Screen: December TV Roundup

This roundup is a few months late, as my autumn was sidetracked in all kinds of directions. I have still managed to watch the odd episode of a series here and there, so I've been slowly getting through things, especially in the run-up to the voting deadline for the Golden Globes TV categories (but it's impossible to see everything). As always, television is my therapy, a chance to relax from the more intense work of watching and reviewing films. Still, it's been great to see cinematic ideas and approaches in series this autumn, most notably in the first one here. Starting with new shows...

Disclaimer
Who would have thought that a pitch-black battle of wits between Cate Blanchett and Kevin Kline was what we always wanted on TV? Turns out that was gifted Mexican filmmaker Alfonso Cuaron, who put together this ripping dramatic thriller about grappling with past decisions and present-day accusations. Offbeat and unexpected, it continually flips the tables on its characters, with powerhouse performances from Blanchett and Kline, plus Sacha Baron Cohen, Leslie Manville and Kodi Smit-McPhee. With unusual nuance, the actors bring out dark themes in ways that are powerfully provocative. (Apple)

A Man on the Inside
Ted Danson reteams with The Good Place creator Michael Schur for this ingeniously designed comedy mystery based on the terrific 2020 Chilean documentary The Mole Agent. Danson is on top form as a man who goes undercover in a San Francisco retirement home to investigate a robbery. Residents are wonderfully played by veterans like Sally Struthers, Margaret Avery, Veronica Cartwright, Susan Ruttan, Stephen McKinley Henderson and John Getz. Cleverly, the show remains consistently funny and astute, while refusing to shy away from some surprisingly moving moments. (Netflix)

The Perfect Couple
A sudsy mystery set around a fabulously wealthy family in Nantucket, this show delights the audience with a series of snaky relationships between relatives. Essentially White Lotus Lite, the writing is never quite as surprising or tricky as it thinks it is, as everything is fairly obvious from the start. But the jagged editing makes sure that there are some great surprises along the way, and terrific scenes for the ensemble of terrific actors led by Nicole Kidman and Liev Schreiber as parents who aren't as oblivious as they seem to be. And the story's messier edges are rather good fun. (Netflix)

Monsters: The Lyle and Erik Menendez Story
In this third season of Ryan Murphy's anthology series, the notorious Menendez case provides plenty of juicy tabloid-style nastiness to hold the attention. And the central performances from Nicholas Alexander Chavez and especially Cooper Koch as the troubled siblings make it riveting. Stir in edgy turns from Javier Bardem and Chloe Sevigny as their (probably) abusive parents, Ari Graynor as their tenacious lawyer and Nathan Lane as too-involved novelist Dominic Dunne. It's a clever look at the questions between the lines, leaving us with a lot to talk about. (Netflix)

Agatha All Along
Kathryn Hahn gets her own Marvel spin-off with this sequel to WandaVision, as the witch Agatha meets a teen (Joe Locke in a nice break from Heartstopper) who holds a very dark secret. As they set off down the Witch's Road with a group of rivals including Aubrey Plaza and Patti LuPone, the plotting becomes a bit knotted and dense, but there's a light sense of humour that keeps the show fizzing along entertainingly. Indeed, the mischievous performances make sure that all of the witchy nonsense isn't as impenetrable as it feels. (Disney)

Kaos
Sunny and sparky, this energetic series puts Greek gods in the modern world, threatening the balance between their encampment on Mount Olympus, the humans on Earth and the residents of the Underworld. First a warning: this is one of those series that sets up something huge, then only delivers it in the final seconds of the final episode, leaving it all hanging on a potential second season, which sadly isn't happening. That said, it's a lot of fun to watch this talented cast play with the material, including Jeff Goldblum, Janet McTeer, Cliff Curtis, David Thewlis and especially Nabhaan Rizwan. (Netflix)

Time Bandits
Taika Waititi and Jemaine Clement adapted Terry Gilliam's sublime classic film into this scrappy series, considerably altering the premise to make everything much murkier. Strangely, the characters feel under-written and not particularly funny, especially the roles Waititi and Clement gave themselves (the Supreme Being and Pure Evil). Most surprising is how unsophisticated this feels, like a cheaply made children's TV show. Lisa Kudrow is enjoyable as the leader of a group marauding through time, and others have their moments. But it never quite grabs hold, and won't be back for another season. (Apple)

