Screen: March TV Roundup

Watching TV episodes in my downtime helps me clear my mind, and there has been a wide range available over the past few months. For obvious reasons, I prefer the light-hearted stuff, a bit of escapism. But diving into something serious is even more satisfying. Starting here with the new shows...

The Residence
Nodding immediately to Agatha Christie, Sherlock Holmes and Benoit Blanc, this snappy whodunit is gloriously anchored by Uzo Aduba as Cordelia Cupp, aka the greatest detective in the world. And it has a killer premise, spiralling around a murder in the White House on the night of an Australian state dinner (complete with Kylie!). The terrific cast includes Giancarlo Esposito, Susan Kelechi Watson, Randall Park, Bronson Pinchot and Ken Marino. The show's tone might be a bit glib for its own good, which leaves everything feeling somewhat pointless and silly. But it's so much fun that we end up hoping that Cordelia will be back for an all-new mystery very soon indeed. (Netflix) 

Paradise
The first episode of this thriller series is beautifully constructed, presenting the show's premise right at the very end with a twist that confirms our queasiest suspicions. From here the tension builds steadily, growing increasingly suspenseful until the climactic showdown in episode 8. Sterling K Brown is superb as the thoughtful, tough-minded hero, squaring off against the formidable control freak played by Julianne Nicholson. Plus a wonderfully steely and charismatic turn by James Marsden as the US president. Surrounding characters also have plenty of spark and energy, even if the plot can't help but dip into cliches along the way. And the ending is great. Bring on season 2. (Disney)

Prime Target
A veneer of intelligence lifts this thriller above the fray, and it helps that the cast is so good. Leo Woodall is a terrific lead, diving into his role as Cambridge maths nerd Edward, who can't quite understand why his research is threatening the entire world order. Neither can we, for that matter. But never mind! It's fun to watch these people run around trying to discover a new mathematical system while various vicious shadowy baddies try to stop them. Standouts in the cast include plucky young spy Quintessa Swindell, dodgy boss Martha Plimpton, tenacious scholar Sidse Babett Knudsen and floundering mentor David Morrissey. Plus ace veterans Stephen Rea and Joseph Mydell. (Apple)

Dexter: Original Sin
Produced in the style of the classic series, this prequel traces the young Dexter (Patrick Gibson) as he plots his way through his new life as a vigilante killer and police forensics officer. It's all rather bound to the original show's mythology, often straining to pay unnecessary homage to it, especially in younger versions of larger-than-life characters and the setting up several already iconic moments. It's still gripping enough to paper over the many plot and logistical holes. Excellent actors include Christian Slater as Dexter's dad Harry and Molly Brown as his hothead sister Debra. So having Sarah Michelle Geller and Patrick Dempsey on hand feels like a bonus. (Showtime)

The Madness
Colman Domingo offers a towering performance in this limited series about a news-network pundit who is thrown into a convoluted mess when he witnesses a grisly murder and then is framed for it. The central idea here is disinformation, as shady powers behind the scenes are manipulating the media, public attitudes and elections. And while there are some strong points here about the imbalance of influence billionaires can have, this is little more than the plot's MacGuffin. Domingo is the reason to watch this, along with terrific supporting roles for Marsha Stephanie Blake, Gabrielle Graham and Thaddeus Mixson, plus the superb John Ortiz and Alison Wright. (Netflix)

Black Doves
With its snappy plotting, messy characters and slick production values, this British spy series is a lot of fun as it follows sleeper agent Helen (Keira Knightley) while she tries to unpick the knotted truth about the death of her lover (Andrew Koji). Her cohort is the always fantastic Ben Whishaw, who adds all kinds of witty detail to his fixer character, while Sarah Lancaster provides her own unnerving steeliness as Helen's puppet-master handler. This is also a slickly made thriller, with pulse-racing action, humour and a glorious use of London locations. So even if the plot feels rather familiar, the show is hugely watchable, keeping us hooked through each Killing Eve-style twist and turn. (Netflix)

T H E   S T O R Y   C O N T I N U E S

Squid Game: series 2
The way the writers get back into this story is ingenious, although how they choose to end this seven-episode run feels like a cheat. Rather than set up a cliffhanger, they simply cut away in the middle of a scene, leaving us hanging until the concluding third season this summer. But they've got us hooked. This show is a riveting thriller that isn't afraid to get seriously nasty. Lee Jung-jae is a superior lead actor, sympathetic and often startlingly unpredictable, while both Wi Ha-joon's cop and Lee Byun-hun's puppetmaster get a chance to deepen their roles intriguingly. Best of all, it's impossible to predict where things might go next, as this game-to-the-death keeps throwing brutal twists into the mix. (Netflix)

