FrightFest: We need heroes

The 26th FrightFest wrapped up tonight in Leicester Square with the UK premiere of the thriller sequel Influencers. I'd hoped to catch it but was unable to tonight. So I only have three final highlights. It's been fun this year, and the comments below represent perhaps my favourite films of the festival. I do particularly love a movie that can get under my skin and scare me in some way. It doesn't happen often enough...

The Toxic Avenger
dir-scr Macon Blair; with Peter Dinklage, Jacob Tremblay 25/US ***.
hile this remake of the iconic B-movie is relentlessly cheesy and often chaotically ridiculous, it also has a surprising warmth that sneaks up on us. Even more surprisingly, the film tackles some big ideas in the most outrageous way possible, overstating the issues with unsubtle pastiche and on-the-nose people and place names. But it's actually refreshing that writer-director Macon Blair so carefully avoids anything resembling cinematic polish.

Odyssey
dir Gerard Johnson; with Polly Maberly, Jasmine Blackborow 25/UK ****
Opening with a tooth extraction in extreme closeup, we are immediately aware that this is not a warm, fuzzy kind of movie. Skilfully shot and edited, the film creates a vividly realistic atmosphere that squeezes in around the central character, turning increasingly colourful and harrowing. Director-cowriter Gerard Johnson stylishly assembles this narrative, continually catching the audience off guard with its provocative twists and kicks. The storytelling feels electrifying.

213 Bones
dir Jeff Primm; with Colin Egglesfield, Dean Cameron 25/US ****
Set in the Pacific Northwest, this movie opens like a vintage masked-slasher thriller, then dives into its grunge-infused story with gusto, skilfully shooting and editing in a witty 1990s style. Late director-cowriter Jeff Primm keeps the tone buoyant, with sparky characters who have just enough personality to make us care for them. And the way the story develops is unusually robust, pulling us in while generating genuine suspense.

Full reviews will be linked at Shadows' FRIGHTFEST PAGE >

Critical Week: Tea, biscuits and a spot of murder

Cinemas are a bit busier, as a bunch of high-profile movies arrive in the weeks before the autumn festival season kicks off awards season. This time of year also signals the return of London's FrightFest, which plays out over this long weekend. I've been watching those scary movies all week, and have many more to see between now and Monday night. As the festival kicked off tonight in Leicester Square, I was across the way attending the UK premiere of the all-star British whodunit The Thursday Murder Club, starring Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie (above). Unsurprisingly, it's warm and funny, perfectly cosy entertainment.

BEST OUT THIS WEEK:
Sorry, Baby • Battleship Potemkin
Eddington • Dongji Rescue
ALL REVIEWS >

We finally got to see The Toxic Avenger, shot three years ago and now being released uncut. Peter Dinklage has a lot of fun as Toxie in this hilariously messy remake, which is packed with pointed satire and gleefully excessive gore. Danny Power gives a terrific debut performance in the intimate Irish drama Christy, the involving story of a teen discovering who he is. From China, Dongji Rescue is a thrilling true WWII action story told on a grand scale. Its set pieces are seriously heart-pounding, and the characters are great. And from Germany, the animated romp Grand Prix of Europe sends animals on a racing tour, punctuating every scene with nutty slapstick silliness.

This coming week I'll be watching several more FrightFest movies (quick reviews will be here over the weekend), plus Olivia Colman and Benedict Cumberbatch in The Roses, Austin Butler in Caught Stealing, the Japanese drama Happyend and the restored 1980 thriller Night of the Juggler.

Critical Week: Look at yourself

Things should be quieting down this month, but the screening schedule has continued to be fairly busy with an eclectic collection of movies to watch. Making a very strong debut, writer-director Christian Swegal gives the fact-based drama Sovereign an unusually sensitive spin, centred around smart, thoughtful performances by Nick Offerman and Jacob Tremblay as a father and son with radical views that lead to tragedy. At the other end of the spectrum is James Gunn's witty, colourful new take on Superman, starring a likably human David Corenswet alongside Rachel Brosnahan and Nicholas Hoult. It's big and entertaining, but never surprising.

