Critical Week: Baby you're a firework

While most London critics decamp to the South of France for 10 days, I prefer to avoid the chaos of the Cannes Film Festival if I can, as screening rooms get a bit quieter here. But it's not easy to read about all the intriguing films screening over there. While I have a bit more free time, there are still movies to watch! This week's films included the warm and properly inspiring biopic Young Woman and the Sea, starring Daisy Ridley as groundbreaking swimmer Trudy Ederle. This week's big release is IF, a child-friendly movie from actor-filmmaker John Krasinski that's remarkably sweet, warm and funny. And next week's kids' movie is The Garfield Movie, a frenetic animated romp that will keep very, very young children happy.

BEST OUT THIS WEEK:
Tiger Stripes • IF
ALL REVIEWS >

A bit more high-brow is the fact-based action romcom Hit Man, starring the terrific Glen Powell as a teacher pretending to be an assassin to help a police sting operation. It's a great story, very well-told by Powell and director-cowriter Richard Linklater. Elizabeth Hurley stars in the sudsy erotic thriller Strictly Confidential, which is so camp that it's hilarious. JK Simmons goes all-in to play a ruthless killer menacing a nice family in the harrowing and rather harsh thriller You Can't Run Forever. From Pakistan, In Flames is an inventive dramatic horror film about women confronting the patriarchy. And I also caught up with Guy Ritchie's new film The Ministry of Ungentlemanly Warfare, a snappy WWII adventure based on a true story. A terrific cast led by Henry Cavill, Eiza Gonzalez, Alan Ritchson and Henry Golding keeps it funny and sometimes thrilling. There was also a live performance by musical stand-up comic Dave Hill with his riotously hilarious Caveman in a Spaceship at the Soho Theatre.

This coming week I'll be watching Anya Taylor-Joy in Furiosa: A Mad Max Saga, Greg Kinnear in both The Present and Sight, the Canadian drama Solo and the animated adventure Deep Sea. Plus on stage I have Pieces of Me at Camden People's Theatre.

Critical Week: Yet another night in

Aside from a certain royal interview and the evolving lockdown situation, the biggest news this week was the most diverse list of Bafta Film Awards nominations in history, a remarkably varied collection of movies, filmmakers and performances that breaks from their tradition of trying to predict Oscar. Attention to British gems and filmmakers outside the system is particularly notable this year, even with some surprising omissions. BAFTA 2021 NOMINEES >

BEST OUT THIS WEEK:
The Human Voice
Judas and the Black Messiah
The Dissident • Verdict
ALL REVIEWS > 

As for movies this week, I caught up with two films recently out in US cinemas. Silk Road stars Jason Clarke and Nick Robinson (above with Alexandra Shipp) in a true story about the dark web that's fascinating but rather lacking in nuance. And Tom Holland and Daisy Ridley star in Doug Liman's conceptual sci-fi thriller Chaos Walking, a well-made Western-style adventure that fails to deepen its themes or characters.

Further afield, the prison drama Luz is an American independent film infused with Latin culture as it recounts an unusually introspective, tender romance between two inmates. From Germany, Undine is another seriously clever film by Christian Petzold starring Paula Beer and Franz Rogowski, this time a fantastical, whimsical, darkly moving romance. From Australia, Sequin in a Blue Room is an artful coming-of-age drama about a young man on a journey of self-discovery and connection.From Bosnia, Quo Vadis, Aida? is a flatly stunning, unmissable drama about the Srebrenica genocide told from a powerfully involving perspective. From the Philippines, Verdict is an absolutely riveting drama about a woman navigating a torturous legal system. And I decided to catch up with this documentary on the day it received its Bafta nomination...

