Critical Week: Ignite the light

My work schedule on a TV crew was a bit lighter this week, so I was able to see a few screenings. These included the documentary Will & Harper, attended by Will Ferrell, Harper Steele and director Josh Greenbaum. It's a gorgeously involving film focussed on a long-term friendship, and its topicality makes it important as well. Chris Hemsworth, Brian Tyree Henry, Keegan-Michael Key and director Josh Cooley came along to a screening of Transformers One, the hugely entertaining animated origin story that's packed with comedy and action.

BEST OUT THIS WEEK:
The Substance • Will & Harper
Transformers One
Girls Will Be Girls
ALL REVIEWS >

Filmmaker RaMell Ross creates a stunning visual style for Nickel Boys, a powerful drama about a teen reform school in Jim Crow-era Florida. It's also beautifully played, unusually vivid and involving. From Britain, Portraits of Dangerous Women is a light-hearted multi-strand drama about a group of people whose lives intersect unexpectedly, while Inherit the Witch is a bonkers horror thriller that enjoyably evokes freaky classics. And Notice to Quit is a likeable but rather too-busy comedy starring Michael Zegen as a single dad at the end of his rope. 

This coming week, I'm planning to see Francis Ford Coppola's Megalopolis, Joseph Gordon Levitt in Killer Heat, Alice Lowe's Timestalker, Hellboy: The Crooked Man and the documentary Rez Ball, plus anything else I can find time to see while working long days. 

Critical Week: Hold that thought

I'm even busier this week as the date approaches for the 44th London Critics' Circle Film Awards, which I am organising on Sunday. So much to organise, including the slippery business of wrangling celebrities. But the ceremony and party are going to be great. Meanwhile, the big movie this week was Matthew Vaughn's Argylle, in which Henry Cavill plays a suave super-agent living in the mind of novellist Bryce Dallas Howard. The idea is clever, but the film is far too busy, loud, violent, twisty and long to work properly. Still, some colourful moments and a great cast (Sam Rockwell, Samuel L Jackson, Ariana DeBose) make it almost watchable. The animated adventure Migration is a lot more fun, gorgeously animated and packed with great characters thanks to screenwriter Mike White (of The White Lotus fame).

BEST OUT THIS WEEK:
The Zone of Interest • Skin Deep
American Fiction • Disco Boy
How to Have Sex • Blue Giant
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Further afield, the drama Shayda centres closely on the experiences of an abused Iranian wife seeking shelter in Australia. It's beautifully acted, involving and hugely emotional. The Japanese animated jazz-infused drama Blue Giant is packed with a spectacular imagery and music, and a strongly engaging story. And the dark drama Pornomelancholia is the thoughtful, naturalistic story of a young man who wants to become a pornstar in Mexico. I also got the chance to revisit my best film of 2023, Andrew Haigh's All of Us Strangers, as it finally opened in UK cinemas last weekend. It hit me in a very different way the second time - astonishing filmmaking that I will revisit again.

This coming week I'll be watching the biopic One Love: Bob Marley, the thriller Out of Darkness and the drama Hoard, among other things and getting some sleep.

Screen: September TV Roundup

There have been some great shows on lately to offer some distractions when I'm not watching movies or getting outside to enjoy the sunshine. I continue to avoid any shows centring on murder or injury - just not what I want to watch, aside from the movies I have to see for work. Give me comedy, social satire, edgy drama or something original that combines all of that....

The White Lotus
From writer-director Mike White, this series cleverly slices through middle-class respectability with its edgy soap-style plot threads about wealthy people on vacation at a Hawaiian resort. Everyone has secrets, and the breadth of the approach is impressive, with a wonderful array of vivid characters ranging in age from teens to retirees. It's easy to get lost in the various stories, as each person is fully fleshed-out by a terrific cast that includes Steve Zahn, Jennifer Coolidge, Murray Bartlett, Fred Hechinger, Jake Lacey and Alexandra Daddario. The show's astute social satire is bracingly pitch-black, and it's so complex that getting to the end feels a lot like finishing a particularly satisfying novel. (HBO)

The Chair 
Sandra Oh is terrific as the lead in this wry comedy about faculty and students at an Ivy League university in New England. Both political and personal issues rear their heads along the way, as characters clash and unite in unexpected ways, while the tide of cancel culture swells ominously and the university's administrators fail to grasp what's happening or even begin to know how deal with it. There are also wonderful roles for Jay Duplass, David Morse and the always fabulous Holland Taylor. So while the over-arching narrative seemed to stumble along the way, future seasons might be able to bring some more focus to the larger issues and resonant interpersonal drama. (Netflix)

Schmigadoon! 
Keegan-Michael Key and Cecily Strong have a lot of fun as a happy couple whose relationship is put through the wringer when they're trapped in a mystical realm that's overrun by the trappings of a stage musical. The exaggerated Victoriana is hilarious in the design, dialog and morality, while the musical numbers hilariously riff on a variety of classics. In addition, the starry cast includes musical-comedy theatre superstars like Jane Krakowski, Kristin Chenoweth and Alan Cumming. So even if it all feels a little corny and obvious, and if each song is a bit too much of a pastiche for its own good, it's a terrific show for clicking off your brain for a silly laugh. (Apple)

Brand New Cherry Flavor
Refreshingly audacious, this crazed series takes the audience on a freaky odyssey that has strong echoes of Lynch and Cronenberg. Set in the early 1990s, it follows aspiring filmmaker Lisa (the superb Rosa Salazar) as she encounters a slimy director (Eric Lange) long before #MeToo and sets about getting revenge with the help of the mystical, shamanic Boro (Catherine Keener). What this costs Lisa is deeply twisted, as is pretty much everything about this show, which dives into the nastiness without hesitation. The boldness of the writing and directing feels like a tonic when most shows are trying so hard to please. This is challenging, disturbing and absolutely riveting television. (Netflix)

