Critical Week: Back on the case

Awards season continues to gather speed, with the Golden Globes on Sunday. I vote in these, and it was nice to see some sign of the international voting base in some more unexpected winners. I also had ballot deadlines with two other groups who announced their nominees: the Online Film Critics Society and the Dorian Awards. My annual Sweepstakes is up and running, tallying all the awards in one place, and next week things ramp up even more with the Oscar nominees. As for movies, I watched the deliberately gritty cop thriller The Rip, which does nothing much new but reunites Ben Affleck and Matt Damon on-screen, alongside a terrific cast including Steven Yeun, Catalina Sandino Moreno and new Golden Globe winner Teyana Taylor. 

BEST OUT THIS WEEK:
Sound of Falling • Rental Family
A Private Life • Dead Man's Wire
ALL REVIEWS >

Another thriller, Bart Layton's Crime 101, features the starry quartet Chris Hemsworth, Halle Berry, Mark Ruffalo and Barry Keoghan, none of whom disappoint with their complex characterisations. And then there was the rabid chimp horror Primate, which never quite grabs hold largely due to its man-in-a-monkey-suit aesthetic. More intriguing, timely and important was the Palestinian drama All That's Left of You, with gets a bit soapy but packs a powerful kick. And I finally caught up with the animated epic Demon Slayer: Infinity Castle, which looks amazing even if it feels like watching someone else play a videogame.

Coming up this next week, I'll be watching Francois Ozon's new film of Camus' The Stranger, the British family doc D Is for Distance, a big-screen premiere for the TV series The Beauty and a live performance of The Wedding at Sadler's Wells East.

Critical Week: Walking in a winter wonderland

The holidays are descending upon us, as seen by those out-of-the-office email "gone for Christmas" bouncebacks. But year-end work for film critics is in full swing these days, with a steady stream of awards announcements in the news and best/worst of year pieces beginning to pop up everywhere. In a final flurry of screenings for the year, we had two of this week's big releases: Mufasa: The Lion King is a prequel animated in the photoreal style of the 2019 remake and directed, somewhat surprisingly, by Barry Jenkins. It looks great, but the story and tone feel rather awkward, while the songs are oddly unmemorable. But fans will enjoy it. Fans will properly love the sequel Sonic the Hedgehog 3, which rights several wrongs about part 2 with a funnier script and more clowning goofiness centred around Jim Carrey's nutty Robotnik and, this time, his mad-scientist grandpa (also Carrey). Yes it's very silly.

BEST OUT THIS WEEK:
The Count of Monte-Cristo
Vengeance Most Fowl
Babygirl • The Brutalist
ALL REVIEWS >

Because I'm between voting deadlines, I've taken it a bit easier with the awards contenders this week, only seeing three. I've also needed to spend rather a lot of time readying the London Critics' Circle nominations to be announced. My catch-up movies this week: Andrea Arnold's Bird, a strikingly powerful fable that mixes gritty realism with magical realism, with terrific performances by Barry Keoghan and Nykiya Adams as father and daughter. The Count of Monte-Cristo is a lavish new French adaptation of the classic Dumas novel that, at nearly three hours, feels both epic and snappily paced. It's a real treat. From Denmark, The Girl With the Needle is more demanding, but it's a proper stunner, an involving, intensely moving story about a young woman battling the system. It's shot gorgeously in early 1900s period style (silent movie-style black and white, but with sound).

This coming week I have several films to catch up on, and it will depend on the time available to watch them. Movies on this rather eclectic list include The Day the Earth Blew Up, The End, Love Lies, Ghostlight, The Six Triple Eight, How to Make Millions Before Grandma Dies, 2073, Sugarcane and Robert Zemeckis' Here. Happy Christmas!

LFF: Let's get lost

The 67th London Film Festival kicked off last night with a gala screening of Emerald Fennell's Saltburn, although due to the ongoing actors strike, Fennell was the only person representing the film on the red carpet. I had a great chat with her at the after party, which stretched late into the night. It's only Day 2 and I'm already hideously sleep-deprived. But that's how festivals work, so I'll hang in there for the next 10 days catching up with this year's big festival titles. Here are highlights from the first two days...

