Critical Week: Driving me crazy

Screenings continue to be a bit less frequent this time of year, although I somehow found plenty of movies to watch this week. Eddie Murphy is back in action-comedy mode, starring in The Pickup alongside Pete Davidson and Keke Palmer. Their banter is enjoyable even if the plot is almost ridiculously simplistic. Jamie Lee Curtis and Lindsay Lohan are back for Freakier Friday, a hugely enjoyable 20-years-later body-swap comedy sequel. And there were two astonishingly grisly horror movies: Together stars Dave Franco and Alison Brie as a couple that's growing eerily close, while Weapons stars Julia Garner as a teacher whose students have mysteriously vanished. Both are stomach-churningly yucky in all the best ways, and both have serious subtext that holds the interest.

BEST OUT THIS WEEK:
Young Hearts • Weapons
Stans • Freakier Friday
ALL REVIEWS >

In addition, there was the family adventure Sketch, about a teen whose drawings come to life and menace a small town. It's well-made and engaging. There were two films from France: The Musicians is an engaging and warmly understated comedy about a group of egotistic artists who form a historic quartet. And Bambi: A Tale of Life in the Woods is a nature documentary adaptation of the classic novel about a young deer growing up. It's beautifully shot, and openly emotive. I also watched Snoopy Presents: A Summer Musical (arrives on Apple TV on 15th August), which I thoroughly enjoyed. As a lifelong Peanuts fan, the line-art animation was particularly nice. And the catchy songs were fun too. I also attended a live performance of new absurdist comedy Lost Watches at Park Theatre.

This coming week I'll be watching Jacob Elordi in On Swift Horses, Bob Odenkirk in Nobody 2, Orlando Bloom in The Cut, Matilda Lutz as Red Sonja, the animated comedy Fixed and the Chinese remake of Richard Linklater's Tape.

Critical Week: Holding on...

I've been enjoying hanging out with family in Southern California, not worrying about the rather iffy weather, which turned downright nasty just in time for me to trek across town to see Dune: Part Two on the Warner Bros lot (which was cool - see Insta post below). It was quite surreal to be feeling so wet and soggy while watching such a dry and sandy movie. But of course I loved it; Denis Villeneuve's imagination and attention to detail being this dense story to life in constantly surprising ways. Each shot looks simply spectacular, and the powerhouse acting ensemble gets a lot to do as well.

I also caught Lisa Frankenstein in a cinema, directed by Zelda Williams (daughter of Robin) from a script by Diablo Cody. It's a bit of a messy concoction, but is packed with genuinely hilarious dialog and up-for-it performances from a strong cast that includes Kathryn Newton, Cole Sprouse, Liza Soberano and Carla Gugino. Its 1980s setting offers some strong gags as well.

Ethan Coen's Drive-Away Dolls opens this weekend, so I plan to catch that in a local cinema. I am also asking around for contacts for a Kung Fu Panda 4 press screening here, as it opens the week I return to London. There may be some other things that pop up along the way, and I do have some screener links to watch, but am reluctant yo give up family time for that.

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Critical Week: Take my hand

As Venice Film Festival wrapped up and Toronto Film Festival kicked off, things are heating up here in London, with the 65th London Film Festival press screening schedule starting next Monday morning. I'm looking forward to catching up with the big titles from Sundance, Cannes and Venice over the next few weeks - both at in-person screenings and using online links. But more and more screenings are taking place in cinemas now, and the biggest one so far was Dune: Part One on Britain's largest Imax screen. Frankly, movies don't get much more momentous, or jaw-droppingly satisfying, than this. Essential to see on a huge screen.

BEST OUT THIS WEEK:
The Duke • Little Girl
Everybody's Talking About Jamie
ALL REVIEWS >

Other movies I watched this week included the filmed version of the hugely engaging, life-affirming stage musical Come From Away, the rather uneven but urgently pointed British drama A Brixton Tale, the remarkably thoughtful horror drama The Djinn, the loose and rather nutty social media comedy-thriller The Influencer. Even further afield, there was Bruce La Bruce's latest provocation, the superbly intriguing Saint-Narcisse; the stylised and remarkably involving Norwegian pregnancy comedy-drama Ninjababy; and the earthy, intensely provocative Hungarian war drama Natural Light.

In the coming week, I already have six screenings in the diary for London Film Festival (which starts on October 6th). In addition, I'll be watching the Sopranos prequel The Many Saints of Newark, Dev Patel in The Green Knight, Ben Whishaw in Surge, the horror thriller Gaia and the shorts collection Parental Guidance.