W E L C O M E   B A C K

Only Murders in the Building: series 4
Hilariously continuing to play with its premise, this series gets more intricate with each season. And this time our trio of podcasters (Steve Martin, Martin Short and Selena Gomez) has been pulled into the sphere of a blithely shifty Hollywood producer (Molly Shannon) who wants to make a movie about them starring Eugene Levy, Zach Galifianakis and Eva Longoria. Cue their hilarious pastiche performances from them and a crowded cast of big-name stars. Through it all, a murder propels them into another messy whodunit that twists and turns with each nutty episode. (Hulu)

Heartstopper: series 3
Things get a bit more intense in this season, as one of the main story threads centres on how Nick (Kit Connor) struggles to help Charlie (Joe Locke) get help to deal with his eating disorder. The issue is never simplified, so it gets genuinely dark along the way, and this adds a shadow over most of the other plotlines as well. So while this more serious edge kind of undermines the show's usual sweetness, it also allows it to grow up a bit and tackle something important and relatable. And the production and performances are terrific as always, with a superb role for Hayley Atwell. (Netflix)

Frasier: series 2
For its second season, this legacy series continues to complicate its inter-relationships, bringing back some favourite characters (most notably Peri Gilpin) while adding some depth to the new ones who have been introduced this time around. At the centre, Kelsey Grammer shines as the oblivious egomaniac shrink with a heart of gold. While Niles' absence is still sorely felt, as is any reference to Frasier's earlier life in Boston, the writing is sharp enough to keep us laughing. And the connections between these people are warm and involving, and funny too. (Paramount)

A N D   S O   I T   E N D S

Somebody Somewhere: series 3
Frankly, this is heaven in a television series, upending all of the usual sitcom cliches to depict the relationships between a group of almost staggeringly real people. At the centre is Bridget Everett's Sam, who still hasn't quite found her place amid her feisty sister (Mary Catherine Garrison) and goofy best friend (Jeff Hiller). So she can't see why a hulking new neighbour (Olafur Darri Olafsson) could like her as much as she likes him. Like a balm for the soul, this show makes you laugh, sigh and cry ugly tears of joy. And it reminds us how important it is to find our people. (Max)

The Umbrella Academy: series 4
For their final season, this makeshift bunch of siblings is trying to get back to their original timeline. Yes, multiverse nonsense abounds, as does yet another reality-ending plot. As tiring as that is, there's enough interest in the characters to keep us watching. They are also well-played by an ensemble that has grown very tight over the run of this series, and over these six rather annoyingly fragmented episodes they get to wrap up their various stories. It also helps to have Megan Mullally and Nick Offerman on hand as the antagonists. (Netflix)

Unstable: series 2
Rob Lowe is back as the nutty tech boss who is still navigating his relationship with his adult son (played by Rob's son John Owen Lowe). The whole show feels a bit too carefully constructed as a wacky workplace sitcom, but there are funny moments along the way, thanks to a cast that isn't afraid to look ridiculous. Both owes are terrific, and their good-natured banter is thoroughly entertaining, especially when augmented by the up-for-it supporting cast. Perhaps with a little more forward momentum, this show might have caught on with viewers and then returned for more. (Netflix)

Elite: series 8
For the last season of this Spanish show set in a prestigious private school, the writers have gone even darker than usual, as almost everyone is now indulging in some sort of criminality, often involving violence that's unusually grim. That said, the storylines are as sexy as always, even if the direction has a new coyness to it that throws the camp soapiness and lurid lustiness out of balance. This means that the actors have to scramble to keep their characters grounded in any sense of reality. But it just about works, and we'll miss this nutty, lusty, grisly mess when it's gone. (Netflix)

Snowpiercer:
series 4
Returning for its final season after a long break, this high-concept futuristic thriller immediately throws logic out the window. A fractured structure never quite makes sense, while characters have jolting personality shifts, most notably Daveed Diggs' leader Layton, who thoughtlessly jeopardises everyone with a personal quest. But then, none of the plot threads serves the characters very well, and the splintered approach keeps anything from gaining momentum, as it were. It's all so choppy, and such a bit let-down after the intelligent first three seasons, that I didn't make it to the end. (AMC)

GUILTY PLEASURES: The Great British Bake-Off, Strictly Come Dancing, Queer Eye, Drag Race (UK, Global All-Stars, Canada vs the World), The Circle, Selling Sunset.