Saltburn
dir-scr Emerald Fennell; with Barry Keoghan, Jacob Elordi 23/UK ****
With a story that echoes The Talented Mr Ripley, Emerald Fennell dives into the dark side of Britain's class structure. Wonderfully heightened, the film's deranged vibe is instantly gripping. Vicious swipes are delivered with backhanded relish by an excellent cast in stiff-upper-lip mode. Where the story goes is vivid and unnerving, simply because the storytelling is so full-on. We may have seen it before, but never quite like this.

The Killer
dir David Fincher; with Michael Fassbender, Tilda Swinton 23/US ***.
Steely and clinical, this stylised hitman thriller plays out in a series of carefully planned set-pieces, reflecting the approach of both Michael Fassbender's eponymous killer and director David Fincher. It looks terrific, churning skilfully through action, intrigue and pitch-black drama, each scene infused with wry wit and icy violence. Yet while the artistry is first-rate, the film lacks an emotional connection that might have pulled us in deeper.

Fingernails
dir Christos Nikou; with Jessie Buckley, Riz Ahmed 23/US ****
With its understated fantastical premise and a delicate, observant pace, this offbeat romance plays out in beautifully unexpected ways that will reward viewers who can be patient with its hushed tone. Working in North America, Greek filmmaker Christos Nikou is grappling with the awkward impossibility of quantifying love. Sensitive writing and directing provide insight alongside adept, nuanced performances from Jessie Buckley, Riz Ahmed and Jeremy Allen White.

The Eternal Memory
dir-scr Maite Alberdi; with Augusto Gongora, Paulina Urrutia 23/Chl ****
This documentary about the nature of memory works on several powerfully moving layers, exploring the importance of maintaining a truthful account of history through the lens of a couple grappling with the effects of dementia. The film is also a ravishing real-life love story, shot largely by the couple themselves, with extensive new and archival footage. And gifted Chilean director Maite Alberdi assembles it to beautifully offbeat human rhythms.

All full festival reviews will be linked to Shadows' LFF PAGE >

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L   W E E K

Movies I watched this week included the 50-years-later sequel The Exorcist: Believer, which started well then fell apart; the somewhat undercooked relational thriller Fair Play; the witty Dutch animated adventure Oink; and Wes Anderson's witty and stylish four shorts based on Roald Dahl stories, starting with The Wonderful Story of Henry Sugar. Films this coming week include Mind-Set and Cat Person. And at London Film Festival I'll be watching Bradley Cooper's Maestro, Todd Haynes' May December, Sofia Coppola's Priscilla, Andrew Haigh's All of Us Strangers, Saoirse Ronan in Foe, Annette Bening in Nyad, Austin Butler in The Bikeriders and many more.

Venezia79: Take in the scenery

The 79th Venice Film Festival moves into its final half with most of the big names under its belt. Stars still pop up everywhere. I watched Colin Farrell and Brendan Gleeson masterfully play the red carpet last night, while this morning I brushed past Penelope Cruz and Luis Tosar on their way into a press conference. Despite ongoing predictions of thunderstorms, the skies remain clear, so the sun is very hot. While some of the screening cinemas feel like an icy Arctic wind tunnel. My schedule slows down as the week goes on, but not quite yet. Here are some more highlights...

The Banshees of Inisherin
dir-scr Martin McDonagh; with Colin Farrell, Brendan Gleeson 22/Ire ****.
With its focus on seemingly tiny, inconsequential events, this witty Irish drama is a sometimes startlingly vivid look at human interaction. Writer-director Martin McDonagh has an uncanny ability to sharply capture the ways people connect in small communities, while echoing much larger themes. So the characters and situations in this often absurdly funny film have continually surprising textures and weight, with a literal civil war taking place in the distance. And the contained story at the centre is almost criminally satisfying.

