, it's mindless good fun.

What They Had is a dark drama with a powerhouse cast including Hilary Swank, Michael Shannon, Robert Forster and Blythe Danner. It's a bit heavy, but also moving as it explores a family dealing with ageing parents and Alzheimer's. Under the Silver Lake stars Andrew Garfield as a slacker in Los Angeles who gets caught up in an absolutely bonkers mystery. And the Carlos Acosta biopic Yuli is a sweepingly artful exploration of Cuba an dance, with Acosta playing himself in the framing scenes.

Sunday night's Bafta ceremony (or to give it its proper title: The British Academy Film Awards) continues to ripple, with people wondering how it might impact Oscar in just over a week's time. The wild cards now are Rami Malek and Mahershala Ali, clearly loved by their peers as they upset the favourites in their categories (Christian Bale and Richard E Grant). The other question is whether Roma can walk off with the big title, or if they'll go for something more mainstream. No one seems to have a clue, which makes this year's show more interesting than usual.

I have no idea if I'll see any films while I'm away. I have a few streaming links I need to watch, but if past trips are anything to go by, those are doubtful (if I could stream on the plane it would be perfect!). There's nothing in American cinemas I particularly want to catch up with - perhaps Miss Bala or What Men Want.

Critical Week: Bafta night 2016

It was a Valentine's theme for this year's Baftas, as the British Academy Film Awards fell on February 14th. The ceremony was eerily subdued, with host Stephen Fry engaging in the same witty erudition he has used in 10 previous ceremonies. There were no musical performances this year to break the monotony, and only a few memorable moments (Rebel Wilson's speech was the comedy highlight). Valentine's touches included an opening Kiss Cam, which yielded the unexpected sight of Leonardo DiCaprio locking lips with Maggie Smith. And Leo reunited with his Titanic costar Kate Winslet - both were winners (above).

Speaking of which, awards themselves took a fairly predictable route, with only a few mild surprises. The Revenant nabbed five (film, director, actor, cinematography, sound); Mad Max: Fury Road won four (costumes, editing, production design, makeup/hair); and Star Wars: The Force Awakens won two (visual effects and rising star for John Boyega, below). The other prizes were scattered between Room, Steve Jobs, Bridge of Spies, Spotlight, The Big Short, Brooklyn, The Hateful Eight, Amy, Inside Out, Theeb and Wild Tales.

Frankly, the Bafta ceremony needs a shake-up. First, find a new host who can bring some fresh attitude and a spin on the usual format. Second, broadcast the entire ceremony live rather than on a tape delay with a third of the categories left out. In the Instagram age, the winners are all public knowledge before the show airs, so this archaic approach from the BBC is simply absurd, and it belittles Bafta's impact.


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C R I T I C A L   W E E K

As for films I saw this past week, the biggest was Zoolander 2, a sequel just as silly as the original, which means that it feels like a disappointment. But I laughed. The best of the week was Sing Street, the latest hugely involving music-infused drama from the brilliant John Carney (Once, Begin Again), this time set in mid-80s Dublin. Terrence Malick's Knight of Cups is an evocative, kaleidoscopic exploration of the emptiness of fame. Strikingly photographed and played (by Christian Bale, Cate Blanchett and Natalie Portman, among others), it feels oddly lacking in insight. Richard Gere is a mopey homeless man in Oren Moverman's beautifully observed but painfully slow Time Out of Mind. And the inventively stylised Belgian drama The Brand New Testament takes a witty premise (God is alive and living in Brussels) and spins it into something involving and thought-provoking.

This coming week we get to catch up with the Coen brothers' all-star Hollywood comedy Hail, Caesar, Robin Williams' final drama Boulevard and the British heist movie Golden Years, among others.

Critical Week: Bafta celebrates Boyhood

It was the biggest night in the UK film calendar, as the British Academy Film Awards were handed out at the Royal Opera House in Covent Garden. Richard Linklater's Boyhood emerged as the big winner, taking Film, Director and Supporting Actress. Pictured above is the movie's attending cast and crew, plus Tom Cruise, who presented Best Film. Alas, Linklater was absent due to the Directors Guild Awards the previous night in Los Angeles.

The other big winner was Wes Anderson's The Grand Budapest Hotel, which took home five Baftas: Original Screenplay, Score, Production Design, Costumes and Make-up & Hair. Other triple winners were The Theory of Everything (British Film, Actor, Adapted Screenplay) and Whiplash (Supporting Actor, Editing and Sound). Pictured at the right is Best Actress winner Julianne Moore with presenters Henry Cavill and Chris Evans, and Best Actor winner Eddie Redmayne with the person he played in the film, Stephen Hawking.

