Critical Week: Hit the road

I've been taking it a bit easy this week, following the busy weekend I spent organising the 44th London Critics' Circle Film Awards. It was a great event, packed with our terrific nominees and winners, and the coverage continues across the media (I posted several pics on Insta). As for watching movies, there have just been four, all very watchable but not quite there... 

BEST OUT THIS WEEK:
Perfect Days • The Iron Claw
The Taste of Things
Turning Red
ALL REVIEWS >

Clara McGregor stars with her dad Ewan in Bleeding Love, an offbeat father-daughter road movie that's somewhat uneven but has its moments. Kingsley Ben-Adir takes on the iconic title role in Bob Marley: One Love, a biopic that tries far too diligently to create a myth when the man's actual life was amazing enough. The Stone Age thriller Out of Darkness plays with cheap jump scares rather than actual suspense. But it's well-made, even if the hair, makeup and costumes are all wrong. And the dark British drama Hoard has lots of visual style and huge emotional kicks, but struggles to engage the audience very deeply.

This coming week I'll be watching Dakota Johnson in Madame Web, Olivia Colman in Wicked Little Letters and the fantasy Glitter & Doom, among other things. I'll also be flying off to Los Angeles for a family reunion, so I hope there are movies on the flight that I haven't yet seen.

Sundance London: Feel the Love

The ninth Sundance Film Festival London kicked off tonight, bring a selection of top movies from the January festival to Picturehouse Central for four days of screenings and special events. Press screenings were packed into three days earlier this week, and I'm also planning to attend a couple of screenings on Sunday to watch some shorts and see what the Surprise Film turns out to be. This is always an enjoyable micro-festival, with lots of filmmakers present and a nicely relaxed atmosphere. I'll be back with daily blog entries, starting with three of my favourite films. The first won the top awards at Sundance in January.

Coda 
dir-scr Sian Heder; with Emilia Jones, Troy Kotsur 21/US ****
Beautifully written and directed by Sian Heder, this enormously engaging story digs deep into its themes, challenging us to look at deafness through a new perspective. Even if the open-hearted story is familiar structurally, there's an edge to the character interaction that resonates strongly through joy, pain and a steady stream of sharp humour. This allows the strong cast to create people who resonate deeply, and perhaps even inspire us.

Censor
dir Prano Bailey-Bond; with Niamh Algar, Michael Smiley 21/UK ****
Set in the late 1980s, this horror thriller is infused with political issues of the era that are equally fresh today. It's strikingly directed by Prano Bailey-Bond in genre period style, taking a dreamy dive into the mind of the central character, who is played with thoughtful intensity by Niamh Algar. Knowingly subverting the genre, this unusually witty, challenging freak-out also has an appropriately emotional gore-filled payoff.

The Most Beautiful Boy in the World
dir-scr Kristina Lindstrom, Kristian Petri; with Bjorn Andresen, Robine Roman 21/Swe ****
Combining artful new footage with astonishing archival clips, this documentary works on various levels to explore the nature and impact of beauty. It's a profile of Bjorn Andresen, cast as the representation of beauty by iconic filmmaker Luchino Visconti in his 1971 classic Death in Venice. Half a century later, Bjorn remains haunted by this. And the film reveals him as a man making peace with some powerful ghosts... FULL REVIEW >