NOW WATCHING (OR INTENDING TO): Squid Game 2, What We Do in the Shadows 6, Wolf Hall: The Mirror and the Light, Dexter: Original Sin, Black Doves, The Madness, The Day of the Jackal, Landman, The Sticky, Laid.

COMING SOON: The White Lotus 3, Severance 2, Zero Day, Prime Target, The Traitors 3.

Previous roundup: AUGUST 2024 > 

Screen: January TV Roundup

Extra television was required this autumn to prepare for casting my TV ballots in the 81st Golden Globes. But it's just impossible to catch everything. Still, I'd seen most nominees in each category before I cast my final-round votes, then cheered The Bear, Succession and Beef to victory on Sunday night. Here's what I've been watching over the past four months, starting with nine new series. Or in the first case, new-ish...

Frasier
Kelsey Grammer slips effortlessly back into his iconic role for a third time, still seeming like a man living in the wrong place and time, and loving it despite the constant annoyances. This reworking is more of a standard sitcom than the 1993-2004 iteration, with the usual collection of offbeat characters and predictable tensions. So that Niles-Frasier dynamic feels sorely lacking. That said, these people definitely grow on us. And it's the funniest new comedy in years, a rare show that can make us laugh out loud. (Paramount) 

Fellow Travelers
Lavishly and boldly assembled, this drama traces several decades in American politics through the prism of homophobia and fear, most notably in the 1950s McCarthy hearings. An epic romance is recounted in fragmented snippets that prevent the viewer from properly engaging with the narrative's emotional momentum, but individual scenes are gorgeously written and played, and various story arcs carry strong emotional wallops. Matt Bomer and Jonathan Bailey have wonderfully prickly chemistry in the central roles. (HBO)

Lessons in Chemistry
First-rate production values and excellent performances add both weight and depth to this 1950s drama, which takes a specific look at the often cruel suppression of women in American society. The story centres on ace scientist Elizabeth (a superb Brie Larson), a survivor of abuse who finds herself increasingly marginalised despite her brilliant mind. Strong performances from Lewis Pullman (as her colleague and romantic foil) and Aja Naomi King (as an intrepid neighbour) add terrific textures. (Apple)

The Brothers Sun
Michelle Yeoh storms the small screen as the mother of siblings (Justin Chien and Sam Song Li) who haven't seen each other in decades. One stayed in Taipei with their Triad boss dad (Johnny Kou) and became a killer, while the other moved with mum to Los Angeles and became "soft". The spiralling interaction within this family, plus a range of terrific side roles, makes this show worth a look, while the violence that surrounds them erupts in fiercely well-staged action sequences. It's a lot of fun, and keeps us on our toes. (Netflix)

Gen V
This spin-off from The Boys has a sparky young cast and a driving sense of momentum, plus the same intensely hyper-violent touches and gimmicky sexual shenanigans. The fresh-faced cast is likeable, even as their super-powered university student characters rocket through a series of outrageous situations while uncovering and trying to expose a massive conspiracy involving a shady cabal that is exploiting all of them. Ultimately, it's a bit of nasty nonsense that folds itself back into The Boys. (Prime)

Blue Eye Samurai
Beautiful manga-style animation brings this epic-legend series to life, with hour-long episodes that feel rather ambitious, but also textured and satisfying. Set in 17th century Japan, when being foreign was illegal, the story sends a young samurai who is half-European (thus the blue eyes) on a very personal quest. Secrets abound throughout the narrative, which unfolds with a wonderful series of unexpected adventures and relationships and lots of underlying secrets. And the characters have complexity and charm. (Netflix)