Shrinking: series 2
Even sharper than the first season, this comedy rockets forward with much more complex plotting and characters who are layered and thoroughly engaging. Everyone in the cast is first-rate, with particularly strong storylines for leads Jason Segel, Harrison Ford and Jessica Williams, each of whom gets the chance to add depth to their therapist character, both in sessions with clients and in their often absurdly ridiculous personal lives. This allows the show to blend nutty humour with some earned emotions, and it also brings to life some strong supporting characters, most strikingly the one played by show creator Brett Goldstein. (Apple)

A N D   S O   I T   E N D S

What We Do in the Shadows: series 6
After the writers strangely copped out in last season's ending, this nutty comedy hits the ground running as these Staten Island vampires face a range of crises with their usual overconfident ineptness. The superb Kayvan Novak is at the centre this time as he struggles with his identity as an alpha-vampire, while Natasia Demetriou, Matt Berry and Mark Proksch shamelessly steal scenes as his constantly disruptive and outrageously dim-witted makeshift family. Enjoyably, Harvey Guillem's Guillermo is even more quietly in control this season. This is the kind of show that could run forever, so it's notable that they opted to go out on a high. (FX)

The Sticky
The great Margo Martindale stars in this series about maple syrup farmers in Canada who go to war over their sticky product, leading to an elaborate heist that plays out like something from a Coen brothers movie, mixing jagged humour with vicious violence and general unpredictability (enter Jamie Lee Curtis!). Based on a true story, it's packed with colourful characters who are wonderfully untrustworthy, so the whole show feels like it will explode into chaos at any moment. It often does, simply because these people think with their emotions. And as a story of little people taking on a big, bad conglomerate, it's easy to know who to root for. (Prime)

C A T C H I N G   U P

Industry: series 1-3
With a fresh, unblinking approach, this British series came highly recommended, and I have enjoyed catching up on the episodes. While the writing is far too dense, and often downright smug, the cast adds nuance to the characters, bringing them to life amid the messy goings on in a London financial office, plus a blinding flurry of drugs and sex out of hours. Most intriguing is that no one is remotely likeable, but they manage to be sympathetic even if pretty much everyone tips way, way over the top along the way. Notably strong work from Marisa Abela, Ken Leung, Harry Lawtey, Myha'la and David Jonsson, with great guest turns by Kit Haringon and Jay Duplass. (BBC)

Alpha Males:
series 1-3
I'd never watched this Spanish series, but a new season coaxed me to start from scratch. And the half-hour episodes zip along amiably. Each character is somewhat cartoonish, but this allows the writers to explore gender issues without taking things too seriously. They also offer some surprising nuance, puncturing political correctness as everyone becomes increasingly confused about how they are meant to treat each other. Both the male and female leading characters are likeable, funny and so deeply flawed that they're almost frighteningly easy to identify with. The rapid-fire dialog is hilarious, and the plotting is gleefully bonkers. (Netflix)

Fake Profile:
series 1-2
The first season of this Colombian thriller is compulsive viewing, a properly sexy guilty pleasure about a Las Vegas dancer (Carolina Miranda) who falls for a too-perfect businessman (Rodolfo Salas). Then when she pays a surprise visit to see him in Cartagena, all kinds of truths are revealed, leading to a twisty mess of nutty plotting, terrific characters and an outrageous climax. The second season, subtitled Killer Match, is very different as it settles into a serial killer thriller that's utterly preposterous. Characters lose all sense of coherence, and a feeling of both misogyny and homophobia creep in (women are tied up, gays are murdered). It's juicy but not much fun. (Netflix)

I GIVE UP: Severance 2
I am sure this show is a work of genius, but my patience simply ran out with its indulgently knotted plotting, out-of-sequence storytelling and generally mopey pace. The actors are so good that I really tried to keep watching, but the way this is put together makes it impossible to care about anything that happens. We can only admire it. Getting through the first season was a chore, and I only managed three episodes of the second. (Apple)

GUILTY PLEASURES: The Traitors (UK/US), Britain's Got Talent, Fool Us, Drag Race (17/Down Under), Dancing on Ice.

