Critical Week: Aye aye

Now that the key film festivals have taken place, the movie landscape shifts into awards-season mode. I've actually been working on the London Critics' Circle Film Awards since June, but everything kicked up a gear this week, as I've sent our voting roster to studios and for-your-consideration screenings are starting to appear in the calendar. Meanwhile, London Film Festival is revving its gears, and several of these films are already screening two weeks before the festival even starts. 

BEST OUT THIS WEEK:
It Lives Inside
Accused • R.M.N.
PERHAPS AVOID:
Expend4bles
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As for films I've seen this week, there's the reunion of the fabulous Glenda Jackson and Michael Caine in The Great Escaper, based on a true British story. It's sentimental but also beautifully played by its expert cast. And then there was Expend4bles, nearly a decade after the third movie. But the less starry cast can't explain why the script is so undercooked or the direction so sloppy.

More fun was the breezy crime comedy The Kill Room, starring Uma Thurman, Samuel L Jackson and Joe Manganiello as the art world meets the mob. Accused is a ripping British thriller starring Chaniel Kular as a guy the internet decides is a terrorist, which is something from all of our nightmares. Rhys Darby stars in the goofy time-travel comedy Relax I'm From the Future, which is charming and enjoyably messy. From Northern Ireland, Ballywalter is a comedy with a dry, emotional heart as two unmoored people find a connection. And I also saw the harrowing World War II Poland-set stage play The White Factory at Marylebone Theatre (review up soon).

Films this coming week include the sci-fi epic The Creator, the animated adventure Paw Patrol: The Mighty Movie, the comedies The Plus One and The Re-Education of Molly Singer, British runway-kids drama I Am Urban and the Hong Kong police drama Where the Wind Blows, plus live events with the Kyiv City Ballet's Tribute to Peace and a street performance called Code of Justice.

Critical Week: Back to black

Asaf Kapadia's documentary Amy provided an emotional experience for London critics this week, a beautifully made film recounting the wrenchingly sad story of local girl Amy Winehouse. It stood in stark contrast to the two other big releases of the week: the surprisingly loose and thoughtful sequel Magic Mike XXL, which combines silly striptease antics with an exploration of male friendship; and the formulaic Terminator Genisys, which attempts to reboot the sequel without any inventive writing or directing and only one solid performance (from Emilia Clarke). Although Arnie's deadpan humour livens things up.

I also caught up with last week's release Minions, the Despicable Me prequel that's surprisingly low-key and charming rather than the usual sharp-edged digitally slick action mayhem. And I watched the 10 shorts that Peccadillo has collected for Boys on Film 13: Trick & Treat - another terrific collection of mini-epics dealing with various aspects of sexuality.

Coming up this week: Saoirse Ronan and Domhnall Gleeson in Brooklyn, the doc-style horror film The Nightmare, the doc Misery Loves Comedy and a few more. Thankfully, with a heatwave in London, it's refreshing to take a break in an air-conditioned screening room!

Critical Week: Man candy

This week's big press screening was for Steven Soderbergh's Magic Mike, the male-stripper drama based on the experiences of Channing Tatum (pictured above with costars Matt Bomer, Joe Manganiello and Matthew McConaughey). As if the film's heterosexual emphasis wasn't enough, the UK distributor screened the film to us after showing the England-France Euro2012 first-round match in the cinema, so it smelled like a locker room in there. Alas, comments on the film itself are embargoed for a couple of weeks.

Keeping with the theme here, we also saw heartthrob Robert Pattinson's new film Cosmopolis, a Cannes entry directed by David Cronenberg that's sleek and intriguing but ultimately impenetrable. Cillian Murphy stars in Red Lights, an increasingly strained supernatural debunking thriller costarring Robert DeNiro and Sigourney Weaver. Adrien Brody stars in Detachment, a ranty drama from Tony Kaye about the education system. And from Australia, we had the corny slapstick farce A Few Best Men with rising-star hottie Xavier Samuel.

And to appeal to our minds, we saw two potent docs: Searching for Sugar Man is a fascinating story of a forgotten Detroit musician whose failed recording career wasn't quite as disastrous as he thought, since he was bigger than Elvis and the Stones in South Africa. And Ai Weiwei: Never Sorry vividly chronicles the life and work of the charismatic, outspoken Chinese artist who is notoriously in trouble with his own government.
 

This coming week, London critics are watching Keira Knightley and Steve Carell in Seeking a Friend for the End of the World, Jean Dujardin and Michel Hazanavicius' next collaboration The Players, the Jo Nesbo thriller Jackpot, the Cannes-contending anthology 7 Days in Havana and the acclaimed Mormo-youth drama Electrick Children.

Finally, I'm heading to Scotland on Monday for the 66th Edinburgh International Film Festival (18 June-1 July), so the blog will reflect what I'm watching there on a daily basis over the next couple of weeks.