Still Up 
This sitcom is about an insomniac and her agoraphobic male pal who are never in the same room. Both are insufferable, difficult to like as they communicate by video chat. Thankfully, Lisa and Danny are brightly well-played by Antonia Thomas and Craig Roberts. But their misadventures feel contrived, as does how the story pushes them together. Along the way, they constantly poke fun at Lisa's partner (Blake Harrison), the show's most engaging character who's ridiculed for his humanity and sense of responsibility. Hmmm. (Apple)

Tore 
From Sweden, this is a pitch-black comedy that isn't afraid to get very grim indeed, as the young title character (William Spetz) grapples with both his sexuality and his grief. This makes it often tough to watch, as Tore isn't particularly likeable, because he acts without thinking about anyone, even himself. But it's fascinating to watch as his experiences push and pull him in various directions, shifting his perspective and trajectory. And Spetz delivers an astonishingly brave performance in a wonderfully messy role. (Netflix)

Escort Boys
Corny title aside, this French series has an intriguing premise that could serve as a fascinating exploration of masculinity. Alas, the story is told through a resolutely male gaze, with characters who are unflinchingly macho. It's about a teen girl who, to save the family farm, creates a stable of escorts with her brother and friends. The setting, in a part of France that looks like the Australian Outback, is gorgeous. While the obvious female themes are here, issues of sexuality only timidly emerge in the final two episodes. (Prime)

A   F I N A L   B O W

The Crown: series 6 
This final season's first half builds to the death of Princess Diana (the fantastic Elizabeth Debicki) and her seismic influence on the royal family and the world. Then the show returns to the Queen (Imelda Staunton), Prince Philip (Jonathan Pryce), Princess Margaret (Lesley Manville), Prince Charles (Dominic West) and his sons., tying up loose narrative loose ends. As always, this is impeccably produced, with first-rate acting in complex roles. And as it inventively blends fact with fiction, it needs to be taken with a grain of salt. (Netflix)

A N O T H E R   H E L P I N G

The Morning Show: series 3 
Far soapier than previous seasons, this show slows its momentum while diffusing the plot among various improbable character threads. Topicality remains strong enough to hold the interest, especially with powerhouse actors like Jennifer Aniston, Reese Witherspoon, Billy Crudup, Greta Lee and Julianna Margulies. It may not be as brisk, bold and nimble as the first season, but it's a rare show that takes on big issues relating to show business. And Jon Hamm has some nasty fun a the Musk-like tech baron on a mission. (Apple)

The Tourist:
series 2
Jamie Dornan and Danielle Macdonald continue the adventures of the amnesiac Irishman, leaving the Australian Outback for Ireland and a new barrage of kidnappings, attacks and mayhem. It turns out that Elliot is actually scion of the Cassidy mob, and he reignites the feud with the rival McDonnell family. The twists and turns are fun, violent but gleefully played with tongue in cheek. While some of the random sideroads feel a bit annoying, the great Olwen Fouere is fabulously formidable as Elliot's no-nonsense mother. (BBC)

Upload: series 3
This show's plottiness increases once again, and the exhausting convolutions distract from the more entertaining relationships and sci-fi nuttiness. As the central premise splinters to follow other characters, Robbie Amell's Nathan is doubled as well, creating two main storylines while further beefing up supporting roles for leading ladies Andy Allo and Allegra Edwards, as well as Owen Daniel (as the entire afterlife hotel staff). This is a guilty pleasure, offering fun while never grappling with deeper ideas in the premise. (Prime)

Our Flag Means Death: series 2 
Adding some terrific new characters and spiralling adventure chaos, this pirate ship comedy charges confidently into its second season. It's hilarious to watch events continually rocket off in new directions, as the characters struggle to make sense of each new situation. This season starts off sparky and silly, then get a bit murky with lots of flashback-induced soul-searching. So the final few episodes feel a little meandering and corny. But the way the show continually punctures masculinity is fiendishly clever. (Max)