NOW WATCHING: The White Lotus 3, Adolescence, The Studio, Your Friends & Neighbours, Wolf Hall: The Mirror and the Light

COMING SOON: Mid-Century Modern, MobLand, Andor 2, The Last of Us 2, The Handmaid's Tale 6, The Conners 7.

Previous roundup: DECEMBER 2024 > 

Critical Week: Winter is coming

Yes, the weather has taken a turn in London, still sunny but much colder, perfect weather for going to the cinema. And holiday movies are starting to turn up as well. But I also saw a few big movies this past week, including House of Gucci, which stars Lady Gaga and Adam Driver in a soapy story of conniving and murder, and it's all true. It's also hugely entertaining. Nicole Kidman and Javier Bardem play Lucy and Ricky in Being the Ricardos, Aaron Sorkin's smart and pointedly topical drama set around the landmark 1950s sitcom. It's rivetingly well-made, and a lot of nostalgic fun too. 

BEST OUT THIS WEEK:
Bad Luck Banging or Loony Porn
Encanto • House of Gucci
Annette • Rebel Dykes
ALL REVIEWS >

There were also two big animated features: Disney's Encanto is a charming, beautifully crafted bit of magic set in Colombia, while Sing 2 carries on the hilarious music-based antics of a group of animals as they take their show to the big time. I saw two British holiday-themed films: Aml Ameen's Boxing Day is a clever blend of traditional London romcom with a sharp depiction of the city's vibrant Caribbean subculture, while Silent Night is a black comedy starring Keira Knightley with a remarkably dark end-of-the-world edge to it. Less enjoyable was the sentimental drama Not to Forget, although its cast features ace Oscar-winning veterans Louis Gossett Jr, Cloris Leachman, Tatum O'Neal and Olympia Dukakis.

This coming week I'll be watching Javier Bardem in The Good Boss, Colin Firth in Operation Mincemeat, Noomi Rapace in Lamb, Stellan Skarsgard in Hope, the coming-of-age drama I Am Syd Stone and the Turkish drama Beyto.

Critical Week: Do a little dance

Well, the Oscars have certainly shaken things up in recent years, and Sunday's ceremony brought some wonderful surprises, handing top honours to Bong Joon Ho's masterful film Paradise. If you've seen the film, it's not difficult to understand why it connected so well with voters. By contrast, this week's big screening was the resolutely silly Sonic the Hedgehog, offering Jim Carrey a chance to hilariously play around with both wacky wordplay and full-bodied physicality. It may be slight, but it's an entertaining romp.

There were three films that honed in on a female perspective. The latest adaptation of Jane Austen's Emma stars Anya Taylor-Joy as a young woman manipulating the love lives of those around her. It's snarky and skilfully made, a perfect film for Valentine's Day. Misbehaviour stars Keira Knightley and Jessie Buckley in the terrific true story of women's rights activists who disrupted the Miss World contest in 1970 London. And from Ireland, Rose Plays Julie is a moody, wrenching tale of a young woman (Ann Skelly) who connects with her birth mother (Orla Brady), unearthing a haunting secret.

By extreme contrast, The Misogynists stars Dylan Baker in a rampaging performance as a Trump supporter in a hotel room on election night 2016. It's like a particularly pointed, provocative one-act play, and leaves the audience with plenty to think about. From Germany, Orpheus' Song is a quietly involving romantic drama about two men having a magical (or maybe drunken) experience while on holiday in Greece. And then there was this controversial doc...

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The Edge of Democracy
dir-scr Petra Costa
with Petra Costa, Luiz Inacio Lula da Silva, Dilma Rousseff, Michel Temer, Jair Bolsonaro, Sergio Moro, Eduardo Cunha, Aecio Neves, Jean Wyllys, Marisa Leticia Lula da Silva
release Br/US/UK 19.Jun.19
19/Brazil Netflix 2h01 ****

I missed this doc when it was released last summer, and wanted to watch it before the Oscars, as it was the only nominated film I hadn't seen. The timing couldn't be more chilling, as the film outlines the step-by-step dismantling of the democratic system in Brazil by politicians who use the judicial system to both cover up corruption and convict opponents with crimes they haven't actually committed, in order to remove them from office. All while the nation's population divides itself into two camps that scream irrationally at each other. The parallels with what happened last week in Washington DC are downright horrifying.

