LFF: Soak it in

The 66th London Film Festival moves into its second week with more nightly galas and special events. I'm largely watching from outside this year, but I attended the starry screening of Allelujah last night in the Royal Festival Hall, introduced by cast and crew including Jennifer Saunders, Judi Dench, Richard Eyre, Bally Gill, David Bradley and pretty much everyone else who worked on the movie. But I'm seeing most of these films thanks to distributors who have invited me to other screenings or sent online links for me to watch them. It sure beats sanding in queues for two hours before press screenings. Here are more highlights...

Causeway
dir Lila Neugebauer; with Jennifer Lawrence, Brian Tyree Henry 22/US ****.
Theatre director Lila Neigebauer makes a remarkable feature film debut with this delicately crafted drama, which explores a topical issue through an especially internalised perspective. This requires sensitive performances from Jennifer Lawrence and Brian Tyree Henry, who are extraordinary as two people struggling to get their lives back on track after serious injuries. Never obvious about anything, the film gets deep under the skin.

Allelujah
dir Richard Eyre; with Jennifer Saunders, Bally Gill 22/UK ****
Based on the Alan Bennett play, this gently edgy comedy is a celebration of the tenacity of Britain's National Health Service in the face of relentless government interference, from sell-offs to cut-backs. It's is a remarkably complex, engagingly freeform romp. And coming on the heels of a pandemic, it could hardly be more timely. But the filmmakers hold back their biggest statement until a seriously powerful wallop the final moments.

Emily the Criminal
dir-scr John Patton Ford; with Aubrey Plaza, Theo Rossi 22/US ***.
There's a serious theme running through this engaging drama set in the criminal underworld of Los Angeles. Writer-director John Patton Ford cleverly pulls the audience in along with a hugely engaging central character adeptly played by Aubrey Plaza. It's a remarkable look at a society that makes it almost impossible for someone to escape their past. So even if it dips into several thriller cliches, it remains gripping.

Godland [Vanskabte Land, Volaða Land]
dir-scr Hlynur Palmason; with Elliott Crosset Hove, Ingvar Sigurdsson 22/Ice ****
Under gloomy skies in unforgiving landscapes, this visually striking epic follows a Danish priest to rural Iceland in the 19th century, where he confronts both a strange new land and also his own beliefs. It's a dark and brooding drama, but continual moments of wit and artistry make it remarkably compelling. And writer-director Hlynur Palmason digs deeply into the souls of the characters to challenge the audience to think about big issues in new ways

1976
dir Manuela Martelli; with Aline Kuppenheim, Nicolas Sepulveda 22/Chl ****
This strikingly thoughtful dramatic thriller tells a story set in the wake of Chile's 1973 coup, as a dictator cracked down on the country. Filmmaker Manuela Martelli takes an observational approach, letting the narrative take shape in bits and pieces with characters who are afraid to say too much to each other. It's beautifully shot and edited, and performed with steely understatement by a gifted cast.

And four more LFF films that I saw in Venice...

All the Beauty and the Bloodshed
dir Laura Poitras; with Nan Goldin, Megan Kapler 22/US ****.
With this extraordinary film, documentarian Laura Poitras takes a multifaceted look at a fascinating artist. As a biography of photographer Nan Goldin, this is a clear-eyed look at her life, work and survival. And it seamlessly connects her efforts to raise awareness of the Sackler family's direct responsibility in more than half a million deaths from opioid addiction. All of this is skilfully woven together with a remarkably gentle hand... FULL REVIEW >

No Bears
dir-scr Jafar Panahi; with Jafar Panahi, Vahid Mobasheri 22/Irn ****.
Despite being banned from making movies, master filmmaker Jafar Panahi continues to tell powerful cinematic stories from Iran. This hugely involving film uses wry humour to capture cultural absurdities that have an impact on two love stories, while further complicating the process of making movies. More importantly, this is a personal depiction of people who are struggling to survive when traditions and borders turn them into desperate refugees... FULL REVIEW >