Bafta is always a strange one, because the BBC refuses to broadcast it live, waiting a few hours and chopping it down to two hours to show later at night - meaning there are several "awards presented earlier" bits in the closing credits. This butchers the ceremony's flow and momentum, leaving it feeling oddly dry and dull. It doesn't help that Stephen Fry has been hosting just a bit too long - he's still timely and pithy, but offers nothing remotely new from year to year.

As for other awards, Bafta usually gets to present at least one worthy winner that Oscar ignored, and Sunday night's was The Lego Movie, which won Animated Feature. It was also great to see Ida win Foreign-Language Film and Pride's writer and producer win the Outstanding Debut award. Finally, it was no surprise that Jack O'Connell won the Rising Star Award - he's had an awesome year with Starred Up, '71, Unbroken and even 300: Rise of an Empire.

Meanwhile, Screenings this past week were all rather low-key titles, including the strikingly involving transgender comedy-drama Boy Meets Girl, the enjoyable British indie alien invasion adventure Robot Overlords, the astonishing Ukrainian deaf-gang drama The Tribe and the eye-opening narrative documentary The Man Who Saved the World. I also got a chance to see Blade Runner: The Final Cut on a big screen for the first time in advance of its re-release in a couple of months.

This coming week's collection will include the event movie Fifty Shades of Grey, Will Smith in Focus, Chris Hemsworth in Blackhat, Francois Ozon's The New Girlfriend, the Kiwi drama The Dark Horse and the acclaimed doc Dreamcatcher.

Requisite Blog Photo: Embrace the future

I attended the premiere last night at Bafta of Extant, a new summer series that debuts in America on CBS tonight and in the UK on Amazon Prime tomorrow. Along with canapes and cocktails, they brought along a robot for us to interact with, which was a bit eerie, especially when it started flirting with me.

The show is set in the near future, as Halle Berry tries to readjust to her husband (Goran Visnjic) and robotic son  (Pierce Gagnon) after a year on a space mission, during which something very odd has happened to her: she's become pregnant despite being unable to have children before she left. Not quite sure if I'm in for the duration, but I'll give it a few more episodes before I render my verdict. From one episode, it feels a bit manipulative, one of those shows that dribbles facts very slowly to keep audiences hooked. But it'll need to start dropping some major bombshells soon to hold on to viewers.

Critical Week: Caught in the act

This week's big press screening in London was for Wes Anderson's The Grand Budapest Hotel, which won a top award at Berlin last weekend and is far and away my favourite film of 2014 to date. It may only be February, but this is Anderson's most accomplished film yet, with a terrific ensemble including Ralph Fiennes and promising newcomer Tony Revolori and a story that's funny, scary and ultimately moving. Another pleasant discovery was Jonathan Glazer's Under the Skin, a dreamy horror movie starring Scarlett Johansson as an alien devouring men in Scotland - it's simply stunning.

The only other A-list film was much more problematic: A New York Winter's Tale (original title Winter's Tale) stars Colin Farrell, Jessica Brown Findlay and Russell Crowe in a magical romance that's infused with brutal violence. This week we also saw the low-key but inventive British black comedy 8 Minutes Idle, the uneven and undercooked German thriller The Passenger and the utterly charming doc A Story of Children and Film. And we saw another Berlinale entry, the oddly dull French biopic Yves Saint Laurent, worth seeing for the performances and, of course, super-stylish production design.

Sunday night in London, the British Academy Film Awards - better known as the Baftas - were held in the Royal Opera House, spreading out the trophies among the nominated films. 12 Years a Slave won best film and actor, but Gravity picked up six awards including British film and director. The host for the evening was Stephen Fry, who pretty much just recycled his knowing schtick from eight previous turns as host. It's time for fresh blood. The red carpet was awash in glamour, with Lupita Nyong'o, Amy Adams and Helen Mirren taking the fashion prizes. Mirren was the classiest winner, giving a witty, erudite speech as she accepted her Bafta Fellowship.

Screenings coming this week include the comedies Hairbrained and Southern Baptist Sissies, the offbeat Odd Thomas, the festival film Blue Ruin and something called 112 Weddings. I'm also in the midst of screenings for the upcoming London Lesbian & Gay Film Festival - full coverage of those films next month.

Critical Week: Bafta with beards! On ice!

The British Academy Film Awards - better known as the Baftas - were held last night at the Royal Opera House in Covent Garden, a gorgeously glamorous venue even on a grisly night in which the driving rain turned to sleet and then snow. A-listers bravely made their way up the icy red carpet under umbrellas and heavy coats, with the odd instance of a starlet visibly shivering in the cold while trying to show some flesh. And as predicted, it was Argo's night in the spotlight, as Ben Affleck won two of his three nominations - for Director and Film (produced with George Clooney and Grant Heslov, above). He missed out on Actor to, unsurprisingly, Daniel Day-Lewis. Bafta voters also showed their love for Django Unchained, giving Original Screenplay to Quentin Tarantino and Supporting Actor to Christoph Waltz, essentially making this category a two-horse race at the Oscars in two weeks between Waltz and SAG winner Tommy Lee Jones.