Never attempting impartiality, the film is a first-person account by filmmaker Petra Costa (in a mumbly voiceover that's both eerily dispassionate and often lost in the sound mix). She's expressing her her views on Brazil's political turbulence over the past half-century, as military dictatorship gave way to democracy controlled by the wealthy. Then came Lula, the working-class president who brought fairness to the society, opportunities for the poor, and approval ratings higher than anyone in the world. When he passed the torch to his successor Dilma, the wealthy class suddenly cracked down, twisting an investigation into corruption to set up both Dilma and Lula on charges that were tenuous at best.

Costa pays attention to detail, which makes it clear what actually went on here. Her cameras have terrific access to these people, capturing private moments that are interwoven with the news footage to offer a bigger picture. Sometimes this dense approach a little overwhelming, while her comments about personal connections feel distracting. But even if it's one-sided, there's a bracing sense of fairness how events are recounted with news footage and audio recordings. There's no doubt about what has actually going on.

Which is perhaps what makes the film resonate so sharply. There's Boris Johnson shamelessly lying to the British people (and perhaps to himself) about the true impact of leaving the European Union. There's Donald Trump championing his own victory with a stream of false statistics and manipulative stories even before the Senate voted to ignore their duty to the US Constitution. There's a quote late in this documentary from Ancient Greece, that democracy is only working if the wealthy feel threatened. On the other hand, when the wealthy are threatened, they have the power to suspend democracy. And to brainwash the people into cheering them on.

9.Feb.20 • Sundance

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This coming week I have screenings of Harrison Ford in a new adaptation of Jack London's The Call of the Wild, Rose Byrne in the comedy Like a Boss, Rosamund Pike in the Marie Curie biopic Radioactive and the psychological thriller You Go to My Head, plus a couple of nights at the theatre, two press launches and an awards ceremony.

A Year in Shadows: 2019

TRIVIA ALERT!

Only one star had two covers to herself: Keira Knightley. Two had one solo cover and a shared one: Brie Larson and Margot Robbie. And these appeared on two shared covers: Christian Bale, Chris Evans, Chris Hemsworth, Nicole Kidman, Florence Pugh, Charlize Theron and Bradley Cooper (once as an animated character).

These appeared by themselves on a cover: Antonio Banderas, Jessie Buckley, Judi Dench, Taron Egerton, Idris Elba, Adele Haenel, Linda Hamilton, Nicholas Hoult, Zachary Levi, Ewan McGregor, Joaquin Phoenix, Brad Pitt, Keanu Reeves, Will Smith, Aaron Taylor-Johnson, Sophie Turner, Renee Zellweger and Letitia Wright (the only person who appeared on a cover as herself).

Twice on one cover: Samuel L Jackson, Bruce Willis and James McAvoy. And McAvoy is on another shared cover as well, the only actor appearing three times.

On one shared cover: Evan Alex, Mahershala Ali, Yalitza Aparicio, Ana de Armas, Dave Bautista, Josh Brolin, Steve Carell, Jessica Chastain, Emilia Clarke, Toni Collette, Olivia Colman, Daniel Craig, Jamie Lee Curtis, Robert De Niro, Danny DeVito, Michelle Dockery, Robert Downey Jr, Colin Farrell, Lady Gaga, Henry Golding, Richard E Grant, Eva Green, Danai Gurira, Bill Hader, Laura Harrier, Finley Hobbins, Anthony Hopkins, Lily James, Shahadi Wright Joseph, Scarlett Johansson, Don Johnson, Dwayne Johnson, Viveik Kalra, Michael Keaton, Katherine Langford, Jaeden Martell, Rami Malek, Leslie Mann, Melissa McCarthy, Viggo Mortensen, Jeanelle Monae, Isaiah Mustafa, Kumail Nanjiani, Lupita Nyong'o, Al Pacino, Nico Parker, Himesh Patel, Christopher Plummer, Jonathan Pryce, James Ransone, Jeremy Renner, Daisy Ridley, Seth Rogen, Saoirse Ronan, Jay Ryan, Eliza Scanlen, Michael Shannon, Justice Smith, Maggie Smith, Lakeith Stanfield, Tessa Thompson, John David Washington, Emma Watson, Rachel Weisz, Nell Williams.

On one shared cover, but unrecognisably (wearing a mask or voicing an animated character): Tim Allen, Elizabeth Banks, Kristen Bell, Chadwick Boseman, Blake Clark, Joan Cusack, Adam Driver, Justin Fletcher, Karen Gillen, Tony Hale, Tom Hanks, Tom Holland, James Earl Jones, Ally Maki, JD McCrary, Idina Menzel, Jeff Pidgeon, Annie Potts, Chris Pratt, John Ratzenberger, Ryan Reynolds, Paul Rudd, Wallace Shawn, John Sparkes.