The Son
dir Florian Zeller; with Hugh Jackman, Laura Dern 22/UK ***
After The Father, writer-director Florian Zeller adapts another of his thorny plays for the big screen, this time about parents trying to help a troubled teen son. It's a dark story, with rare moments of lightness as characters struggle with elusive ideas that defeat almost everybody. Clinical depression is an important topic to dramatise, although it also means that the plot needs to retain a nagging level of uncertainty... FULL REVIEW >

Saint Omer
dir Alice Diop; with Kayije Kagame, Guslagie Malanga 22/Fr **.
There's a terrific story at the centre of this French drama, bursting with powerful themes and clever juxtapositions. But filmmaker Alice Diop remains in her head while she puts this onto the screen, as chilly, inexpressive scenes remain stubbornly out of reach. It's very sharply shot, as a genuinely riveting courtroom case steals focus from the loosely undeveloped plot thread that is clearly meant to be the film's main thrust... FULL REVIEW >

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

LFF: At the movies

Big movies continue to come fast and loose at the 65th BFI London Film Festival, including a couple of films that weren't announced much at all. George Clooney came along for the premiere of his new film The Tender Bar, and the new Joaquin Phoenix drama C'mon C'mon was last night's Surprise Film. Alas I didn't see either one, and will be waiting for regular press screenings in due course. In the mean time, this is what I've been watching...

Belfast
dir-scr Kenneth Branagh; with Caitriona Balfe, Jamie Dornan 21/UK ****
Kenneth Branagh returns to his hometown to write and direct a warmly involving autobiographical tale about growing up during the Troubles in the late 1960s. The story strikes a nice balance as more of a nostalgic ode to his parents than a dark political drama. The setting adds edge, and gives the strong cast some terrific scenes to play, but what lingers is the warm family connection.

The Phantom of the Open
dir Craig Roberts; with Mark Rylance, Sally Hawkins 21/UK ***.
A likeable crowd-pleaser, this lively British comedy recounts a true story with style. It's the iconic tale of Maurice Flitcroft, who blagged his way into the British Open despite never having played a round of golf. The story's appeal is that it really happened, and the characters spring to life in Craig Roberts' inventive direction. And it's a punchy reminder sieze every opportunity to chase your dreams.

Inexorable
dir Fabrice du Welz; with Benoit Poelvoorde, Melanie Doutey 21/Bel ***.
There's quietly gnawing suspense from the opening shots of this Belgian drama, which slides from earthy realism into full-on horror before its time is up. Director Fabrice du Welz creates a superbly queasy atmosphere, drawing us in with likeable characters and hints of mystery long before revealing any secrets. So even if it feels superficial, the film is a skilful merging of revenge fantasy with haunted house nastiness.

Hit the Road
dir-scr Panah Panahi; with Hassan Madjooni, Pantea Panahiha 21/Irn ****
Despite its sparky sense of humour, a sharp melancholy underscores this Iranian road movie. Writer-director Panah Panahi (son of auteur Jafar) takes the audience on a trip that feels both boisterously rambunctious and darkly momentous at the same time. The four family members stuck together in this car are each revealed to be complex, observant and deeply emotional, even as they maintain their ability to make each other laugh.

Full reviews of festival films will be published as possible and linked at Shadows' LFF HOMEPAGE 
For full information, visit BFI LONDON FILM FESTIVAL 

Critical Week: Is it raining?

Happy New Year from now-outside-the-EU London! Days have been blurring together over as I watch movies, go for walks and eat, and not a lot else. I'm still catching up on awards-season titles as voting deadlines approach. It's a tricky business, deciding which ones are worth the time and which can perhaps be skipped. As a critic, I hate not to give everyone a fair shake, but I do have to set priorities. Among the ones I watched were the quirky Irish romantic-comedy Wild Mountain Thyme, with Emily Blunt, Jamie Dornan and Christopher Walken. Odd casting aside, it's warm and funny. Anthony Hopkins and Olivia Colman are on top form in the sharply well-made drama The Father, based on a stage play. 