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

~~~~~~~ ~~ ~~~ ~~~~
CRITICAL WEEK

BEST OUT THIS WEEK:
Limbo • The Sparks Brothers
The Boy Behind the Door • Ailey
The Most Beautiful Boy in the World
ALL REVIEWS >

There were also a few non-festival films this week. Dwayne Johnson, Emily Blunt and Jack Whitehall are hugely entertaining in the Disney adventure Jungle Cruise, which might be overblown, bit it's also a lot of fun. The well-made Spanish dramatic thriller The Offering is dark and sinister, and hides its secrets too long. The beautifully assembled doc Ailey traces the life and legacy of the iconic Alvin Ailey with terrific archive footage. And I also caught up with this one on a big screen...

Nowhere Special
dir-scr Uberto Pasolini; with James Norton, Daniel Lamont 20/UK ****
Beautifully written and directed, and inspired by a powerfully emotional true story, this film follows a single dad (James Norton) seeking a home for his young son (Daniel Lamont) before cancer takes him. While the premise is wrenching, scenes are packed with buoyant life, revealing the terrific connection between a wryly funny working-class father and his wide-eyed son. Both Norton and the bright little Lamont are first-rate, avoiding sympathy to create a vivid, life-affirming exploration of the impact of mortality. Definitely worth a look.

Coming up this next week, I'll be watching James Gunn's sequel/reboot The Suicide Squad, coming-of-age thriller John and the Hole, the caper thriller Playing God, the Scandi-thriller Wildland, Brazilian drama The Fever, animated adventure Moonbound.

Critical week: Life of the party

Even as this year's condensed awards calendar rockets ahead (how about those dull Oscar nominations?), screenings are slow to kick off this year. I've only seen four films this week. (Full disclosure: I did not chase an invite to the one press screening of Bad Boys for Life, as I'm still scarred from Bad Boys II ... 17 years ago). There are plenty of releases in the cinemas, but these are films I saw during the autumn film festival and awards-qualifying seasons. New movies are coming up, so hopefully screenings will materialise soon.

In the meantime, I caught up with Xavier Dolan's The Death & Life of John F Donovan, which premiered to harsh criticism at the 2018 Toronto Film Festival and has since been re-edited. There are issues with the structure, but Dolan is such a fine writer-director that the characters come alive gorgeously. And what a cast: Kit Harington, Natalie Portman, Susan Sarandon, Kathy Bates, Thandie Newton, Michael Gambon! Another Brit, James Norton, stars in the true historical drama Mr Jones, which recounts a fascinating story just before the Second World War as a brainy journalist tries to get the British government to wake up to the threat of Hitler and the lies of Stalin. The British fact-based drama No Fathers in Kashmir is a moving and important story about two teens uncovering the truth in the nasty political situation in northern India. And then there was this one, already a contender for the worst film of 2020...

Jexi
dir-scr Jon Lucas, Scott Moore
with Adam Devine, Alexandra Shipp, Rose Byrne, Michael Pena, Justin Hartley, Ron Funches, Charlyne Yi, Wanda Sykes, Kid Cudi
release US 11.Oct.19 • 19/US 1h24 *. 

Opening as a playful satire of smartphone culture, it becomes quickly apparent that filmmakers Jon Lucas and Scott Moore (The Hangover/Bad Moms) have nothing clever in mind, merely shouting the most obvious jokes rather than digging into the lively premise or characters. There was a chance to actually make a comedy that was cute and astutely pointed. But amid a flurry of strained in-your-face jokes that are actually embarrassing to watch, the plot is painfully predictable.

Working for a listicle website, Phil (Devine) is a loner whose phone is his only friend. One day he meets local bicycle shop owner Cate (Shipp), and in his excitement accidentally smashes his iPhone. The new one comes with an AI assistant called Jexi (voiced by Byrne) who takes over his life and issues instructions, ignoring anything he says. She bullies him into changing his diet, musical preferences and pretty much everything else. Then when his hugely unlikely romance with Cate begins to take off, Jexi gets jealous.

The idea is that Jexi is programmed to make Phil's life better in any way possible, but she does this primarily through foul-mouthed insults. Meanwhile, the filmmakers fill the brief running time with idiotic slapstick, wacky smut and unwarranted sentimentality. All of which makes it almost impossible to care what happens to Phil, even if Devine and Shipp have some genuine charm in between the lines. It's especially galling that after so much relentlessly inane stupidity, the filmmakers have the nerve to awkwardly try and create some sweet moments. And the simplistic finale is insulting.

13.Jan.20

---

In the diary for this coming week, I have George MacKay in True History of the Kelly Gang, Kristin Scott Thomas in Military Wives, the Filipino political drama Quezon's Game and the acclaimed Sudanese documentary Talking About Trees.

Critical Week: Bump in the night

Back into screening mode after returning to London, my first was to finally catch up with Personal Shopper, which reunites a superb Kristen Stewart with French filmmaker Olivier Assayas. It's an endlessly fascinating mix of personal drama and ghostly horror that leaves the audience wondering. Kong: Skull Island is a big, enjoyably 1970s-style take on the monster movie that's entertaining and very cool, even if the characters are rather thin. My comments on two British comedies are embargoed until closer to the release dates: Roger Allam, Matthew Modine and Fiona Shaw in The Hippopotamus, and Diane Keaton, Brendan Gleeson and Lesley Manville in Hampstead.

There were two micro-budget underwater thrillers: The Dark Below is a wordless cat-and-mouse chase on a frozen-over lake, while The Chamber is a claustrophobic stranded-sub adventure. Both have solid production values but little in the way of story or characters. Fair Haven is a sensitive American indie drama that grapples with issues of expectations and sexuality with warmth and honesty. And from Argentina, Bromance is a provocative drama that raises some big themes and almost deals with them. I also caught up with this gem...

---

Fifty Shades Darker
dir James Foley
scr Niall Leonard
with Dakota Johnson, Jamie Dornan, Marcia Gay Harden, Kim Basinger, Eric Johnson, Eloise Mumford, Bella Heathcote, Rita Ora, Luke Grimes 17/Can *.
This sequel, based on the second novel in EL James' trilogy, is noticeably dumbed down from the first movie, with empty slick direction (by safe pair of hands Foley) and an embarrassingly simplistic script (by James' husband Leonard). But the biggest problem is that it abandons the premise, as billionaire Christian (a sleepy Dornan) goes all mushy in the presence of his young lover Ana (a feisty Johnson) this time. Instead of punishing her as before, he gives her pleasure and begs her to move in and then marry him. This never remotely rings true, as there is only a slight spark of chemistry between them and no sign of love at all. Conflict arises simplistically from outside in the form of two of Christians exes (glowering Basinger and psycho Heathcote), plus a near rape and a random helicopter crash that both like a pointless asides. But then, there is nothing about this movie that even remotely grabs hold. Every scene feels rushed and superficial, with dialog that's painfully cheesy, completely missing the central themes of control and dominance. So by the time Basinger takes a drink and slap to the face, the audience reaction is laughter. Badly in need of a sense of humour about itself, as well as an awareness of its own misogyny (Dakota is often naked while Dornan takes off his shirt a few times), the film is hardly whetting appetites for next year's sequel.

---

As for films this coming week, I have the Disney revamp of Beauty and the Beast, the indie drama Bwoy, the British drama The Levelling, the Korean thriller The Age of Shadows, the award-winning Brazilian drama Aquarius, the Finnish comedy-drama The Happiest Day in the Life of Olli Maki and the Oscar-nominated doc I Am Not Your Negro. There's also a film festival starting next week, the 31st edition of BFI Flare - expect my usual coverage....

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.