Voiced animated or masked characters include lions, Legos, princesses, toys, superheroes, sheep, a farmer, a dog, a Sith lord and a Pokemon. Unvoiced characters: an Oscar, a Bafta, a dog, some plasticine sheep and a flying elephant.

Most crowded cover: Oscar (12), with a three-way tie for second place: Endgame, Toy Story 4 and Knives Out (11 each).

London Film Fest: Take the prize

It's been another long, busy day at the 63rd BFI London Film Festival, going from film screening to epic-length queue to film screening, and repeat. I'm kind of losing the will to live at this point, as the films begin to blur a bit as actors pop up in multiple movies (Scarlett Johansson, Adam Driver, even Udo Kier). But at least all three films today were superb - easily four stars (two are below). And because we're all a bit punchy, there's a lot of camaraderie while standing in line. So I'm sure we'll all cheer each other on through the next three days of crack-of-dawn screenings to the finish line on Sunday. Here are Thursday highlights...

Le Mans '66 [aka Ford v Ferrari]
dir James Mangold; with Matt Damon, Christian Bale 19/US ***
There are plenty of exhilarating racing sequences in this revved-up drama about Ford's quest to best Ferrari at the iconic 24-hour French race. Director James Mangold captures the energy of the mid-60s period, and the lively personalities of the men involved in this story. But the script is badly out of balance, creating a corny movie villain simply to add some tension, while ignoring Ferrari completely.

Official Secrets
dir Gavin Hood; with Keira Knightley, Matt Smith 19/UK ****
Based on a true story, this riveting political thriller carries both a strong thematic punch and some powerful emotional elements. It's a strikingly well-made film that moves at a gripping pace to uncover a horrific violation of trust by the US and UK governments. It's also an urgent story that needs to be told now, and filmmaker Gavin Hood makes sure it feels darkly relevant at every step.

Earthquake Bird
dir-scr Wash Westmoreland; with Alicia Vikander, Riley Keough 19/Jpn ****
There's a wonderfully disorienting tone to this dramatic thriller, which gives the audience the perspective of a woman who may be losing her mind. Is someone trying to get her, or is she the killer? With Hitchcockian overtones, writer-director Wash Westmoreland crafts a mystery that snakes around in ways that are intriguing, sexy and also rather scary. And it feels even more involving because of its offbeat setting and characters.

Judy & Punch
dir-scr Mirrah Foulkes; with Mia Wasikowska, Damon Herriman 18/Aus ***
There's an ambitious artistry behind this raucous Australian-made film about jolly olde Englande. Taking on the tradition of those iconic battling puppets, filmmaker Mirrah Foulkes flips the legend on its head to make a colourful, blackly comical revenge thriller. The plot meanders all over the place, and the pacing is rather uneven, but it carries a fierce a kick of righteous anger about some big issues.

Pink Wall
dir-scr Tom Cullen; with Tatiana Maslany, Jay Duplass 19/UK ****
For his feature debut, actor Tom Cullen takes a remarkably ambitious approach, letting actors improvise within a clearly devised structure. The result is a film that feels almost unnervingly authentic, with characters and dialog that tell a specific, structured story while also capturing loosely disconnected rhythms of real life. Told out of sequence, it's the impressionistic story of a six-year relationship between Americans in Britain. It's warm, funny, sexy and moving.

Links:
Shadows LONDON FILM FEST homepage (full reviews will be linked here) 
Official LONDON FILM FEST site 

Critical Week: Teacher's pet

This week's line-up of press screenings was refreshingly female-oriented, offering a respite from the usual masculine bravado that's trumpeted on the big screen. Maggie Gyllenhaal is terrific in the understated drama The Kindergarten Teacher, which is remarkably sympathetic for how creepy the story turns. Brie Larson storms the superhero genre in Captain Marvel, an unusually engaging character-based action thriller with a cool 1990s vibe. Keira Knightley is at the centre of The Aftermath, a post-war romantic melodrama that's finely shot and acted but let down by a drippy script. And the bracingly original Icelandic comedy-thriller Woman at War focusses on a mother-to-be trying to protect the planet from abuse.

