Critical Week: Living your best life

I don't really need to do my annual roundup of the London Critics' Circle Film Awards, since you can watch the virtual ceremony HERE. It was a lot of work to pull this together, and it was great to see all but one of our winners send a video thank you. Reactions have been really positive - I think people like having it all packed into a neat 30-minute package, even if they miss having a proper party. The best thing about holding the ceremony this way is that people around the world can watch it.

BEST OUT THIS WEEK:
Minari • Madame
Judas and the Black Messiah
A Skeleton in the Closet
PERHAPS AVOID:
Modern Persuasion
Barb & Star Go to Vista Del Mar
ALL REVIEWS >

Back to screenings this week, I saw two high-profile films that are under embargo, so I'm not yet allowed to write about Kristin Wiig and Annie Mumolo's comedy Barb & Star Go to Vista Del Mar (out tomorrow) or Lee Daniels' biopic The United States vs Billie Holiday starring Andra Day (out on 26th Feb). But reviews will be published soon.

Films a bit off the beaten path included the British indie comedy-drama Running Naked, which is essentially a gentle bromance with a misleading title. The bonkers masked-ball thriller X has some great ideas but is a bit too choppy to pull things together. And the involving, off-handed Argentine comedy-drama A Skeleton in the Closet has a lot to say about the pressures and power of family connections. I also caught up with two awards-season films that I'll cover in the next FYC blog entry: Radha Blank's rightfully acclaimed pointed comedy The Forty-Year-Old Version and the devastating trans identity doc Disclosure.

Coming up this week, I've got the Gary Oldman thriller Crisis, Anne Hathaway in Locked Down, the comedy Freshman Year and Beautiful Secret, the 21st edition of the Boys on Film shorts franchise.

Critical Week: The room where it happens

The weather has taken a dark, cool turn in London, which is perhaps for the best as lockdown eases further, with pubs and restaurants now open. I had my first professional foray into central London this week, as a guest on a BBC Radio programme, but the West End still feels very odd.

BEST OUT THIS WEEK:
The Prince • Mucho Mucho Amor
Spaceship Earth • Guest of Honour
We Are Little Zombies • Seahorse
PERHAPS AVOID:
The Beach House
Inheritance • Parallax
FULL REVIEWS >

There's no word on when press screenings will start up again, so we're still watching links. The big movie this week was Hamilton, a filmed version of the Broadway musical with the original cast. It's utterly electric - timely, engaging, important. I'll resume attempts to get a ticket for the stage version once theatres reopen. This week's action movie is The Old Guard, starring Charlize Theron as head of a group of immortal mercenaries. There's a surprising depth to it. And Burden is the true story of a klansman (Garrett Hedlund) caught between his racist mentor (Tom Wilkinson) and a patient woman (Andrea Riseborough). It's a bit obvious, but powerful.

As for offbeat films, there were the gentle comedy Saint Frances, a coming-of-age tale about a woman in her mid-30s; The Spy, the fascinating true story of a Norwegian woman caught between Nazis and Swedes during WW2; The Beach House, a deliberately vague horror thriller that's not easy to connect to; Parallax, an over-ambitious Inception-like brainbender; We Are Little Zombies, a bonkers Japanese musical romp with deep undercurrents about grief and pop culture; and the documentary Mucho Mucho Amor, which movingly explores the life of iconic fortune teller Walter Mercado. I also watched the Netflix pandemic collection Homemade, 17 shorts shot during lockdown by some very high-profile international filmmakers. It's of course hit and miss, with highlights from Paolo Sorrentino, Pablo Larrain, Rungano Nyoni, Johnny Ma and Maggie Gyllenhaal.

Films to watch this next week include Tom Hanks in Greyhound, Andy Samberg in Palm Springs, the cycling drama The Climb, the romantic thriller Fatal Affair, the Italian drama The Players, the musical Divos and the doc In Bright Axiom.

LFF: Heading out on Day 2

Today was the first full day of films at the 61st BFI London Film Festival, and I'm beginning to feel the strain. But then I've been watching movies for three weeks already, and it's merely getting more intense now! Here are some more festival highlights, with additional twitter updates during the day...

Mudbound
dir Dee Rees; with Carey Mulligan, Garrett Hedlund 17/US ***
There's an epic scope to this Deep South drama that demands attention, although the script hews perhaps too closely to the source novel for its own good. Nonstop voiceover from a variety of characters adds soul but is distracting, as is a surplus of plot detail. But even though it's set in the 1940s, the themes are still vivid, carrying a powerful kick that resonates in uncomfortable ways.