My Octopus Teacher

dir-scr Pippa Ehrlich, James Reed

with Craig Foster, Tom Foster 

release US/UK 7.Sep.20

20/South Africa Netflix 1h25 *****

Beautifully shot and edited, this documentary recounts an involving story in a way that's enormously engaging as it traces the extraordinary connection between a man and an octopus over nearly a year. It's a riveting exploration of the nature of student and teacher, friend and foe, predator and prey. And as both of them transform their perceptions of each other, the film becomes both moving and inspirational.

Struggling with burn-out, and worried about his ability to be a good father to his teen son Tom, filmmaker Craig Foster turns to the ocean for inspiration, drawing on his childhood in the ocean near his home at the tip of South Africa. In an effort to feel amphibious and to eliminate barriers, he eschews a scuba tank or wetsuit and returns into the kelp forest every day. And he becomes fascinated by an octopus, building trust that leads to an unexpected back-and-forth relationship with her. Their ongoing adventures are simply awesome, revealing the inter-connections between living things.

Cinematographer Roger Horrocks gloriously captures how it feels to float through an underwater forest amid a wide range of creatures. This is augmented by Foster's own work behind the camera, revealing the extravagant diversity, balance and beauty under the sea. Meanwhile, the narrative is grabbing hold of us as we watch these two very different creatures begin to interact in unexpected ways. And the ultimate message is simple and provoctive: "She taught me to feel that I'm part of this place, not a visitor."

9.Mar.21

---

Next week's films include the new four-hour cut of Zack Snyder's Justice League, Robin Wright's Land, the romantic comedy Me You Madness, the comedy drama Shoplifters of the World and the acclaimed Russian drama Dear Comrades. There will also be press screenings for the forthcoming edition of BFI Flare, with the festival itself kicking off virtually on Wednesday 17th March. Reports to come!

 

View this post on Instagram

A post shared by Rich Jack Cline (@ukcline)

Critical Week: Kitties for Christmas

On Tuesday evening I was able to get into two huge press screenings, easily the most surreal double bill of the year. First up was Cats, Tom Hooper's bizarrely imagined adaptation of Andrew Lloyd Webber's already bizarre musical. It looks like nothing you've seen before, awful and brilliant at the same time. Immediately after that, the critics shuffled across Leicester Square for the only press screening of Star Wars: The Rise of Skywalker, the ninth film in the 42-year-long movie saga. It's very entertaining, but a little too carefully concocted to be the masterpiece we were hoping for.

Being busy planning the announcement of the London Critics Awards nominations, I didn't have a lot of time for screenings this week. But I did catch up with Ryan Reynolds in 6 Underground, a massively colourful action romp directed by Michael Bay with little concern for plot or character or coherence. The Courier is an odd patchwork action thriller, as it seems like stars Gary Oldman, Olga Kurylenko and William Moseley never met each other. But it's slick and fast. And Daniel Radcliffe continues to defy expectations, playing a real-life 1970s South African hippie activist in Escape From Pretoria, a grippingly straightforward prison-break movie with a political angle.

Over Christmas I'll be catching up with some late-season awards movies, and also binging on the TV series I've fallen behind on. I'm definitely looking forward to some down time, especially a slowdown in the glut of emails relating to the three film awards I vote for.

Critical Week: Don't call me angel

It was another mixed bag of movies for me this week, with awards-worthy movies jostling for attention with the usual weekly releases. We had Elizabeth Banks' new take on Charlie's Angels, an entertaining but slightly off-balance mix of comedy and violence. Edward Norton wrote, directed, produced and stars as a detective with Tourette's in Motherless Brooklyn, a beautiful film that's also a bit indulgent. Chadwick Boseman stars in the cop drama 21 Bridges, which looks great but really needed a much better script. And Ophelia retells the story of Hamlet as a teen romance with great performances and production values, but little point.

Aaron Eckhart toplines the cop thriller In the Line of Duty, which is gritty and a bit predictable. Daniel Isn't Real is a fascinating psycho-thriller that never quite finds something to say about mental illness. The Amazing Johnathan Documentary is a riveting look into the comical magician's fatal heart condition and rather slippery life. And I was able to rewatch the beautifully made British independent drama Into the Mirror on a big screen at a cast and crew screening - great to see it projected instead of on a small screen at home, and really nice to meet the director and writer-actors.

