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: Lord have mercy

It's been another slow week for screenings, which has been helpful as it's been a crazy one in the movie awards world - both sifting through the big award winners and the way they impact the season as a whole, and organising the London Critics' Circle Film Awards, which take place next week.

The three movies I saw were: The Rhythm Section, an action thriller with a female perspective starring Blake Lively, Jude Law and Sterling K Brown; True History of the Kelly Gang, Justin Kurzel's stylish take on the Aussie folk hero starring a staggeringly good George MacKay, Essie Davis and Nicholas Hoult; and the feel-good British comedy-drama Military Wives, a true story from the director of The Full Monty, starring Kristin Scott Thomas, Sharon Horgan and Greg Wise.

There was also the launch event for New Nordics Festival, which will be presented by theatre company Cut the Cord 18-21 March at Yard Theatre in East London. It's a clever new initiative that involves six playwrights from six Nordic countries (Denmark, Finland, Iceland, Norway, Sweden and the Faroe Islands) teaming up with six UK-based directors to bring their work to a British audience for the first time. This is a superb display of Brexit-defying collaboration between northern European countries that share elements of climate, culture and history. And the plays all look intriguing, grappling with social issues, environmental awareness and gender equality. With a bit of Ikea thrown in for good measure. For full details: YARD THEATRE 

In addition to another theatre press night, I also have film screenings of three acclaimed arthouse films this coming week: the Icelandic drama A White, White Day; the Swedish drama Koko-Di Koko-Da; and the housing crisis documentary Push.

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: Shark attack!

Aside from taking a few days off from moviegoing to spend some time with friends in Berlin, this past week has been all about the undersea menace! I had two shark-attack romps, from very different ends of the cinematic spectrum. First there was The Shallows, a taut, cleverly constructed thriller in which Blake Lively is stalked by a great white on a beach in Mexico. And then there was Sharknado: The 4th Awakens, easily the worst in a pretty terrible series. The biggest mystery is why, with the additional cash and (ahem!) filmmaking experience, this is such a complete and utter mess. Still, it has some great gags, and Ian Ziering and Tara Reid continue to approach the nonsense with hilariously straight faces.

Higher quality cinema came courtesy of Brian Cox in The Carer. As a raging thespian, Cox is on terrific scene-chomping form, and the film's refreshingly low-key approach makes it funny, warm and even provocative. There was also the documentary Can We Take a Joke? in which a bunch of stand-up comics discuss how they see society slipping away from free speech because everyone is always offended about everything. It's a strikingly important little film.

Coming up this next week, I'll catch a very late screening of the barely screened supervillain blockbuster Suicide Squad, Ricky Gervais' spin-off David Brent: Life on the Road, the horror sequel The Purge: Election Year, Jamie Dornan in The 9th Life of Louis Drax, the German drama Liebmann and the secret-society doc Tickled.

Critical Week: Life of the party

Chris Rock's comedy Top Five had great reviews in America last year, and has finally screened to UK critics ahead of its opening here this week. It's thoroughly hilarious, if a bit of an inside joke. Blake Lively stars in the fantasy-drama The Age of Adaline, very well-made but ultimately rather corny. Gugu Mbatha-Raw gives another thunderous performance in Beyond the Lights, a simplistic but engaging drama about the music industry costarring Nate Parker and Minnie Driver. And the mystery-thriller remake The Loft is packed with twists, turns, surprises and revelations, even if it never amounts to much and doesn't offer too much depth for fine actors like James Marsden, Matthias Schoenaerts, Eric Stonestreet, Karl Urban or Wentworth Miller.

Further afield, there was a screening of the long-shelved feature animation Dino Time, a lively story with substandard imagery and a starry voice cast that includes Jane Lynch, Melanie Griffith and Rob Schneider; Albert Maysles' beautifully made doc Iris, about 93-year-old eccentric fashion icon Iris Apfel; and the murky and sexy but obtuse apocalyptic Argentine love triangle What's Left of Us.

Coming up this week are screenings of Tom Hardy in George Miller's Mad Max: Fury Road, the comedy A Royal Night Out, Idris Elba in Second Coming, the indie drama Everyone's Going to Die, British horror Unhallowed Ground, Oscar-nominated animation Song of the Sea and Spanish serial killer thriller Marshland. There's also a special press screening of the Orson Welles doc Magician to launch the BFI's Welles season, and an art gallery screening of Eleanor starring Ruth Wilson.