When the Waves Are Gone [Kapag Wala Na Ang Mga Alon]
dir-scr Lav Diaz; with John Lloyd Cruz, Ronnie Lazaro 22/Ph ****.
Filipino maestro Lav Diaz takes on his nation's shift after the 2016 election of Rodrigo Duterte. Filming in his usual silvery black and white, this three-hour drama feels almost brisk by Diaz's standards, with an extended length that weaves various story threads together into a pointed odyssey. At its core this is a moving take of redemption that's unblinking about the self-proclaimed guardians of morality. And as the plot's thriller angle develops, the film tightens its grip.

In Viaggio
dir-scr Gianfranco Rosi; with Pope Francis 22/It ***.
While this looks like perhaps a glowing doc about Pope Francis, master documentarian Gianfranco Rosi is too clever to play his hand. Using only archival footage, the film follows the pontiff as he crisscrosses the globe spreading a message of hope and pleading for justice and peace. But the editing and juxtapositions suggest a darker, much more provocative truth. How an audience member reads this material will depend perhaps on their preconceptions. But open-minded viewers might be in for a thoughtful surprise.

Wolf and Dog  [Lobo e Cão]
dir-scr Claudia Varejao; with Ana Cabral, Ruben Pimenta 22/Por ****
Set in the Azores archipelago, this strikingly visual slice of life is artfully shot in Academy ratio by cinematographer Rui Xavier, capturing gorgeous colours and textures. And writer-director Claudia Varejao assembles the film in a way that feels almost accidental, capturing tiny moments that add up to tell a larger story. This means that the narrative feels meandering and elusive, with only a few sharply pointed events. But this also offers the space for us to put ourselves into the situations and consider our reactions.

Full reviews will be linked at Shadows VENICE FILM FESTIVAL page, eventually! 

On the road: Drop the mask

For my first trip out of Britain in two years, I returned to Southern California to visit family and friends. This is where I was when the first lockdown hit in March 2020, so it's been a bit surreal to be here as restrictions are finally lifting - and it's great to catch up with friends and family after such a long gap. Plus of course the fish tacos. 

I've caught up with just one movie here: Matt Reeves' new take on The Batman, starring Robert Pattison as the Dark Knight. It's a big film, bold in its emphasis on deeper emotions rather than the superficial action. But it's also overwhelmed by a cliched visual stylisation that stubbornly refuses to switch on a light or add much in the way of colour. Fans will love the earnestly whispered dialog, while serious filmgoers will roll their eyes.

On Saturday, I visited the Academy Museum with two university friends (an Instagram image set is below). We had a lot of fun with the extensive collection of clips and artefacts, but wondered why the curators so resolutely ignored the history of Hollywood and the studios. There are a variety of spaces that explore aspects of cinematic craft, and a fun space featuring clips and memorabilia from Oscar ceremonies, while sections dedicated to specific films and filmmakers felt more than a little random. I quite liked the Spike Lee exhibit, which centres around his influences. An enormous room dedicated to Almodóvar features lots of gorgeous posters and unidentified clips and nothing else. And it's fun to stand under the massive Moount Rushmore backdrop from North by Northwest. Other highlights include a large area exploring The Wizard of Oz, a collection of iconic movie creatures and a colourful special exhibition tracing the career of Hayao Miyazaki. Oddly, the small room celebrating Citizen Kane is the same size as the room celebrating Real Women Have Curves. And then there was the giftshop, which is completely lacking in souvenirs that feature Oscar, which seems like a seriously missed opportunity (the one Oscar photo op costs an extra $15). Another inexplicable error is omitting a snack bar on the vast open-air observation deck looking out over West Los Angeles. And lighting the exhibits in a way that makes selfies almost impossible. Let's hope they bring someone on board to make this museum something more properly amazing.

Because of The Batman, there are very few other films being released here these days. The only one in cinemas I'd kind of like to see is a guilty pleasure - the Foo Fighters' Studio 666 - but of course no one here wants to see that with me! So I'll probably wait until returning to London to see something new - plus the offerings at BFI Flare, a festival starting on March 16th.