BEST OUT THIS WEEK:
We Can Be Heroes • DNA
Pieces of a Woman 
PERHAPS AVOID:
The Blackout 
ALL REVIEWS >

There was also Michelle Pfeiffer, terrific alongside the always-watchable Lucas Hedges in the black comedy French Exit. An all-star cast including Dan Stevens, Leslie Mann, Isla Fisher and Judi Dench star in an entertaining if not particularly needed remake of Noel Coward's nutty comedy Blythe Spirit. Jack O'Connell and Olivia Cooke star in the swirling, sensual, sad romance Little Fish. And Kelly Reichardt's First Cow is one of the best bromances in recent memory, following two men in 19th century Oregon.

Much less demanding, Robert Rodriguez's colourful kids' superhero movie We Can Be Heroes is an energetic guilty pleasure. And then there was this eclectic trio: Savage is a gritty, violent story of gang life in New Zealand; DNA is a heartfelt French film looking into a woman's Algerian roots; and from Russia, The Blackout: Invasion Earth is an ambitious alien-attack epic that's messy but still spectacular. Finally, I caught up with two awards-worthy docs: an inventive exploration of grief and mortality in Dick Johnson Is Dead and a powerful look at disability rights history in Crip Camp.

I'm still catching up on contenders over the next week, as both the London and Online critics groups are casting nominations ballots next week. And I also need to watch a few films that are coming out over the next few weeks. It's a mixed bag that I haven't quite defined yet. 

Critical Week: Under siege

I'm now 90 days into lockdown and, while things aren't great in the UK the rules are beginning to relax a bit. In between watching movies at home (and quite a few TV episodes), I have been getting out into the streets most days. This week the traffic and crowds seem back to normal levels for the first time, even though many shops remain closed. And while the film industry is getting back into production, the question of opening cinemas is still a big one. Frankly, I can't imagine sitting in a press screening room quite yet!

BEST OUT THIS WEEK:
Dating Amber • The Australian Dream
Days of the Bagnold Summer
The Surrogate • You Don't Nomi
PERHAPS AVOID:
Darkness Falls
The Ascent/Black Ops
FULL REVIEWS >

Bigger movies in my personal screening room this past week included Artemis Fowl, Disney's lavishly produced fantasy adventure with a cast of young newcomers plus Judi Dench (above), Colin Farrell and Josh Gad. It's colourful and far too busy. But it's a gem compared to the epic The Last Days of American Crime, a near-future heist thriller that's simply loud, violent and stupid. Both films will find their audiences.

Smaller fare included the rude, sassy comedy Banana Split, with Hannah Marks and Liana Liberato; the simplistic, cheesy thriller Darkness Falls, starring Shawn Ashmore and Gary Cole; the charming, inventive Irish comedy Dating Amber, with rising star Fionn O'Shea (Normal People); the darkly engaging dramatic horror 1BR; the provocative, thoughtful parenthood drama The Surrogate; and the creative but rather thin surreal British action thriller The Ascent (US title: Black Ops). Foreign options were the breezy, enjoyably pointed Italian comedy Citizens of the World and the lurid Chilean 1970s prison drama The Prince, a remarkable film that won a top award at Venice last year. And finally, from Down Under the doc The Australian Dream explores the experience of football legend Adam Goodes, making pointed and timely observations about systemic bigotry.

Coming up this next week are Spike Lee's Vietnam drama Da 5 Bloods, Pete Davidson in The King of Staten Island, the supernatural thriller Driven, the timely doc On the Record, and the French dramas Joan of Arc and Young Ahmed.

Critical Week: Kitties for Christmas

On Tuesday evening I was able to get into two huge press screenings, easily the most surreal double bill of the year. First up was Cats, Tom Hooper's bizarrely imagined adaptation of Andrew Lloyd Webber's already bizarre musical. It looks like nothing you've seen before, awful and brilliant at the same time. Immediately after that, the critics shuffled across Leicester Square for the only press screening of Star Wars: The Rise of Skywalker, the ninth film in the 42-year-long movie saga. It's very entertaining, but a little too carefully concocted to be the masterpiece we were hoping for.

Being busy planning the announcement of the London Critics Awards nominations, I didn't have a lot of time for screenings this week. But I did catch up with Ryan Reynolds in 6 Underground, a massively colourful action romp directed by Michael Bay with little concern for plot or character or coherence. The Courier is an odd patchwork action thriller, as it seems like stars Gary Oldman, Olga Kurylenko and William Moseley never met each other. But it's slick and fast. And Daniel Radcliffe continues to defy expectations, playing a real-life 1970s South African hippie activist in Escape From Pretoria, a grippingly straightforward prison-break movie with a political angle.