The rest of the week's movies were just as eclectic. The futuristic comedy-drama 2050 is witty and stylish as it explores falling in love with sexbots. Set in a foreboding forest, Devil's Path is a creepy thriller following two men who seem to be hiding secrets. An inventively intense drama from Portugal, Sunburn features four friends on holiday struggling to deal with repressed 10-year-old emotions. Peccadillo's short film collection No Ordinary Boy: Boys on Film 19 is another set of skilfully made mini-dramas exploring, this time, a darker angle on sexuality. And on my flight back to London I revisited the 1976 version of A Star Is Born, starring Barbra Streisand and Kris Kristofferson. It's a far more female-oriented version of this story than last year's hit remake, which makes it even more strongly involving and ultimately much more moving. I'm not sure I'd seen it since watching it as a young teen on its original release (I loved it back then too).

Screenings this coming week include Julia Roberts in Ben Is Back, Jessie Buckley in Wild Rose, Paolo Sorrentino's Loro, the black comedy Bruce!!!, the caveman thriller Iceman, and two documentaries: Last Breath, about a stranded deep-sea diver, and Silvana, about the Swedish hip-hop artist.

LFF: Start the party without me

The 62nd London Film Festival kicked off on Wednesday evening with Steve McQueen's Widows. Unfortunately, I was halfway around the world at the time, in the tiny town of Kavieng on New Ireland island in Papua New Guinea. A family event (more on that in another post) took me away from the London Film Festival for 10 days this year - my 22nd year covering the event. I've seen several films beforehand, and will be back to binge on movies over the final five days. So my coverage won't be quite as deep as usual. But here we go with some highlights from the first three days, starting with something bracingly original (pictured above)...

Border [Gräns]
dir Ali Abbasi; with Eva Melander, Eero Milonoff 18/Swe ****
This Swedish film is such a genre mash-up that it's relentlessly surprising, with an engaging through-line that also makes it darkly satisfying. Mixing comedy, romance, mystery, horror and Norse mythology, each scene provides a thrill of the unexpected as secrets are revealed and the interconnections between the rather oddball characters continually shift... FULL REVIEW >

Colette
dir Wash Westmoreland; with Keira Knightley, Dominic West 18/UK *****
Much more than a period biopic, this inventive film digs beneath the surface of its people and situations to offer both a refreshing angle on history and a bold comment on the world today. Finally, it ends up feeling bracingly current, exploring both gender issues in ways that are both honest and understated. And it's beautifully written, directed and performed... FULL REVIEW >

Lizzie
dir Craig William Macneill; with Chloe Sevigny, Kristen Stewart 18/US ***.
The sensational true story of Lizzie Borden is told in an intriguingly naturalistic style by filmmaker Craig William Macneill. It's a remarkably thoughtful film, packed with insinuating plot points and earthy performances. And Macneill uses deliberately choppy editing to drop hints and reveal the chain of events out of sequence. It's rather chilly, and very cleverly made... FULL REVIEW >

Mandy
dir Panos Cosmatos; with Nicolas Cage, Andrea Riseborough 18/Bel ***.
Set in 1983, this film has a strong period vibe, echoing the era's horror thrillers everything from the themes to the typeface. Benjamin Loeb's grainy widescreen cinematography and Johann Johannsson's haunting score further add to the tone. Filmmaker Panos Cosmatos creates a deliciously deranged mix of grisly violence and witty characters, although the inevitable climactic carnage is at least 30 minutes too long... FULL REVIEW >

The Breaker Upperers
dir-scr Madeleine Sami, Jackie van Beek; with Madeleine Sami, Jackie van Beek 18/NZ ****
With this engaging comedy, the Kiwi duo Jackie van Beek and Madeleine Sami keep up a steady stream of hilarious gags from beginning to end in each of their roles: as writers, directors and actors. Much of the film has the awkward, absurd tone of Taika Waititi's work (he's a producer), creating riotously sloppy characters who are deeply likeable even when they're doing something painfully stupid.

Papi Chulo
dir-scr John Butler; with Matt Bomer, Alejandro Patino 18/Ire ***.
Irish filmmaker John Butler traces an offbeat friendship in this engaging comedy-drama, which takes a turn that adds a complex exploration of a deep theme. It's a charming story with intriguing characters who interact in honest, messy ways. So while the events in the movie sometimes tip over the top, the story and characters remain easy to identify with.

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CRITICAL WEEK

I haven't had time to check out what films are showing in Port Moresby - it's rather nice not to think about it, frankly! Meanwhile, First Man is hitting US and UK cinemas this week...

Critical Week: Who runs the world?