Critical Week: Over the borderline

Back in London after a two-week break, I've been catching up on several films, including the sequel Sicario: Day of the Soldado (UK title Sicario 2: Soldado), a gritty and intensely gripping thriller following on from the more resonant first film. Josh Brolin, Benicio Del Toro and Isabel Moner are excellent. Tonal issues make the romcom Ideal Home surprisingly challenging - it feels like a gentle family film, but is packed with more provocative adult elements. Steve Coogan and Paul Rudd are superb at the centre. And Mary Shelley is a fascinating biopic about the author of Frankenstein, although it feels like it has smoothed out the real story. Elle Fanning is terrific in the title role.

A little further afield, My Life With James Dean is a gentle, wry French comedy about a filmmaker on a bizarre odyssey in a sleepy coastal town. It's artful, quirky and hilarious. And Postcards from the 48% is a solidly assembled doc digging into the issue of Brexit. It may be one-sided, but frankly there hasn't yet been a compelling argument in favour of leaving the EU, aside from emotional nationalism. Which makes the film seriously scary.

Coming up this week are screenings of the Dwayne Johnson action Skyscraper, Nick Offerman in Hearts Beat Loud, Emma Thompson in The Children Act, the comedy A Swingers Weekend and probably a few more as I continue to play catchup...

Critical Week: Ladies who lunch

While many of my colleagues are in Cannes, I've been here in London catching up on lots of movies. Bigger titles included Book Club, which stars Diane Keaton, Candice Bergen, Jane Fonda and Mary Steenburgen as women who find new spark when they read Fifty Shades of Grey together. It's lazy but amiable enough. And then there was Deadpool 2, in which Ryan Reynolds reprises his irreverent superhero for another anarchic adventure. It's a lot better than the overrated first film, very funny but less smug and more complex.

Nicole Kidman goes enjoyably punk in John Cameron Mitchell's How to Talk to Girls at Parties, a punk sci-fi romance that's bursting with scruffy energy but struggles to maintain its oddball plot. The Sundance hit The Miseducation of Cameron Post stars Chloe Grace Moretz as a teen sent to gay therapy camp. It's strikingly realistic with terrific performances and an important theme. The American indie caper romp Carter & June is energetic but far too misogynistic for its own good. And the British indie thriller Welcome to Curiosity weaves a few plot strands together in ways that are colourful but ultimately flimsy.

There were also two films from Mexico: A Place to Be is a sensitive fact-based drama that explores immigration issues from unexpected angles, while Boy Undone is a gripping amnesia thriller with a romantic emotional core. And there were also two star-packed docs: in McKellen: Playing the Part, Ian McKellen recounts his life and career with honesty and insight, while 50 Years Legal features a range of noted figures (including McKellen of course) talking about the history of gay rights in Britain.

The big screening this coming week is, of course, Solo: A Star Wars Story. Looking forward to that. Also in the diary: Travis Mathews' drama Discreet, the street-life doc Hooked, Paul Wright's collage doc Arcadia, the film producer doc The Fabulous Alan Carr, the Mongol Derby doc All the Wild Horses and a restoration of The Beatles' animated romp Yellow Submarine.

Critical Week: Boys will be boys

It's been a relatively low screening week here in London, mainly because most of the PR agencies were at the Berlin Film Festival. The biggest movie screened here was the Coen brothers' new Hollywood romp Hail, Caesar!, and it was a nice surprise to see that it's a more serious film than it looks. Along with deliriously knowing pastiches of 1950s movie genres (including Channing Tatum's show-stopping song and dance "No Dames", above), there's something much more thoughtful going on here.

We also had one of Robin Williams' last films, Boulevard, an intimate drama about a 60-year-old man finally coming to terms with his sexuality. It's beautifully played by the entire cast, and remarkably sensitive. Golden Years is an oddly fluffy British romp about retirees who set off on a bank-robbing spree when their pensions are lost. At least the cast is solid. And Naz & Maalik is a clever comedy about two teens in Brooklyn who, over one afternoon, are confronted with issues of religion, politics and sexuality.

Coming up on Sunday is the Oscar ceremony (all-night in Britain from 1.30am to 5.30am), which I am watching live at the official Ampas party in town. It'll be a lot of fun being with a large crowd of diehard movie fans, then travelling home as the sun comes up. As for screenings, I've got Gerard Butler's action sequel London Has Fallen, Sacha Baron Cohen's spy comedy Grimsby, Geoffrey Rush's drama The Daughter, the filmmaker conversation doc Hitchcock/Truffaut, the American politics doc The Brainwashing of My Dad, and the short film collection Mexican Men, among other things.