Over Christmas I'll be catching up with some late-season awards movies, and also binging on the TV series I've fallen behind on. I'm definitely looking forward to some down time, especially a slowdown in the glut of emails relating to the three film awards I vote for.

Critical Week: Pesky kids

After missing them during the festival, I caught up with this week's two big releases at press screenings on Tuesday. Pet Sematary is a remake of the horror thriller adapted from Stephen King's novel. It's better than the first stab at it, as it were (I dredged up my archive review of the 1989 version and posted it together with the new one HERE.) And then there was Shazam!, easily the most enjoyable movie in recent memory from DC. It's lively and funny and has a solid plot and characters.

Seth Rogen has made unlikely romantic-comedies before, but perhaps Charlize Theron seems like a stretch too far. Well, their pointed political comedy Long Shot is a nice surprise, hilariously well written and sharply played. Judi Dench is of course great in Red Joan, as a woman accused of working with the communists back during her Cambridge University days. The film is a bit plodding and choppy, but the true story is fascinating. And from Wales, Gwen is a grim, atmospheric 19th century drama with strong horror overtones. Superb performances and skilful photography make it worth a look.

Coming up this week we have Isabelle Huppert in Neil Jordan's Greta, bonkers horror Puppet Master: The Littlest Reich, medieval German thriller Hagazussa and Sergei Loznitsa's Donbass.

Critical Week: Hello sailor

Screenings are slowing down for the holidays, so these were my last movies in screening rooms for the year. Welcome to Marwen is ambitious, an introspective true story augmented with clever effects. So Leslie Mann and Steve Carell (above) play part of their roles as remarkably expressive dolls. It's solid, but more thoughtful than entertaining. All Is True has a hefty cast including Kenneth Branagh, Judi Dench and Ian McKellen, intriguingly tracing the final years in Shakespeare's life. It's well-made and a bit offbeat. Papillon is a true story remake about a man (Charlie Hunnam) sent to a vile French penal colony in the 1930s. Beautifully made, finely acted, but a bit stiff. And the Argentine drama My Best Friend tells a quietly involving coming-of-age story about a teen who develops an unexpected crush. And I also caught up with these two...

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Dumplin’
dir Anne Fletcher
scr Kristin Hahn
with Danielle Macdonald, Jennifer Aniston, Odeya Rush, Luke Benward, Harold Perrineau 18/US 1h40 ***.
Warm and not terribly sophisticated, this gently involving comedy-drama has buckets of charm thanks to its cast and a collection of fabulous Dolly Parton songs on the soundtrack (including new ones written for the film). The seriously gifted Danielle Macdonald stars as Willowdean, who signs up for the beauty pageant her mother Rosie (Aniston) won as a young woman and now runs. This is partly to honour her late aunt, partly to annoy her mother and partly to prove to herself that she isn't bothered by people who make fun of her. But of course there are other lessons she needs to learn. And she also needs to work out her messy relationship with her always preoccupied mother: Rosie loves Willowdean, but dismisses her because of her weight. Macdonald offers a detailed portrait of a bright girl with some dark emotional issues. Her complex mix of confidence and insecurity rings refreshingly true, never simplifying her journey. Although her issues with her mom, best friend (Rush) and the cute boy (Benward) who likes her are less nuanced, leading into the usual teen angst. Of course she sabotages every good chance she gets before ultimately learning to be comfortable in her own skin. Thankfully, it's beautifully played by the eclectic cast (including Perrineau as a drag queen mentor) and directed with enough spark to make it earn the sentiment. It will also offer badly needed encouragement to teens who need it most. As Dolly says, "Figure out who you are, and then do it on purpose."