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The Best of 2020: 40th Shadows Awards

To put it mildly, this has been an unusual year. So there has been a wider range of films eligible, as I've included titles released direct to streaming services. I saw all of these in the calendar year 2020, regardless of release dates. My top film of the year is a true original, a blur of drama and documentary that has a lot to stay about the state of the world at the moment. The performances, improvised dialog, camerawork and editing are simply gorgeous. Some of these categories were very difficult to whittle down to 10 - it was often painful cutting the list off there, especially for lead performances.

There is rather a lot more posted on the website, including longer lists and a dazzling array of additional categories and trivia to wrap up the year: 40th SHADOWS AWARDS. Here are the top 10s...

BEST FILM:

1. 
   Nomadland (Chloe Zhao)
2. Mangrove (Steve McQueen)
3. The Mauritanian (Kevin Macdonald)
4. System Crasher (Nora Fingscheidt)
5. Notturno (Gianfranco Rosi)
6. The Half of It (Alice Wu)
7. Da 5 Bloods (Spike Lee)
8. Soul (Pete Docter)
9. The Perfect Candidate (Haifaa Al Mansour)
10. On the Rocks (Sofia Coppola)

DIRECTOR:

1. 
   Steve McQueen - Small Axe
2. Kevin Macdonald - The Mauritanian
3. Chloe Zhao - Nomadland
4. Spike Lee - Da 5 Bloods, David Byrne's American Utopia
5. Nora Fingscheidt - System Crasher
6. Florian Zeller - The Father
7. Christopher Nolan - Tenet
8. Haifaa Al Mansour - The Perfect Candidate
9. Sally Potter - The Roads Not Taken
10. Melina Leon - Song Without a Name

SCREENWRITER:

1. 
   MB Traven, Rory Haines, Sohrab Noshirvani - The Mauritanian
2. Pete Docter, Mike Jones, Kemp Powers - Soul
3. Christopher Hampton, Florian Zeller - The Father
4. Alice Wu - The Half of It
5. Haifaa Al-Mansour, Brad Niemann - The Perfect Candidate
6. Chloe Zhao - Nomadland
7. Alastair Siddons, Steve McQueen - Mangrove
8. Jayro Bustamante, Lisandro Sanchez - La Llorona
9. Eliza Hittman - Never Rarely Sometimes Always
10. James Montague, Craig W Sanger - The Vast of Night

ACTRESS:

1. 
   Julia Garner - The Assistant
2. Helena Zengel - System Crasher, News of the World
3. Jodie Foster - The Mauritanian
4. Elisabeth Moss - The Invisible Man, Shirley
5. Letitia Wright - Mangrove
6. Frances McDormand - Nomadland
7. Joanna Scanlan - After Love
8. Jessie Buckley - Misbehaviour, I'm Thinking of Ending Things
9. Carey Mulligan - Promising Young Woman, The Dig
10. Aubrey Plaza - Black Bear, Happiest Season

ACTOR:

1. 
   Tahar Rahim - The Mauritanian
2. John Boyega - Red, White and Blue
3. Cosmo Jarvis - Calm With Horses
4. Anthony Hopkins - The Father
5. Chadwick Boseman - Ma Rainey's Black Bottom, Da 5 Bloods
6. Riz Ahmed - Mogul Mowgli, Sound of Metal
7. Lee Byung-hun - The Man Standing Next
8. Sacha Baron Cohen - The Trial of the Chicago 7, Borat Subsequent Moviefilm
9. Christopher Abbott - Possessor, Black Bear, The World to Come
10. Robert Pattinson - Tenet, The Devil All the Time, Waiting for the Barbarians

SUPPORTING ACTRESS:

1. 
   Maria Bakalova - Borat Subsequent Moviefilm
2. Olivia Colman - The Father
3. Amanda Seyfried - Mank
4. Cherry Jones - A Rainy Day in New York
5. Dhay - The Perfect Candidate
6. Lesley Manville - Misbehaviour, Let Him Go
7. Talia Ryder - Never Rarely Sometimes Always
8. Orla Brady - Rose Plays Julie
9. Shailene Woodley - The Mauritanian, Endings Beginnings
10. Laura Linney - The Roads Not Taken, Falling