Physical 
Rose Byrne shines as a 1980s housewife emerging from the shadow of her underachieving (and thankfully never villified) husband as she finds that she has what it takes to become an aerobics star. The series takes its time to build this foundation, expertly layering in details that are both funny and rather bleakly chilling. While several of the side roles feel like rather random dimwitted TV series cliches, Sheila is a stunningly complex character, a woman who finally realises that she she will need to break the rules to achieve anything at all in a man's world. Her every move is transgressive and dangerous, but we can't help but root for her. And where the show goes is boldly unexpected. (Apple)

Kevin Can F**k Himself 
After Schitt's Creek, Annie Murphy cleverly adapts her wonderfully perky screen persona to this gimmicky series that combines brightly overlit sitcom silliness with darkly shaded drama. It's a daring experiment that pays off in unexpected ways, revealing shades of suburban angst beneath the chuckleheaded idiocy. And as the lead character's journey to self-discovery and independence gets increasingly intense, Murphy helps us identify with how it feels to continually be underestimated as the ditsy wife to a relentlessly cruel husband everyone sees as a dopey nice guy. The overall series pacing is a little uneven, and the final episodes pay off in a way that's unexpectedly provocative. (AMC)

The North Water
This is a big swerve for Andrew Haigh (Looking, 45 Years), set on a 19th century whaling ship in the Arctic where bristle-haired men are up to all manner of shady grisliness. It's gorgeously designed and shot in spectacular locations, although the relentlessly underlit cinematography can get somewhat annoying on the small screen. The first-rate cast is led by Jack O'Connell, Colin Farrell (against type as a seriously nasty piece of work) and Sam Spruell, with added Stephen Graham and Tom Courtenay. So even if the moral lines are a bit too clear, there's plenty of gristle in the story's riveting depiction of masculinity and control. It also leaves us feeling like we need a bath. (BBC)

Q-Force
Zippy and extremely ridiculous, this animated spy comedy adventure takes in serious themes as it goes along, playing with issues and stereotypes without making pointed comments. This carefree approach adds a provocative angle to the rampant bigotry that swirls around a group of queer spies who have been sidelined for a decade but are now taking their shot at the big time in an international mission that has unexpected repercussions. It's riotously sexy and violent, and animated with a properly adult sensibility, which means the humour is more ironic than expected. And the voice cast is first-rate, including Sean Hayes, Wanda Sykes, Jane Lynch and Stephanie Beatriz. (Netflix)

M O R E    M O R E    M O R E

Dave: series 2 
Continuing his intriguingly blurred autobiographical adventures, Dave Burd goes much darker this season, often dipping into pitch-black comedy and even darker emotions to skewer the show business industry in ways that continually take the breath away. There's a bleakness that makes these episodes less exhilaratingly enjoyable than the first series, but the ideas in the mix are even stronger. And Burd digs into his own offhanded personality to explore some properly pungent feelings as an unlikely rising star who is shaken by interaction with his colleagues, idols, family and friends. His oblivious confidence takes on a whole new meaning this time around. (FX)

Never Have I Ever: series 2
Inspired by Mindy Kaling's childhood, this series continues the adventures of Devi (the fabulous Maitreyi Ramakrishnan), a character who is bravely written and played in ways that aren't always likeable, mainly because we're watching her create most of her own problems. Her various relationships evolve in unexpected directions this season, including with two boyfriends, her best pal and her family members. The female roles are particularly well-written this season, including Devi's mother, cousin, closest friend and a rival Indian teen at her school. And John McInroe's witty voiceover adds such a random perspective that it brings everything to unusual life. (Netflix)

I Think You Should Leave: series 2
It's difficult to describe this sketch show starring Tim Robinson as a comedy, since the scenarios it sets up are based on aggression, awkwardness and absurd conflicts. The main reactions to these scenes are nervous laughter and gasps at both how ridiculous it all is (many hinge around something flatly surreal). But there's also a chilling recognition of human nature laced through everything, picking at our insecurities and those niggling annoyances that get under the skin. That Robinson and his talented cast and crew approach this in such a boldly in-your-face way is properly remarkable. It's one of those shows that feels uncomfortable to watch, but leaves us wanting more. (Netflix)

Lucifer: series 6 
The final season of this nutty show spent most of its time wrapping up story threads involving each of the central characters, while contriving an elaborate conclusion. Thankfully, this included some properly bonkers twists and turns on the way to a protracted, wildly indulgent final act that clumsily strained to be both epic and sentimental. The angels-and-demons premise kept things far more entertaining than the usual murder-of-the-week structure, and Tom Ellis' devilish charm so buoyantly held the entire show aloft that it will be fun to see what he does next. He perhaps spends a bit too much of these 10 episodes singing and dancing, but it's unlikely anyone would complain. (Netflix)

Grace & Frankie: series 7a
The first four episodes of this final season suddenly appeared in August (the rest will follow next year), and they're just as ridiculous as always, centring on the ongoing clashes between these two awkwardly merged families and their long history together. Jane Fonda and Lily Tomlin continue to build on their astonishingly strong chemistry, having fun playing their actual ages while making jokes that poke fun at their real-life images. And Martin Sheen, Sam Waterston and the ensemble cast of kids and spouses are becoming more grounded with each episode. There are still some loose ends to tie up, so however many episodes are left, we'll be happy to giggle along with them when they turn up. (Netflix)

NOW WATCHING: Only Murders in the Building, Mr Corman, Ted Lasso (2), The Other Two (2), What We Do in the Shadows (3), Brooklyn Nine-Nine (8).

COMING SOON: Foundation, The Big Leap, The Morning Show (2), Succession (3), Sex Education (3), The Conners (4).