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Blindspotting
dir Carlos Lopez Estrada
scr Rafael Casal, Daveed Diggs
with Daveed Diggs, Rafael Casal, Janina Gavankar, Jasmine Cephas Jones, Ethan Embry 18/US 1h35 ****.
Set in Oakland, this is a comedy with a razor sharp edge to it. Lively and audacious, it touches on a range of big issues with wry humour and snappy characters. With just three days left on probation, Collin (Diggs) begins to worry about his friend Miles (Casal), whose obsession with guns and drugs threatens his freedom. Then he witnesses a cop shooting an unarmed man. But he doesn't dare say anything because it was after his curfew. And he doesn't dare challenge the police. The tension in certain scenes is powerfully intense, and always meaningful on much deeper levels. Actor-writers Diggs and Casal create terrific chemistry between them as young guys just trying to make a living with their moving van, developing their private lives and struggling with a system that's tilted against them. While the script is very funny, it is constantly underscored with serious topics and populated with complex characters, each of whom feels like he or she has a big life off-screen. And director Estrada maintains a lively vibe that's entertaining and provocative. This is a powerful look at a young man desperate to prove that he is more than what society tells him he is: a convicted felon. And while the script touches pointedly on racial issues, it's perhaps an even more potent comment on the broader effects of toxic masculinity and gun culture. This is a bracingly well-observed film that's both hugely involving and vitally important. The climactic scene is devastating cinematic poetry.

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There are no more screenings for the rest of the year, but I do have a stack of awards-consideration DVDs and streaming links to watch as I navigate the voting season (two sets of nominations down, one to go, then the final voting rounds) and prepare my own year-end list. Things I still need to catch: Private Life, The Kindergarten Teacher, Bad Times at the El Royale, Shirkers, The Other Side of the Wind, They'll Love Me When I'm Dead, and so on...

Critical Week: Fun for the family?

It's been frustrating that the biggest releases of the week are simply not being screened to the press (favourite critics see them, but no one else), so I never got to review the top two films on both the US and UK box office charts, namely The Predator and The Nun. With these titles I'm not that bothered, but others are coming up very soon that I can't really skip, like the Bradley Cooper/Lady Gaga remake of A Star Is Born or Tom Hardy in Venom, neither of which have announced London screenings yet. It seems to be becoming a strategy for bigger studios to withhold films from the majority of reviewers, which is putting our jobs in jeopardy.

So this week I didn't see any big movies, just smaller ones. Support the Girls (above), starring Regina Hall, is being oddly billed as a comedy when it's actually a wry drama. It's not a bad one at that, as it gently takes on America's sports-bar culture. Sam Rockwell stars in Blue Iguana, a scruffy British heist comedy that has its moments but never quite becomes notable.

Smaller than those, The Song of Sway Lake stars Rory Culkin and Robert Sheehan as young men caught in a swirl of nostalgia in old-money America. It's dreamy and intriguing, but not very satisfying. Summer '03 is an oddly abrasive coming-of-age story that boldly takes on some big issues without really saying much. Never Here is a noir mystery that's moody and evocative, even if it never goes anywhere. And Padre is an offbeat Italian film starring writer-director Giada Colagrande and her husband Willem Dafoe. The acting is great even if the central exploration of grief feels underwhelming.

More satisfying were the three documentaries: Won't You Be My Neighbour is a gorgeous trip through the life of American TV Icon Fred Rogers, beautifully capturing just why he was so magical for several generations of children (including me!). Tea With the Dames (original UK title: Nothing Like a Dame) is an extended conversation between old friends Maggie Smith, Judi Dench, Joan Plowright and Eileen Atkins, with wonderful observations on life and work over the past 60 years. And Science Fair is the hugely entertaining look into the world's biggest teen science competition through the eyes of these lively aspiring scientists.

This coming week's films include Ryan Gosling in First Man, Keira Knightley in Colette, Kevin Hart and Tiffany Haddish in Night School, Rachel Weisz in Disobedience, the Joan Jett doc Bad Reputation, and a pair of Supreme Court docs: RBG about Ruth Bader Ginsberg and Reversing Roe. Press screenings also start for the London Film Festival, so I'll be banking reviews to run when the festival is on 10-21 October.

Venezia74: Hit the road on Day 5

The weather returned to sunshine today, so I took a break in the middle of the day and went for a long walk on the beach. I have another gap tomorrow, and hope to cross the lagoon to Venice for some museum visiting. In the meantime I had three films today. Well, I was supposed to have four, but I did something I never do: I walked out of the French documentary Caniba. After 40 minutes, it was still insufferably pretentious and incoherent, and I remembered that I didn't need to review it anywhere, so I followed the steady flow of walk-outs and had some ice cream instead. These are the ones I watched all the way through...