Elite: series 7
Madrid's party/murder school is back in session, with traumatised ex-student Omar (Omar Ayuso) now on staff while his new boyfriend (Fernando Lindez) is a student, improbably funded by last year's multiple-tragedy victim Ivan (Andre Lamoglia) then launching into an awkward love triangle. There's a feeling like the stakes have been raised, most notably with the aggressive police, who are seen illegally wiretapping teens and violently evicting homeless kids from a shelter. But several vanished characters are sorely missed. (Netflix)

I   G I V E   U P

Loki: series 2 
Rocketing back into its time-travelling, parallel universe mayhem, this show is far too pleased with its own impenetrable mythology to allow the viewer in. Tom Hiddleston and Owen Wilson have terrific chemistry, plus the great Ke Huy Quan, but it's swamped by overwrought production values and badly overwritten dialog. I tried to just sit back and have some fun with this, but lost the will to live by episode 3. (Disney) 

NOW WATCHING: Fargo (5), The Traitors (2), Invincible (2), Open To It.

COMING SOON: Expats, Feud: Capote vs the Swans, Mr & Mrs Smith, Sexy Beast, The Woman in the Wall, The New Look, Players, Abbott Elementary (3), True Detective: Night Country (4), The Conners (6), Queer Eye (8).

Previous roundup: OCTOBER 2023 > 

Critical Week: Say your prayers

After having virtually no spring at all, the weather in London has finally warmed up, just in time for the Cannes Film Festival in the South of France. I'm avoiding that crowded, chaotic festival as usual, and hoping for a couple of quieter weeks at home, and nicer weather will be a bonus. But the movies keep coming, and there were two films this week that take on religion: the drama Are You There God? It's Me Margaret adapts the classic 1970 novel into a nuanced coming-of-age drama starring Abby Ryder Fortson (above). Less textured is Jesus Revolution, which stars Kelsey Grammer as real-life pastor Chuck Smith, who brought hippies into his Southern California church in the late-1960s. It's preachy but watchable.

BEST OUT THIS WEEK:
Butterfly Vision
Are You There God? It's Me, Margaret
ALL REVIEWS >

And then there's the blockbuster of the week: Fast X is the latest romp for Vin Diesel's car-crashing crew, which fans will love even though it's both ridiculous and predictable. The doc Being Mary Tyler Moore recounts the inspiring story of the iconic actress who had a major impact on culture. I also attended two theatre shows: Skid / Saaba at Sadler's Wells are two superbly physical pieces by a gifted Swedish company, and Once on This Island at Regent's Park Open-Air Theatre is an involving musical set in the Caribbean.

This next week I'll be watching Disney's live-action remake of The Little Mermaid, Ben Affleck in Hypnotic, the animated adventure Boonie Bears: Guardian Code, the British whodunit Medusa Deluxe and the documentary My Name Is Alfred Hitchcock. I'll also attend the press nights for The Misandrist at the Arcola and Corps Extremes at Sadler's Wells (reviews here soon).

Critical Week: Never grow up

Even with cinemas back open, this has been an odd week for press screenings: I've had none in actual cinemas, only the links to watch at home, reminiscent of those lockdown months. It's an odd lull, but then nothing is quite back to normal yet. Release schedules are getting back on track, although options for moviegoers don't feel quite as varied as they should be. Still, there are some good ones out there.

BEST OUT THIS WEEK:
Coda • Free Guy • The Courier
Josee, the Tiger and the Fish
Misha and the Wolves
ALL REVIEWS >

The films I watched this week were the usual offbeat bunch. Wendy is a stylish, fantastical and oddly bleak spin on Peter Pan from Benh Zeitlin (Beasts of the Southern Wild). Charming the Hearts of Men is a warm Southern drama starring Anna Friel and Kelsey Grammer, touching political issues with a low-key charm. Crime Story stars Richard Dreyfuss and Mira Sorvino in a fascinating true story that refuses to fit the formula. From India, Shershaah is an epic true-life war movie that vilifies the enemy but also has a cute romantic subplot. From Denmark, Wildland is a dry, edgy drama about a family that values loyalty over morality. From Ecuador, The Legend of Tayos painstakingly documents the search for ancient treasure in a cave system shrouded in mystery. And there are five well-made European shorts in the collection Boys Feels: I Love Trouble, each of which explores the fallout from breaking the rules.