BEST OUT THIS WEEK:
The Other Way Around
Sovereign • Baby
Hidden Master
ALL REVIEWS >

The Dardenne brothers are back with Young Mothers, another riveting doc-like Belgian drama that pulls us deeply into a real-life situation, this time with teen girls who have babies. Jonas Trueba's Spanish comedy-drama The Other Way Around is the engagingly clever story of a couple planning to celebrate their separation, with added witty meta-filmmaking touches. From Brazil, Baby is a sensually shot and played drama about a teen just out of detention as he discovers connections in the tough streets of Sao Paulo. I also had an advance screening of the British drama I Swear, based on the involving true story of Tourette's campaigner John Davidson. It stars the always superb Maxine Peake, Shirley Henderson and Peter Mullan, with remarkable performances from Scott Ellis Watson and Robert Aramayo in the lead role at two ages (it'll be out in October). 

This coming week is also full. I'll be watching the new Smurfs movie, with Rhianna as Smurfette, Celine Song's new drama Materialists, Helena Bonham Carter and Pierce Brosnan in Four Letters of Love, Paul Rudd and Tim Robinson in Friendship, the German black comedy Dying and the first chapter in the Oslo Stories Trilogy, Dreams. 
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LFF: Talk it through

The 66th London Film Festival is powering along into its first weekend, and I'm trying to watch it from outside. But of course being in the business I have been sucked into various events and screenings. The best part of this is getting the chance to hang out with filmmakers and actors at various receptions, which ironically is something I've rarely done when I've been press accredited because I was too busy waiting in lines for screenings. This week I've had terrific chats with the likes of Jennifer Lawrence, Florence Pugh and Letitia Wright, to name three amazing actresses. Here are some more hightlights...

Aisha
dir-scr Frank Berry; with Letitia Wright, Josh O'Connor 22/Ire ****
An almost overwhelming sense of realism floods through this moving drama, which follows a Nigerian refugee facing a series of obstacles as she seeks safety and stability in Ireland. It's clear that writer-director Frank Berry has exhaustively researched these characters and situations, so scenes are able to play out without the need for dialog, pushing the narrative forward through the power of the emotions that churn under the surface. It's an unusually delicate, understated film, and it packs a big punch.

My Father's Dragon
dir Nora Twomey; voices Jacob Tremblay, Gaten Matarazzo 22/Ire ***.
With the same colourfully hand-made quality as her previous animated films, like Wolfwalkers and The Secret of Kells, Nora Twomey's latest fantastical odyssey feels like it came from the mind of a particularly imaginative child. So young viewers are especially likely to enjoy its mix of goofy slapstick and gently thrilling action. There is also quite a bit of wildly outrageous anime-style nuttiness and dazzling visual panache running through this energetic romp.

Klokkenluider
dir-scr Neil Maskell; with Amit Shah, Sura Dohnke 22/UK 1h24 ***.
Using the Dutch word for whistleblower as its title, this blackly comical British thriller delights in putting its characters into awkwardly intense situations. Actor-turned-filmmaker Neil Maskell finds an array of sharp-edged detail in this collision between an offbeat group of people who are facing a situation that might be quite dangerous. Or maybe not. It's a very well-assembled little film, and its only weakness lies in how it remains so deliberately elusive.

Peter Von Kant
dir-scr Francois Ozon; with Denis Menochet, Isabelle Adjani 22/Fr ****
French filmmaker Francois Ozon returns to German maestro Rainer Werner Fassbinder, this time riffing on his 1972 drama The Bitter Tears of Petra von Kant. Genders and much more are flipped around here, turning the film into a loose biopic about Fassbinder himself. With an eye-catching sense of style, the film is also entertaining for its visual panache, pitch-black wit and a provocatively lacerating look at the movie industry. Plus a collection of unforgettable characters.

Lynch/Oz 
dir-scr Alexandre O Philippe; with Karyn Kusama, John Waters 22/US ****
Taking a journey through American cinematic history, this entertaining documentary explores the resilience and timelessness of The Wizard of Oz, and how its story and iconography have had such a massive impact since its release in 1939. Cleverly weaving in hundreds of clips, filmmaker Alexandre O Philippe finds fascinating parallels everywhere, and especially in the films of David Lynch.