Critical Week: Take a back seat

London critics had a chance to see Anton Corbijn's new film Life this week, recounting the series of meetings between freelance photographer Dennis Stock (Robert Pattinson) and actor James Dean (Dane DeHaan), just before the release of his first film. It's beautifully shot (of course) and a cleverly written exploration of pre-stardom, but despite a strong performance DeHaan is simply never James Dean. Also rather uneven, Everest tells the true story of a fateful day in 1996 when an unusually large number of people climbed the world's tallest mountain and were caught in a surprise storm. It's efficiently made and well acted, but oddly uninvolving.

My best film of the week, hands down, was Tangerine, a micro-budget American indie shot on iPhones. As it follows a couple of tranny hookers on the streets of Hollywood, it's hilarious, moving and thrilling filmmaking. Welsh treasures Rhys Ifans and Charlotte Church appear in Under Milk Wood, an experimental and eerily cold adaptation of Dylan Thomas' poetic drama. Michael Pena and Dougray Scott star in the exorcism thriller The Vatican Tapes, which is edgy and earthy but a bit slow. And the superb, unmissable He Named Me Malala is an involving documentary about feisty Pakistani teen-turned-activist Malala Yousafzai, who is inspirational simply because she is so normal.

This coming week we have Hugh Jackman in Pan, Kurt Russell in Bone Tomahawk, Agyness Dean in Sunset Song, the festival favourite The Club and Kate Dickie in Couple in a Hole. Also, press screenings for the London Film Festival start on Monday with two or three films per day. The festival itself runs 7-18 October.

Critical Week: Never grow up

I took it relatively easy this week - only six films! And I neglected all of my screener discs and links to escape London for the rainy weekend. So this coming week will be a bit of a catch-up movie marathon. At screenings, there were several enjoyable surprises. Meryl Streep (above) is of course terrific as an ageing rock chick in the snappy family drama Ricki and the Flash. Tom Cruise (below) is lean and ready for action in the dark and involvingly gritty Mission: Impossible - Rogue Nation. And the terrific Emily Blunt is lean and tough in the riveting drug cartel thriller Sicario, ably supported by Josh Brolin and Benicio del Toro on top form.

Less a horror movie than a dark drama about bullying, The Gift is a solid freak-out starring Jason Bateman, Rebecca Hall and actor turned promising writer-director Joel Edgerton. Danny Huston, Matthew Goode and Joe Cole do what they can with the waterlogged script of the underwater thriller Pressure. And Ian Ziering and Tara Reid are back for another silly romp in Sharknado 3: Oh Hell No, which sees the budget increase but not the filmmakers' skills. At least they keep finding new ways to make us laugh.

Coming up this week, we have Amy Schumer in Trainwreck, Adam Sandler in Pixels, the teen romance Paper Towns, the star-packed doc Unity, the historical British drama Captain Webb and the Russian drama Stand. Plus the aforementioned catching up.

34th Shadows Awards: Happy New Year!

After much agonising, I've finally assembled my annual best of the year lists. As much as I resisted, I was unable to deny that Boyhood was my film of the year. I hate going along with the mob, but this really is one of the most extraordinary movies ever made - it's far more than a 12-year filmmaking experiment. These are just the highlights: there's rather a lot more on the WEBSITE.

FILM:

1. Boyhood (Richard Linklater)
2. Leviathan (Andrey Zvyagintsev)
3. Mommy (Xavier Dolan)
4. Selma (Ava DuVernay)
5. The Grand Budapest Hotel (Wes Anderson)
6. Under the Skin (Jonathan Glazer)
7. Rosewater (Jon Stewart)
8. Pride (Matthew Warchus)
9. Citizenfour (Laura Poitras)
10. Guardians of the Galaxy (James Gunn)

DIRECTOR: Ava DuVernay (Selma)

SCREENWRITER: Andrey Zvyagintsev & Oleg Negin (Leviathan)

ACTRESS: Julianne Moore (Still Alice, Maps to the Stars)

ACTOR: David Oyelowo (Selma, A Most Violent Year, Interstellar)

SUPPORTING ACTRESS: Emma Stone (Birdman, Magic in the Moonlight)

SUPPORTING ACTOR: Josh Brolin (Inherent Vice, Sin City: A Dame to Kill For)

WORST FILM:

1. Tammy (Ben Falcone)
2. Bad Johnson (Huck Botko)
3. Pudsey the Dog: The Movie (Nick Moore)
4. Endless Love (Shana Feste)
5. Annie (Will Gluck)
6. Hector and the Search for Happiness (Peter Chelsom)
7. Earth to Echo (Dave Green)
8. Sabotage (David Ayer)
9. Jimi: All Is by My Side (John Ridley)
10. Dumb and Dumber To (Peter & Bobby Farrelly)

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

I only saw three films this week: James Franco and Seth Rogen in media-storm comedy The Interview, which was about half of a very funny movie; Jake Gyllenhaal in the clever but fiercely artful doppelganger mystery Enemy; and the stunningly well-observed Swedish Oscar-contending family drama Force Majeure.