SUPPORTING ACTOR:

1. 
   Barry Keoghan - Calm With Horses
2. Lance Henriksen - Falling
3. Leslie Odom Jr - Hamilton, One Night in Miami
4. Jonathan Majors - Da 5 Bloods, Jungleland
5. Benedict Cumberbatch - The Mauritanian
6. Nicholas Hoult - True History of the Kelly Gang, Rebel in the Rye
7. Steve Toussaint - Red, White and Blue
8. Sverrir Gudnason - Falling
9. Harris Dickinson - County Lines
10. Alfredo Castro - The Prince

WORST FILM:

1. 
   Fantasy Island (Jeff Wadlow)
2. Jexi (Jon Lucas, Scott Moore)
3. Hillbilly Elegy (Ron Howard)
4. Buddy Games (Josh Duhamel)
5. Love, Weddings & Other Disasters (Dennis Dugan)
6. Fatal Affair (Peter Sullivan)
7. The Last Days of American Crime (Olivier Megaton)
8. Come Away (Brenda Chapman)
9. The Ringmaster (Soren Juul Petersen)
10. Ava (Tate Taylor)

N O N - F I L M   D I V I S I O N

TV SERIES:

1. 
   Schitt's Creek (CBC)
2. The Good Place (Netflix)
3. Ted Lasso (Apple)
4. The Mandalorian (Disney)
5. We Are Who We Are (HBO)
6. Dave (FX)
7. Staged (BBC)
8. Normal People (BBC)
9. I May Destroy You (BBC)
10. Shameless (Showtime)

SINGLES:

1. 
   No Time to Die - Billie Eilish
2. Hurt - Arlo Parks
3. Head & Heart - Joel Corry & MNEK
4. Coffee for Your Head - Powfu & Beabadoobee
5. Cuz I Love You - Lizzo
6. Watch Your Step - Disclosure & Kelis
7. Diamonds - Sam Smith
8. This Is the Place - Tom Grennan
9. Far Away - Jessie Reyez
10. Rainfall - Stormzy & Tiana Major9

Critical Week: Fooling no one

It's been a busy week in the press screening rooms this week, and I saw a few films that have been among my favourites of the year so far. Sundance award winner American Animals (above) is a stunner, a true heist thriller that happily breaks genre rules. Performances are terrific, and Bart Layton's direction is masterful. And Mission: Impossible - Fallout was a very pleasant surprise, easily the best in this six-film series, and the most satisfying action blockbuster of the summer. Tom Cruise even manages to deepen the iconic character he first played 22 years ago.

Playing on our social media culture, Searching is an inventive thriller that is viewed on various screens, yet is also taut, moving and packed with superb performances. Jon Hamm is excellent in The Negotiator (aka Beirut), a gritty and very well-made thriller set in the chaos of early-80s Lebanon. Hot Summer Nights features another solid turn from Timothee Chalamet, but the film itself is too hyperactive and grim to be the pastiche it seems to want to be. And the documentary King Cohen is a joy for movie fans, especially lovers of cult movie guru Larry Cohen.

There were also three small British films: Apostasy is simply excellent, a fair-minded depiction of a crisis within a family of Jehovah's Witnesses that makes us think about our own belief systems. Strangeways Here We Come is an uneven black comedy about a group of neighbours who concoct a murderous plan. And Possum is a somewhat pretentious arthouse thriller about a man with the creepiest ventriloquist dummy in movie history. Finally, the American web-series Paper Boys has been compiled into an involving, nicely flowing little feature about young people trying to start their lives in San Francisco.

This coming week I'll finally catch up with Ant-Man and the Wasp, plus the comedy The Spy Who Dumped Me, offbeat WWII adventure The Captain, coming-of-age drama Brotherly Love, horror comedy Fanged Up, French WWI epic The Guardians, Italian mystery A Sicilian Ghost Story, Portuguese horror The Forest of the Lost Souls, anime fantasy Mirai, and the doc The Eyes of Orson Welles.