Stronger
dir David Gordon Green; with Jake Gyllenhaal, Tatiana Maslany 17/US ****
A strikingly earthy approach to this true story eliminates any hint of sentimentality from what easily could have become a swellingly sudsy story of hope and inspiration. Instead, director David Gordon Green has crafted a gritty, honest look at a young man who is forced by a shocking event to grapple with elements of his personality he has long ignored. And by refusing to push the themes, the film is genuinely hopeful and inspirational... FULL REVIEW >

The Meyerowitz Stories (New and Selected)
dir-scr Noah Baumbach; with Adam Sandler, Ben Stiller17/US ****
Like a Woody Allen movie, this episodic film chronicles the collisions between members of a lively Jewish family in New York, blending sharp-edged humour with several much darker themes. Much of the film is downright hilarious, as these people rarely listen to what anyone is saying, talking over each other and obsessing over their personal issues. But there's also a lovely sense of what holds them together... FULL REVIEW >

Good Time
dir Benny Safdie, Josh Safdie; with Robert Pattinson, Benny Safdie 17/US ***.
With a grimy B-movie vibe, this film propels the audience into a twisted odyssey with a loser who simply can't get a break over the course of one long, nasty night. It's shot and edited with lurid style, accompanied by a pulsing electronic score that makes it feel like it belongs in the 1980s. As events spiral further out of control, it begins to feel rather scripted and contrived. But it's still fascinating... FULL REVIEW >

Loveless
dir-scr Andrey Zvyagintsev; with Maryana Spivak, Aleksey Rozin 17/Rus ****.
As he did in 2014's Leviathan, Andrey Zvyagintsev tells a provocative personal story that reveals layers of painful truth about both Russian society and the whole world. Among other things, it explores how compassion is evaporating from "polite" society, with people more concerned about posting Instagrams of their food than paying attention to where their children are. Beautifully shot and acted, the story and themes get deep under the skin... FULL REVIEW >

Rift
dir-scr Erlingur Thoroddsen; with Bjorn Stefansson, Sigurdur Thor Oskarsson 17/Ice ****
Sleek and dark, this Icelandic thriller gets under the skin quickly with filmmaking that's enticingly mysterious. Writer-director Erlingur Thoroddsen skilfully shoots the film to catch deep colours while positioning characters against stunning landscapes, giving everything a powerfully visual kick while the story develops beneath the surfaces. It's overlong but beautifully made, and packed with fiendishly clever touches... FULL REVIEW >

Critical Week: Baby you're a firework

I've only had one actual press screening in the last week - Ang Lee's new drama Billy Lynn's Long Halftime Walk. It's a fascinating idea, made with a striking technical approach and a solid cast. But even they can't quite sell the rather simplistic dialog. On disc, I also caught up with the Swedish comedy-drama A Man Called Ove, a delightfully engaging story about a grumpy old man who begins to understand why he's like he is. Zero Days is another expertly assembled and deeply chilling documentary from Alex Gibney, this time about how a computer worm invaded the world and changed the nature of warfare. Another film doesn't have a UK release date, so here are my comments...

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Hello, My Name Is Doris

dir Michael Showalter;
with Sally Field, Max Greenfield, Tyne Daly, Stephen Root, Wendi McLendon-Covey, Kumail Nanjiani, Peter Gallagher, Natasha Lyonne 16/US ***
The clever premise of this comedy is somewhat undermined by its slapstick slant. Field is terrific as the retirement-age Doris, who has been caring for her mother all her life, and is only now getting her first taste of freedom, so she develops a crush on a hot new employee (Greenfield) in her office. Where this goes is warm and funny, and sometimes movingly astute. But the film is infused with corny touches, from Doris' frankly absurd clothing to her quirky bumbling. Refreshingly, she's also realistically web-savvy and open to pop musicality, which allows Field to transcend the limits of the writing and direction. And the plot has some nice surprises up its sleeve, most of all the chemistry between Field and Greenfield. And it thankfully avoids sentimentality. And it's great to see not only Field in such a meaty role, but also the fabulous Daly as her lifelong pal. Both should really be on our screens all the time.

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I don't have any screenings until January 10th, but I still have several unwatched screener discs at home to catch up on, plus an endless supply of screener links, if I can cope with watching movies hiccupping and buffering along the way. There are also unwatched TV series to catch up on, as well as hopefully some non-screen time if the weather isn't too terrible.

Requisite Blog Photo: Shiver me timbers