Critics' screenings don't begin until Monday - with Liam Neeson in Taken 3 - but I have a few more discs I want to catch up with between now and then, as year-end voting continues.

Critical Week: Take to the sky

It's been a very busy week here, as awards-contender screenings have started for the season and I'm getting ready to travel for a couple of weeks. Oscar-buzzy contenders have included Alejandro G Inarritu's astonishing Birdman, starring Michael Keaton as an actor trying to have a comeback; Paul Thomas Anderson's chaotic Inherent Vice, starring Joaquin Phoenix and Josh Brolin in a series of hilariously raucous scenes loosely connected by an impenetrable plot; and the Stephen Hawking biopic The Theory of Everything stars a seriously stunning Eddie Redmayne.

We also saw two surprisingly good British family movies: Paddington and Get Santa both benefit from their smart-witty scripts, gifted directors and up-for-it casts including Hugh Bonneville, Sally Hawkins and the voice of Ben Whishaw, and Jim Broadbent, Rafe Spall and Warwick Davis, respectively. It's rare that two decent holiday movies arrive in such close succession.

Off the beaten path, we had: Wong Kar Wai's gorgeously shot but oddly aloof biopic The Grandmaster; the rude Aussie drug-smuggling comedy The Mule; the corny British rom-com Home for Christmas (not actually a Christmas movie); the corny American rom-com Big Gay Love; and the involving Roger Ebert doc Life Itself, which shouldn't be missed by film fans. Finally, there were two collections of queer shorts: Boys on Film 12: Confession is Peccadillo's latest line-up of gay-themed films, this time looking at youthful longings; and Travis Mathews' In Their Room intimately explores the lives of men in San Francisco, Berlin and London.

Later this week I'm flying to California for the next couple of weeks, where I plan to catch up with several more awards contenders (plus Penguins of Madagascar). But the real question is whether there will be anything showing on the plane that I haven't seen or wouldn't mind watching again. I'll be blogging as I go...

Critical Week: A food and film love-in

It doesn't get much more luvvie than this: Oprah Winfrey producing a movie starring Helen Mirren that's all about delicious-looking French and Indian food. The Hundred-Foot Journey is already out in America, while British critics have only just had their first screenings, smartly accompanied by a seriously amazing spread of snacks, starters and mains from Patak's. Directed by Lasse Hallstrom, the film is as glossy and warm as expected, but a sharp Steven Knight script helps maintain a hint of an edge. It also makes the audience ravenously hungry. Be warned.

The biggest film we saw this week was Sin City: A Dame to Kill For, screened to the press just a couple of days before it opened. It's evoking the same polarised responses as the first film. After nine years the technology might not seem as fresh, but the addition of 3D and a more darkly emotion-based story help. The best film of the week, easily, was the Dardenne brothers' Two Days One Night, starring Marion Cotillard as a woman put into a seriously difficult position. There was also the British mock-doc United We Fall, about a fictional Manchester United squad, although without real players or football footage it's tricky to imagine who the audience will be.

Finally, I caught up with two more FrightFest films, both British horror movies. The Mirror is a lively found-footage thriller about a haunted mirror, while Xmoor is a grisly freakout set over one fateful night on Exmoor. Full reviews of these and a few other FrightFest films can be found HERE.

This coming week is a short one, so I only have a few screenings in the diary. But I'm also going on holiday for the following week, so have several things to see before I can leave - including the animated adventure The Boxtrolls, Elijah Wood and John Cusack in Grand Piano, the American ensemble comedy About Alex, the indie comedy-drama Turtle Hill Brooklyn, the British drama Luna, the gay drama anthology ErOddity(s), the Donald Trump doc A Dangerous Game, and the offbeat family doc Two: The Story of Roman & Nyro.

On the Road: Oldboy and coming attractions

For me, one of the most important things about being on vacation is not seeing movies! But of course with my job I'm always needing to see things to fill in gaps since I'm missing London press screenings by being away. And at this time of year there are also awards-consideration screenings to keep in mind - so I may try to catch some of those in Los Angeles this weekend.