Anne Hathaway continued her romp through the Supporting Actress category this awards season. And in a not-so-surprising upset Emmanuelle Riva won Actress, considerably boosting her chances of taking the Oscar. The nicest surprise was David O Russell winning Adapted Screenplay and delivering a genuinely unexpected thank-you. In the British categories, Skyfall was the predicted winner of British Film; British-produced docs The Imposter and Searching for Sugar Man both won awards; despite the fact that no one saw Killer Joe, Juno Temple won the public vote for Rising Star; and the two awards for venerable Brits went to filmmaker Alan Parker (Bafta Fellowship) and Film Four veteran Tessa Ross (Outstanding Contribution). Pictured at right (clockwise from top-left): Hathaway, Waltz, Temple, Tarantino, Mendes and Broccoli, and Day-Lewis.

Speaking of venerable, Stephen Fry was simply terrific as the ceremony's host, with his smart, hilarious banter, most of which probably went over the heads of the Americans in the audience, for a variety of reasons. Mixing absurd silliness with pithy commentary on recent headlines, he kept things moving impeccably as always, eliciting a kiss-to-camera this year from Jennifer Lawrence and flirting shamelessly with a slightly perplexed Jeremy Irvine. The Best Presenter-Pairing Award goes to Bradley Cooper and Affleck - there were audible "woofs" from the audience as they strode manfully tot he podium. The Best Acceptance Speech Award goes to Waltz, for a warm, snappy thank you, with Day-Lewis as a witty runner-up.

All the winners...

• Film: Argo - Grant Heslov, Ben Affleck, George Clooney
• Film Not in the English Language: Amour - Michael Haneke, Margaret Ménégoz
• Documentary: Searching for Sugar Man - Malik Bendjelloul, Simon Chinn
• Outstanding British Film: Skyfall - Sam Mendes, Michael G Wilson, Barbara Broccoli, Neal Purvis, Robert Wade, John Logan
• Animated Film: Brave - Mark Andrews, Brenda Chapman
• Director: Ben Affleck - Argo
• Original Screenplay: Django Unchained - Quentin Tarantino
• Adapted Screenplay: Silver Linings Playbook - David O Russell
• Leading Actress: Emmanuelle Riva - Amour
• Leading Actor: Daniel Day-Lewis - Lincoln
• Supporting Actress: Anne Hathaway - Les Misérables
• Supporting Actor: Christoph Waltz - Django Unchained
• Outstanding Debut by a British Writer, Director or Producer: Bart Layton, Dimitri Doganis - The Imposter
• Rising Star: Juno Temple
• Outstanding British Contribution to Cinema: Tessa Ross
• Bafta Fellowship: Sir Alan Parker
• Cinematography: Life of Pi - Claudio Miranda
• Original Film Music: Skyfall - Thomas Newman
• Production Design: Les Misérables - Eve Stewart, Anna Lynch-Robinson
• Costume Design: Anna Karenina - Jacqueline Durran
• Editing: Argo - William Goldenberg
• Make-Up And Hair: Les Misérables - Lisa Westcott
• Sound: Les Misérables - Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, John Warhurst
• Visual Effects: Life of Pi - Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, Donald R Elliott
• Short Film: Swimmer - Lynne Ramsay, Peter Carlton, Diarmid Scrimshaw
• Short Animation: The Making of Longbird - Will Anderson, Ainslie Henderson

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CRITICAL WEEK:

Meanwhile, films screened for London critics this past week included the gonzo guilty pleasure Hansel & Gretel: Witch Hunters, a violent fairy tale starring Jeremy Renner and Gemma Arterton (who both presented awards at the Baftas). Elijah Wood stars in the first-person remake of the grisly serial killer horror Maniac; Danny Dyer stars in the dire film adaptation of the British farce Run for Your Wife; Romain Duris stars in the charming, slightly too-quirky French romantic-comedy Populaire; and Japanese filmmaker Hirokazu Kore-eda won the week with his drop-dead gorgeous childhood adventure I Wish.

This coming week's titles include late screenings of Bruce Willis in A Good Day to Die Hard and Alice Englert in the teen-franchise launcher Beautiful Creatures. We also have James McAvoy in a film of Irvine Welsh's Filth, Viggo Mortensen in Everybody Has a Plan, Brady Corbet in Simon Killer, Joss Whedon's take on Shakespeare's Much Ado About Nothing, Mathieu Kassovitz's thriller Rebellion, the New York gang drama Gimme the Loot, the Oscar-nominated Israeli doc The Gatekeepers, and the Snoop Dogg/Snoop Lion doc Reincarnated.