Fragments of Paradise
dir KD Davison; with Martin Scorsese, John Waters 22/US ****
Poet and avant-garde Lithuanian filmmaker Jonas Mekas recorded everyday life with his cameras for 70 years, from his arrival in New York in 1949 with his brother Adolfas until his death in 2019. Sifting through this footage, director KD Davison mixes clips with interviews and archival audio to create a striking account of the immigrant experience. And the film also a remarkably intimate look at Mekas himself and an undervalued aspect of the cinematic landscape.

And two films I'd seen earlier...

Living
dir Oliver Hermanus; with Bill Nighy, Alex Sharp 22/UK ****.
With a smart, delicate script by Kazuo Ishiguro and incisive direction by Oliver Hermanus, this remake of Kurosawa's 1952 classic Ikiru is skilfully shot in period style. Sensitive filmmaking and a punchy story tackle themes that feel powerfully relevant 70 years later, and everything is delivered in a subtle, understated way that's carefully tied in with the story's characters and setting. It also offers Bill Nighy a wonderful lead role... FULL REVIEW >

Blue Jean
dir-scr Georgia Oakley; with Rosy McEwen, Kerrie Hayes 22/UK ****
Set in a northern English seaside town during the tumultuous Thatcher years, this drama has an earthy realism that finds timely themes almost 35 years ago. While the personal story is compelling and full of involving detail, it's not always easy to watch a film in which everyone is so miserable. Thankfully, writer-director Georgia Oakley finds moments of humour and joy along the way, and the cast is excellent... FULL REVIEW >

All London Film Festival reviews, once they're uploaded, will be linked to SHADOWS' LFF PAGE >

Critical Week: Put that thing down

As Britain enjoyed a sunny heatwave, we were clobbered with the news that pandemic restrictions won't be further lifted on 21st June as planned: we have another month to go before things will get back to a semblance of normality. Most things are open now with distancing regulations, which means that press screenings are few and far between (literally!). I only had one this week, a special celebrity packed screening of the sequel Hitman's Wife's Bodyguard, introduced by the always lively Salma Hayek in person. The film is messier than the first one, too busy and distracted to really hold together, but it has quite a few hilarious moments along the way. Meanwhile, Disney is bypassing cinemas with Pixar's latest minor masterpiece Luca, a gorgeous story about friendship and the importance of diversity set on the sunny Italian coast (and under the seas around it). 

BEST OUT THIS WEEK:
Luca • The Reason I Jump
It Must Be Heaven
Summer of 85
Truman & Tennessee
ALL REVIEWS >

The rest of the films I watched this week were an eclectic mix: Untitled Horror Movie is a computer-screen based comedy-thriller that's very well put together, with a terrific cast, but isn't very scary; from Brazil, Half Brother is a naturalistic, moving drama about two people finding themselves; and premiering at Tribeca Film Festival, Pray Away is a straightforward, expertly shot and edited doc about gay conversion therapy, as seen through the eyes of the people who ran those programmes and are now trying to make amends.

Finally, I revisited Stephen Frears' 1985 classic My Beautiful Laundrette, starring breakout young actor Daniel Day-Lewis. I'm hosting a conversion with the film's writer Hanif Kureishi on-stage before a screening of the film on Friday night at BFI Southbank as part of the London Indian Film Festival. It's a remarkably timely story about connections between communities, adeptly touching on ethnicity, culture, class and sexuality. And it's depictions of right-wing bigotry are eerily current.

Coming up this next week are the latest entry into the Fast & Furious franchise, F9: The Fast Saga, as well as Isabelle Huppert in Mama Weed, 1980s-set horror comedy Vicious Fun, the action thriller Unchained, the Argentine comedy thriller Rock Paper & Scissors and the Roma drama Carmen and Lola.