Today I saw Spike Lee's remake of Park Chan-wook's 2003 fan favourite Oldboy, which opened today in America and hits Britain next week. It's the twisty story about a man (Josh Brolin, pictured) inexplicably imprisoned for 20 years and then released without warning, then trying to figure out who did this and why. Brolin is good, as is his guardian angel Elizabeth Olsen. But Lee's direction is so overstated that it flattens the film's snaky plot. This includes the frustratingly obvious score, pushy emotions and strangely broad performances by the villainous Samuel L Jackson and Sharlto Copley (oddly channelling Darren Brown). In other words, this is the kind of movie that needs the edgy Do the Right Thing-era Lee rather than the bland technical skill of Inside Man-era Lee.

There were eight trailers before Oldboy - which was cool since I so rarely get to see them on a big screen. I'd seen the teaser for Pompeii before (looks over-serious but fun), and also the latest, more detailed look at Scorsese's The Wolf of a Wall Street (can't wait to see all three hours of it). It was fun to get some more detail on David O Russell's star-packed and apparently unmissable 1970s drama American Hustle (including both Bradley Cooper and Amy Adams with their hair in rollers). 

On the other hand, the more detailed trailer for Walking With Dinosaurs gave me pause: despite the photo-realism, these are comical talking dinosaurs, so expectations are down a big notch. And That Awkward Moment doesn't look like nearly as much fun in its cleaner green-band trailer, but I still like Zac Efron, Michael B Jordan and Miles Teller enough to look forward to it.

Otherwise, I hadn't yet seen anything from Non-stop, the latest Liam Neeson action romp, which promisingly costars Julianne Moore and Michelle Dockery (neither of whom actually does anything in the trailer). It looks like a po-faced thriller that would really benefit from a hive of snakes. Grudge Match looks frankly ridiculous, playing on Sylvester Stallone and Robert De Niro's boxing movie past for a comedy-drama that looks unsurprisingly uneven (it's also no surprise which actor seems to be taking things rather a lot more seriously). And finally, Devil's Due is a terrific title for a B-movie antichrist horror thriller about a happy couple whose life goes all Rosemary's Baby on them. The movie looks appropriately slick and stupid.

LFF 5: Ready for labour

Kate Winslet and her rather large baby bump braved the chilly red carpet tonight in Leicester Square for the UK premiere of her film Labor Day at the 57th London Film Festival. She was joined by costar Josh Brolin and writer-director Jason Reitman. And yes, the city is crawling with cinema celebrities at the moment. In addition to the Labor Day junket, I also attended a small press conference today for The Family (not showing at LFF) with Robert DeNiro, Michelle Pfeiffer and Dianna Agron. But then, everyone seems to be in London at the moment. More festival highlights...

Labor Day 
dir Jason Reitman; with Kate Winslet, Josh Brolin 13/US ***
While this drama starts off well, with another remarkably layered performance from Winslet and a growing sense of uneasy tension, it slowly transforms itself into a Nicholas Sparks-style sappy romance along the way. To say this is frustrating is an understatement, and by the time we make it to a series of deeply schmalzy epilogues, we wonder what happened to the Reitman of Up in the Air or Young Adult... [review coming soon]

Like Father, Like Son 
dir Hirokazu Kore-eda; with Masaharu Fukuyama, Machiko Ono 13/Jpn ****. 
Japanese filmmaker Kore-eda is an expert at telling sentimental stories in a way that's genuinely involving but never remotely sappy. By catching tiny details in characters who are cleverly underplayed by the cast, he draws us into the events in an uncanny way that's utterly disarming. And wonderful... FULL REVIEW >

Ida
dir Pawel Pawlikowski; with Agata Trzebuchowska, Agata Kulesza 13/Pol **** 
With pristine black and white photography and beautifully textured performances, this simple story overflows with big ideas about history and faith. And since the two central characters are so beautifully written and played, they are able to engage us on layers that go much deeper than we expect... [review coming soon]

The Double
dir Richard Ayoade; with Jesse Eisenberg, Mia Wasikowska 13/UK *** 
Dostoevsky's novella is adapted into a Gilliamesque black comedy that's packed with visual invention but never quite grabs hold narratively. Still, the cast is so good that we willingly go along with them on a surreal odyssey about a young man struggling to make sense of his own identity. And the surprise-packed cast is a lot of fun... [review coming soon]

The Selfish Giant
dir-scr Clio Barnard; with Conner Chapman, Shaun Thomas 13/UK **** 
After the brilliantly inventive drama-doc The Arbor, it's unsurprising to find that Barnard takes an original approach to a kids' story. This film was inspired by the Oscar Wilde tale, and the connections are askance at best. But there's such an intense blast of realism that it's utterly gripping, right to the shattering conclusion... FULL REVIEW >