It's been a busy week for screenings in London, as we're starting to get to see autumn festival titles. This week I was happy to catchup with Wash Westmoreland's biopic Colette, starring Keira Knightley as the iconic French author. It's a fiercely clever film, quietly subverting the period drama while addressing issues that are still current. Bradley Cooper's A Star Is Born is the fourth version of this involving tale of a fading artist (Cooper as a rocker) being eclipsed by his emerging-sensation girlfriend (Lady Gaga, surprisingly excellent). Damiel Chazelle's First Man stars Ryan Gosling as Neil Armstrong in the run-up to the moon landing. It's moving and intriguingly internalised. And Night School features the powerhouse team of Kevin Hart and Tiffany Haddish, although the script leaves them hanging.

Other films this week are featuring in the forthcoming London Film Festival (10-21 Oct), including Nicolas Cage in the gonzo horror Mandy, the hilarious Kiwi comedy The Breaker Upperers, Zhang Yimou's silvery-riveting 3rd century Chinese thriller Shadow, and the Indonesian ghostly horror freak-out The May the Devil Take You. There were also two rock 'n' roll docs: Bad Reputation follows the queen herself, Joan Jett, while After the Screaming Stops traces a reunion of Bros twins Matt and Luke Goss. I also saw one film that's in the now-underway Raindance Film Festival (26 Sep-7 Oct): Dizzy Pursuit is a hilarious one-room micro-budget comedy about distracted filmmakers. And then there were these two Supreme Court documentaries...

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RBG
dir Betsy West, Julie Cohen; with Ruth Bader Ginsburg, Bill Clinton
release US 4.May.18 • 18/US Storyville 1h38 ****
This engaging, gentle documentary traces the extraordinary life of the 85-year-old Supreme Court Justice Ruth Bader Ginsburg. Born at a time when women didn't dare to be lawyers, she was encouraged by her parents and later her husband to pursue her dreams. Her life is a remarkable story of overcoming barriers, refusing to take no for an answer. Then as a lawyer, professor, judge and justice she has been able to help bolster the law to create a more equal system. The film beautifully portrays her efforts to help men understand how it feels to be a second-class citizen as she pursued landmark cases to the Supreme Court in the 1970s, at a time when no one believed there was such a thing as gender-based discrimination against both women and men. There are also sections that explore Ginsburg's personal life as a wife, mother, grandmother, dedicated opera fan and terrible cook, as well as her unexpectedly close friendship with Justice Scalia. The filmmakers include a terrific range of archival photos and film, as well as interviews with her friends, family, colleagues and other public figures. The film captures her personality as a quiet, thoughtful woman with a steel-trap mind, determined to make the world fairer. She's soft-spoken, but her words have real power, and her lively sense of humour makes her even more likeable. Ginsberg is a living American hero, a champion for equality at various levels of society.

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Reversing Roe

dir Ricki Stern, Annie Sundberg; with Tony Perkins, Gloria Steinem
release US 13.Sep.18, UK 19.Sep.18 • 18/US Netflix 1h39 ***.
Bang up to date, this propulsive documentary opens as Texas passes laws restricting access to abortion, with a stated goal to ultimately overturn Roe v Wade. "Everything about abortion is a sin," say the proponents. And the other side replies, "Women have always had abortions whether or not they're legal, so if you want to stop them, help stop unwanted pregnancies." The filmmakers take an open-handed approach, exploring the collision of politics and religion that led to the Supreme Court's landmark decision in 1973 and then on to today's standoff. Both sides have their say as the doc carefully outlines the history of the issue in America, including the way Reagan and the Republicans switched sides on abortion (it was a deliberate strategy to lock in a voter base), as did Planned Parenthood (which was originally against abortion). Today the issue has turned religious, arguing against the murder of unborn infants. This has led to a system in which voters make their choice based on this issue alone, not whether the candidate is suitable for office. And in the 1980s it led to violence, including fatal shootings and bombings, perpetrated by fanatics who hypocritically called themselves pro-life. As it carefully balances the presentation of each argument, the film can hardly help but have a pro-choice slant, simply because the separation of church and state makes the issue legally clear. And also because the pro-life side is driven by men who use sleazy tactics. But the film also avoids exploring the idea that abortion is the taking of a human life, focussing instead on the fact that women should choose, not government officials. And certainly not middle-aged male politicians.

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This coming week I have a lot more films for Raindance and London festivals, plus regular releases like Rowan Atkinson in Johnny English Strikes Again, Joaquin Phoenix in Don't Worry He Won't Get Far on Foot, Tilda Swinton in Suspiria, Aubrey Plaza in An Evening With Beverly Luff Linn, Emily Rajtakowski in Cruise, and the animated film Tehran Taboo.