Critical Week: Boys gone wild

There weren't any kids' movies screened to critics this week, thankfully (it's been a bit much this summer!). But we had some films about kids aimed at grown-ups. The biggest is Good Boys, which is basically a standard rude teen movie featuring tweens in the central roles instead. Jacob Tremblay (above) leads the cast of kids and scene-stealing adults. Lupita Nyong'o plays a smart teacher in Little Monsters, taking her kindergarten class on a tour of local farm when a zombie apocalypse breaks out. Being an Aussie film, it's primarily a comedy, but there's also real gore and emotion too. And Steve Coogan leads Hot Air as a radio host who suddenly has to take care of his teen niece (Taylor Russell). It's snappy is rather predictable.

Two smallish movies benefit from big Hollywood actresses: Julianne Moore and Michelle Williams star in After the Wedding, as two women connected by a long-time secret involving Billy Crudup. Naomi Watts stars in the smart, provocative drama Luce, as a woman coping with possible issues relating to her adoptive teen son's past. Further afield we had the superb Iranian drama Permission, about a fierce, intelligent woman taking on an unjust system; the light, silly romantic comedy One Last Night is set around a struggling cinema; and Tu Me Manques is an artful, devastatingly emotional drama based on a play that links New York with Bolivia.

I've also been watching horror films that will be at the upcoming FrightFest (in London, 22-26 Aug). The quality of these films has been very high; for me horror is the perfect movie genre, because if done well it can truly make you forget the world outside. These include the opening film Come to Daddy starring Elijah Wood, the closing film A Good Woman Is Hard to Find starring Sarah Bolger, Eddie Marsan in Feedback, the teen-killers thriller Extracurricular and the dark psychological nightmare I Trapped the Devil. More to come on the festival next week.

This coming week we have screenings of Sam Taylor-Johnson's A Million Little Pieces, Guillermo Del Toro's Scary Stories to Tell in the Dark, Alexandre Aja's Crawl and Francois Ozon's By the Grace of God. Plus several more FrightFest titles.

Critical Week: Family time

I've caught up with a few films while I've been out here in Los Angeles, in between binging on food at Thanksgiving time with the family. The best so far is Pixar's Coco, another triumph in both animation and storytelling. It's a riveting adventure with properly pungent emotional undertones and a fantastic sense of Latino culture.

And the other two this week were good as well. Based on the bestselling novel, Wonder is a beautifully made film that grapples with how it feels to be an outsider - a must see for school kids and everyone else too. It features a terrific cast of kids, including Jacob Tremblay and Noah Jupe. And Greta Gerwig's Lady Bird is one of the most honest coming-of-age movies in recent memory, a messy, lively, funny, wrenching tale of a teen (the superb Saoirse Ronan) flexing her wings for the first time. Particularly strong support from Laurie Metcalf.

I'm heading back to London this week, so am not sure what films are in store. Am hoping to catch an early screening of Paul Thomas Anderson's Phantom Thread, as well as James Franco's The Disaster Artist and the holiday horror Better Watch Out.

Critical Week: On an adventure

There were some powerful performances in press screenings this past week. The offbeat family drama-cum-thriller The Book of Henry is held together by Naomi Watts, Jaeden Lieberher (pictured) and Jacob Tremblay despite its jarring shifts between genres. The artfully internalised Churchill is anchored by an awards-worthy turn by Brian Cox despite its oddly overfamiliar plot. The WWII drama Alone in Berlin has the terrific Emma Thompson, Brendan Gleeson and Daniel Bruhl to hold the attention even when the pacing gets rather dull. And there was a wonderfully light-hearted role for Isabelle Huppert in Bavo Defurne's enjoyably quirky Belgian musical comedy-drama Souvenir.

Further afield, the small-budget British drama Daphne struggles to maintain its narrative but creates a nice sense of life in multicultural London. And the powerfully moving Australian doc Remembering the Man is an insightful account of the life of Tim Conigrave, whose Holding the Man is a seminal account of the Aids pandemic.

Screening this coming week are Edgar Wright's Baby Driver, Michael Bay's Transformers: The Last Knight, Phyllida Lloyd's all-female Julius Caesar, the French political thriller Scribe, the Finnish biopic Tom of Finland, Laura Poitras' Assange documentary Risk, and the Syrian Civil War doc City of Ghosts.