This coming week I have a line-up of acclaimed arthouse movies to see, including Sterling K Brown in Waves, Jennifer Reeder's Knives and Skin, Helen Hunt in I See You, the Chinese thriller Long Day's Journey Into Night, the Brazilian drama Greta and Steven Berkoff in The Last Faust. I also have some more theatre, a special film archive event and the London Critics' Christmas party!

Critical Week: Stop and smell the flowers

It was pretty daring of Fox to release the animated movie Ferdinand this week, but for critics it was a welcome respite from Star Wars mania. The warm-heated core story is still there the beloved 1930s book and short, although it has been expanded with mindless action-comedy chaos. Meanwhile, the big news of course was the single press screening on Monday night of Star Wars Episode VIII: The Last Jedi, introduced by writer-director Rian Johnson. It's a massive, slightly over-intense two and a half hour battle epic packed with excellent characters and surprising connections.

I also caught up with Margot Robbie's excellent performance in I, Tonya, a bitterly comical take on disgraced figure skater Tonya Harding. But there's an important point to the tone. Hugh Jackman stars in the colourful musical The Greatest Showman, which tells the story of circus founder PT Barnum with great songs and elaborate choreography. Dwayne Johnson and Kevin Hart reteam for Jumanji: Welcome to the Jungle, a somewhat pointless reboot to the franchise, although it's at least energetic. And Liam Neeson continues in mindless action mode for The Commuter, a contrived thriller set on a train.

Further afield, we had the offbeat British indie drama Beast, which tells a twisted story that's part romance and part thriller. And Peccadillo put out their latest compilation Boys on Film 17: Love Is the Drug, nine short films about desire. It's a very strong collection this time, with films made over the past five years.

I only have a couple of screenings over the next couple of weeks, including Ridley Scott's All the Money in the World and Woody Allen's Wonder Wheel. But I still have quite a few awards-season screeners to catch up with as time allows. I'll prioritise the ones that pick up nominations.

Critical Week: You better not pout

It seems rather early, but the holidays kicked off this week with the first festive movie, A Bad Moms Christmas, a sequel to last year's sweetly gross-out comedy with added grandmothers. More of the same, it's kind of the definition of mindless entertainment. There was also a press screening for Paddington 2, which might actually be better than the wonderful original film. It's a pure delight, a great story with superb characters and a range of silly, surreal and razor-sharp comedy.

And I can't remember the last time I was invited to attend a premiere, but tonight I was at the Royal Albert Hall for the world premiere of Kenneth Branagh's remake of the Agatha Christie classic Murder on the Orient Express. It's a big, classy whodunit with a nice mix of comedy and emotion stirred in to add weight to the characters. The entire cast was at the premiere, including Branagh, Judi Dench, Johnny Depp, Michelle Pfeiffer, Penelope Cruz, Daisy Ridley, Olivia Colman, Josh Gad, Willem Dafoe and Derek Jacobi.

There was also a spin on the zombie genre with the raucous office block black comedy Mayhem, as well as the remarkably straight-faced B-movie style bigfoot thriller Sightings. Plus two foreign films: the involving, mesmerising thriller Thelma from Norway and the movingly personal drama Santa and Andres from Cuba. And two docs: 78/52 gets into lots of enjoyable detail about how Hitchcock created that iconic shower scene, while The Freedom to Marry explores the activists at the centre of the Supreme Court's decision on marriage equality.

This coming week we have screenings of Josh Brolin in Only the Brave, Colin Firth in The Mercy, Richard Gere in The Dinner, Jon Bernthal in Sweet Virginia, Lee Pace in Revolt and Virginia Madsen in Better Watch Out.