LFF 1: The game's afoot

The 58th London Film Festival got off to a fine British start with The Imitation Game on Wednesday night, a rain-soaked premiere attended by Benedict Cumberbatch, Keira Knightley and most of the cast and crew. As a biopic about one of the greatest Brits who ever lived, it's an appropriate enough opening movie, and is likely to land Cumberbatch with an Oscar nomination in January.

For me, the first couple of days have passed in a blur of film screenings, interviews and scrabbling around for time to write up reviews, features and this blog. Here are some film highlights:

The Imitation Game
dir Morten Tyldum; with Benedict Cumberbatch, Keira Knightley 14/UK 1h53 ****
Ripping performances add layers of depth to a script that isn't quite as complex as its secrets-within-secrets structure would suggest. Based on declassified documents, the film is a hugely involving account of how British mathematicians cracked the Nazis' Enigma code and turned the tide of the war. Just as importantly, this is the first proper biopic about the world-changing genius Alan Turing. FULL REVIEW >

Men, Women & Children
dir Jason Reitman; with Rosemarie DeWitt, Jennifer Garner14/US **.
This cautionary tale about social media could only have been made by someone who grew up before it took over the world. Based on the novel by Chad Kultgen (age 38), the film was written by Wilson (50) and director Reitman (36) as a cautionary tale highlighting the dangers of small-screen interaction. But viewers under 30 may find it condescending and simplistic. FULL REVIEW >

Mr. Turner
dir Mike Leigh; with Timothy Spall, Marion Bailey 14/UK ****
At age 71, Mike Leigh continues to prove that he's one of the nimblest filmmakers working today. By avoiding the pitfalls of a formulaic plot, he reinvents both the costume drama and the celebrity-artist biopic as something earthy and real. Packed with humour and sardonic honesty, this exploration of the life of iconic painter JMW Turner is simply gorgeous.

'71
dir Yann Demange; with Jack O'Connell, Paul Anderson 14/UK ****
Set out as one young man's experience in the early days of the Troubles in Northern Ireland, this gritty, urgent film has much broader things to say about the impact violent conflict has on individuals and communities. It's a bit relentless in its approach, but it takes the audience on a provocative odyssey that sparks thought rather than trying to explain it all. FULL REVIEW >

Hockney
dir Randall Wright; with David Hockney, John Kasmin 14/UK ****
One of Britain's greatest living painters is the subject of this artful documentary, which swirls together firsthand memories from David Hockney, his friends, family and colleagues. Put together, this is a fascinating exploration of Hockney's art, digging in to see how his work was created and why he has such an obsession with pushing technical boundaries. The film is slightly long and indulgent, but fans will love every moment.

Critical Week: Soak up the sun

London critics had a chance to catch up with John Carney's long-awaited follow-up to Once, and Begin Again turns out to be essentially the same story retold with starrier actors in New York. It's also disarmingly enjoyable, with wonderful songs and nicely offhanded performances from the entire cast, which includes Keira Knightley (who can truly sing), Mark Ruffalo, Adam Levine and James Corden. Richard Linklater's ambitious and utterly amazing Boyhood is nearly three hours long, was shot over 12 years, and stars Patricia Arquette and Ethan Hawke as parents of young actors who grow up before our eyes.

We also caught up with the British indie Love Me Till Monday, a charming and somewhat thin romantic comedy that's mainly notable for its clever refusal to indulge in any formulaic rom-com plotting. And there were also two docs: Children 404 is an eye-opening look at children in Russia who identify themselves with the LGBT community and hate the way their government is sidelining them while making it acceptable to be targets of homophobic hatred (it's the closing film at the Open City Docs Fest). And The Final Member documents the world's only penis museum, which is located in northern Iceland, and its founder's tenacious attempt to complete his collection of mammals with a human specimen. It's dryly hilarious and rather telling too.

This week, I'm taking my first no-email/no-film holiday in six years and won't resurface until Sunday, 29th June. The first screenings on my return will be Melissa McCarthy's zany (sigh!) comedy Tammy, Philip Seymour Hoffman in God's Pocket, Noel Clarke and Ian Somerhalder in The Anomaly, and the Scandinavian crime-thriller The Keeper of Lost Causes. And I'll also be looking to catch up with things I missed while away, including How to Train Your Dragon 2 and Transformers: Age of Extinction. So until then, bring on the sunshine...