The Leisure Seeker
dir Paolo Virzi; with Helen Mirren, Donald Sutherland 17/US ***.
There's an askance loopiness about this film that blurs the lines between a lively road comedy and a darker exploration of mortality. It helps that it stars the effortlessly offbeat Helen Mirren and Donald Sutherland, who add layers of edgy subtext to their broad characters and on-the-nose dialog. As it travels down America's East Coast, the film tries to pack in a lot of nostalgia and a whiff of politics, but it's the more internalised moments that are most effective.

Victoria & Abdul
dir Stephen Frears; with Judi Dench, Ali Fazal 17/UK ***
This may be a crowd-pleasing film, but it never seems like director Stephen Frears can make up his mind whether he's making a frightfully British comedy or a historical drama about the final 15 years of Queen Victoria's reign. So it ends up as an awkward mix of the two that feels neither funny nor historical. Thankfully it's anchored by another hugely engaging performance by Judi Dench, who keeps the audience smiling even when the plausibility wobbles.

Team Hurricane
dir-scr Annika Berg; with Zara Munch Bjarnum, Ida Glitre 17/Den ***.
A group of eight 15-year-old girls bare their souls in this colourful Danish documentary, which feels like they made it as a school project. Or perhaps it's a public service programme made to feel down with the kids. It's busy and bursting with lively touches for a generation that thinks anything that isn't "Insta-worthy" is useless. But they also discuss on serious issues like depression, sexuality, body image and eating disorder, all from the vibrant perspective of a teen girl.

Tomorrow: Francis McDormand in Three Billboards Outside Ebbing, Missouri; Koreeda's The Third Murder and the Hollywood doc My Generation...

36th London Critics' Circle Film Awards: in words and pictures

The UK's top film critics held their annual awards ceremony on Sunday night at The May Fair Hotel in London, with a superb lineup of red carpet guests. I happen to be the chair of the 36th London Critics' Circle Film Awards, which we started organising back in June, so it was great to see the evening unfold in such a joyous, celebratory way. The most memorable moment (pictured above) was when Kate Winslet led the audience into a spontaneous standing ovation for beloved actor-filmmaker Alan Rickman, who died on Thursday.

The ceremony was hosted by comic Robin Ince (left), who stepped in at the last minute due to the sudden illness of one of our planned host. He balanced the mood perfectly, with a witty look at movies that included a number of hilarious Brian Blessed anecdotes. On the right are nominated writer Emma Donoghue (Room) and the Critics' Circle Film Section Chair Anna Smith.

We had a new award this year. First, we handed out our inaugural prize for British/Irish Short Film of the Year, which went to Ben Cleary (left) and his lovely, and now Oscar-nominated, short Stutterer. And we rebranded our British/Irish Breakthrough Filmmaker prize as The Philip French Award, in honour of our esteemed colleague who passed away this year. It went to John Maclean (right) for Slow West.

Of course, Kate Winslet was one of the brightest stars on our red carpet, and she also took home the award for Supporting Actress of the Year for Steve Jobs. She also had a mini reunion with Judi Dench - they both played Iris Murdoch in Iris.

Maisie Williams won the Young British/Irish Performer of the Year award, and livened up the red carpet in her Mexican-wrestler themed dress, accompanied by fellow nominee Florence Pugh (left), her costar in The Falling. Along for the party were actor Blake Harrison and his fiancee Kerry (right).

Producer Sygne Byrge Sorensen (left) collected the Foreign-Language Film of the Year award for Joshua Oppenheimer's documentary The Look of Silence, while top producer Stephen Woolley (right) accepted the Technical Achievement Award for Ed Lachman's cinematography in Carol.

Two directors accepted awards on behalf of their actors. Rufus Norris (left) read a thank you message from Tom Hardy, who was named British/Irish Actor of the Year for his body of work in 2015, including Norris' London Road, The Revenant, Mad Max: Fury Road and Legend. And Brooklyn director John Crowley (right) relayed a hilarious thank you from Saoirse Ronan as British/Irish Actress of the Year.

Andrew Haigh (left) sent a video thank you for British/Irish Film of the Year for 45 Years. Producer Tristan Goligher took to the stage to grab the trophy. Meanwhile, Asif Kapadia (right) was on hand to collect the Documentary of the Year award for Amy.

Mark Rylance sent a surreal video to accept Supporting Actor of the Year, performed in character (left) from the set of the play he's doing in Boston. His Wolf Hall costar Thomas Brodie-Sangster (right) accepted the award for him.

And then there was George Miller, who sent two witty videos to gratefully accept the top awards for Director of the Year and Film of the Year for Mad Max: Fury Road.

And the ceremony wrapped up with the main event of the night, as Judi Dench took to the stage to present the Dilys Powell Award for Excellence in Film to Kenneth Branagh. Both gave smart, gracious speeches that had the audience laughing and sighing.

Of course, I also have to shamelessly include two collages of photos that I appear in. As chair, one of my many jobs is to welcome all of our guests at the top of the red carpet, so I had a chance to talk with each of them before the event started. Below is a rather ridiculous photobombing session with Dame Judi and Sir Ken.

And I also feel I should share this series of photographs taken while I was chatting to Kate Winslet about the last time I saw her (when she was about to pop with her third child) and her next movie, Triple 9 - I saw it last week but she hasn't seen it yet. Of course she's awesome in it.

And to drop one more name, as I made my way home following the after-party, I received a lovely email from Tom Hardy, who was deeply apologetic that he had been unable to turn up to accept his award and join the party. He's shooting a film in London at the moment, and production ran over. Hopefully he'll make it next year.

Critical Week: Sleepless in Seattle

In the absence of UK press screenings, critics had to actually buy tickets (shock horror!) to see Fifty Shades of Grey on Friday morning with the superfans. Surprisingly, the film isn't that bad, and works as a rather well-made guilty pleasure. It's made a box office fortune, but earlier reviews might have broadened the audience even further.

Big movies screened this past week include the all-star British sequel The Second Best Exotic Marigold Hotel, reuniting the likes of Judi Dench, Maggie Smith and Bill Nighy plus Richard Gere and Tamsin Grieg (comments are embargoed). Will Smith and Margot Robbie star in the conman romp Focus, which uneasily mixes a heist thriller with a rom-com. Chris Hemsworth plays a hacker in the cyberthriller Blackhat, another awkward mix of mystery drama and romance.

A little further afield, the fan doc Backstreet Boys: Show 'Em What You're Made Of is engaging without scratching the surface; Francois Ozon's The New Girlfriend is utterly magical filmmaking with amazing performances and some complex, important things to say; the low-budget The Last Straight Man is an astute two-hander exploring male friendships and relationships and the blurred line of sexuality; Dreamcatcher is an award-winning doc that can't help but inspire us to reach out to our community; Kissing Darkness is a corny gay comedy-horror about vampires in the woods; and Global Warming is a collection of four provocative comedy-drama shorts by Reid Waterer - two are very good, two are just ok.

This coming week's screenings include Celine Sciamma's award-winning Girlhood, Jeremy Renner in Kill the Messenger, the animated hit The Spongebob Movie: Sponge out of Water, Kodi Smit-McPhee in All the Wilderness, Julia Stiles in Out of the Dark, Sion Sono's Tokyo Tribe and the Brazilian drama Futuro Beach.

And I'll be watching the Oscars live all night Sunday night - best picture is usually announced just as the sun is coming up on Monday morning in London.

By the way, the blog passed 100,000 hits this week.

34th London Critics' Circle Film Awards

It's always my most glamorous night of the year, but Sunday night's 34th London Critics' Circle Film Awards was also the biggest event I've ever organised and hosted myself, with a lot of help of course. This was my second year as chair of the organising committee, but we had some extra challenges that added a lot more work than ever before - and we pulled a fabulous evening out of thin air thanks to the hard working committee, our generous sponsors (The May Fair Hotel, Beluga Vodka, Audi, Cameo, Novikov, Innerplace and Publicity Media) and press management from DDA.

Somehow my committee convinced me to host the ceremony - I've never done anything like that either! It was pretty daunting, especially since it was about 15 minutes before the ceremony started when the news was confirmed about the death in New York of Philip Seymour Hoffman, our best supporting actor last year. So Critics' Circle Film Section Chair Jason Solomons adjusted his opening monolog accordingly - the audience broke in to a spontaneous standing ovation. And after that it was good to celebrate the best in cinema in 2013 together. We opened with a terrific video compilation of the films of the year, then my job was to thank everyone, then keep things moving.

And the first award in our running order was Supporting Actor, won by Barkhad Abdi, who was attending with his director Paul Greengrass (two of the nominees you can see in the photo above). Supporting Actress went to Lupita Nyong'o, who was unable to attend, so her director Steve McQueen (left) read a statement from her to accept. Then the Technical Achievement Award went to Tim Webber (right) for the visual effects in Gravity. 

Here we shifted into our British awards, starting with Breakthrough British Filmmaker, which went to Filth director Jon S Baird, who collected his trophy from Mark Kermode and me (above).

After a montage of British films and performances, we presented Young British Performer to Conner Chapman, who brought his costar (and fellow nominee) Shaun Thomas on-stage with him. British Actor went to James McAvoy, who was in another part of London filming Frankenstein and sent a video thank you (top right) - his award was accepted by his Filth director Jon Baird. British Actress was won by Judi Dench, who sent a video thank you from India, where she's filming The Best Exotic Marigold Hotel 2 - her award was accepted by her Philomena costar and writer Steve Coogan. And finally, British Film of the Year went to The Selfish Giant. Director Clio Barnard, producer Tracy O'Riordan and cast members Conner Chapman, Shaun Thomas and Lorraine Ashbourne all took to the stage - presenter Tim Robey and I are there too (below).

Next up was Actress of the Year, which was won unsurprisingly by Cate Blanchett. She sent a hilarious thank you message, which was read out by her Middle Earth costar Andy Serkis (right with presenter Roger Clarke and me). Actor of the Year was also no surprise, going to Chiwetel Ejiofor. He sent a written thank you from New Zealand, where he's currently filming. Then Documentary of the Year went to The Act of Killing, which was accepted by producer Andre Gregory (photo below), who read a statement from director Joshua Oppenheimer about the ongoing issues in Indonesia.

And now it was time for our biggest honour, the Dilys Powell Award for Excellence in Film, which this year went to Gary Oldman. John Hurt (right) was on give a lovely introduction speech and introduce a clip-reel of Gary's best work, followed by a emotive and eloquent thank you from Gary. And lots of hugging.

Next up was Foreign-Language Film of the Year, which was won by Blue Is the Warmest Colour and accepted by an executive from the UK distributor Artificial Eye. Screenwriter of the Year was won by Joel & Ethan Coen, who weren't in attendance. So presenter David Gritten and I, with the help of committee members Pauline McLeod and Hilary Oliver, concocted a rather silly sketch in which the film's feline star Ulysses appeared on-stage to claim the award. Director of the Year went to Alfonso Cuaron, who sent us a video from Italy (pictured above with James and Judi). And finally it was time for Film of the Year, which went to 12 Years a Slave and was collected by Steve McQueen with a lovely speech.

And then it was on to the afterparty with Beluga Vodka cocktails at Novikov, where nominees and winners, as well as the critics and guests mixed in unexpected circles late into the night. I had a particularly nice chat with Howard Cummings, nominated for his Behind the Candelabra production design. And from the below evidence, will we see Barkhad Abdi in Steve McQueen's next movie ... or Andy Serkis in Paul Greengrass'?

Of course, things wrapped up with our now-legendary goody bags (that's mine to the right), thanks to our diligent committee members and some more generous sponsors. Here are a few more photos - of our two most glamorous red carpet stars, nominees Naomie Harris and Lindsay Duncan, and of nominee George MacKay, winner Andre Singer and Reece Shearsmith, star of nominated film A Field in England.

And finally, because it has to be done, Knowing Me Rich Cline, Knowing You Steve Coogan. Aha....

Photos by Dave Bennett