This coming week, I'll be watching Marion Cotillard in Annette, Henry Golding in Snake Eyes, Hugh Jackman in Reminiscence, horror thriller Jakob's Wife, friendship drama The Land of Owls and an animated remake of Around the World in 80 Days.

Critical Week: Founding fathers

It's my birthday week, so I've been a bit off-schedule, spreading celebrations over three days (as you do!). But I still managed to watch a number of films, including two on the big screen. On Netflix, America: The Motion Picture is a wacky animated mash-up of US history and pop culture silliness. It's utterly idiotic, but the barrage of gags means that some of them elicit laughter. On Prime, The Tomorrow War is a bloated action epic thankfully starring the hugely watchable Chris Pratt as a biology teacher (of course with special ops training) sent to the future to save humanity from spike-shooting aliens. It's utterly idiotic, but cheesy enough to keep us entertained. And on HBO Max, No Sudden Move is a gritty mob thriller expertly directed by Steven Soderbergh, with an superb ensemble led by Don Cheadle, Benicio Del Toro and Jon Hamm. It's snaky and involving, but holds onto its best thematic kick too long.

BEST OUT THIS WEEK:
The Man With the Answers
Another Round • Summer of Soul
Freaky • No Sudden Move
PERHAPS AVOID: Voyagers
ALL REVIEWS >

As for cinema screenings, there were The Last Bus, an involving and never sentimental drama with Timothy Spall as a very old man travelling the length of Great Britain on public busses, and Jumbo, an inventively well-made French romance based on a provocatively offbeat true story. I also watched The God Committee, a dark morality drama starring a serious Kelsey Grammer; the Argentine dramatic horror Rock, Paper and Scissors, which scarily pits siblings against each other; and the glorious Summer of Soul, beautifully documenting a shamefully forgotten Harlem concert series from 1969.

I also returned to a West End theatre to finally catch up with the musical Everybody's Talking About Jamie, a triumphantly engaging story about a teen who wants to be his colourful self. It has properly great songs too, which bodes well for the film adaptation that's due in the autum.

This coming week, I am looking forward to in-cinema screenings of Black Widow with Scarlett Johansson and Florence Pugh, and The Duke with Helen Mirren and Jim Broadbent. Other films to watch include Emile Hirsch in Son and Nicolas Cage in Pig. I'm also taking a couple of days off, getting out of London for the first time in a year.

Critical Week: School daze

Well, Britain didn't reopen as planned on Monday, as the mishandling of new variants meant any lightening of regulations has been delayed. Thankfully, the accelerated vaccination programme seems to be making headway, so fingers crossed for any steps we can take back to normality. Cinemas, theatres, restaurants, bars and clubs particularly depend on this. In the meantime, big films are beginning to appear again, some with enormous press screenings. This past week's main offerings included the teen comedy-horror mashup Freaky, an uneven but witty concoction in which serial psycho Vince Vaughn swaps bodies with cute high schooler Kathryn Newton. And those vrooming speedsters were back on the Imax screen for F9 (aka Fast & Furious 9), which is an unusually joyless instalment in the saga but pushes the spectacle to new (ahem!) heights.

BEST OUT THIS WEEK:
Supernova • I Carry You With Me
The Man Standing Next • Bare
ALL REVIEWS >

Smaller movies this week included Harvey Keitel as Lansky, a finely made but familiar biopic tracing the fascinating life of the notorious gangster. The intriguing but never quite provocative The God Committee stars Kelsey Grammer in a serious role, exploring the people who decide who receives an organ transplant, and who doesn't. From Spain, the silly animated romp Dogtanian and the Three Muskehounds brings the 1980s 2D cartoon characters to 3D imagery, with mixed results. And the horror comedy Vicious Fun is a snappy and rather cartoonish play on horror movie tropes, centred around a film critic.

Coming up this next week I have Channing Tatum as George Washington in the action pastiche America: The Motion Picture, Timothy Spall in The Last Bus, the fantastical romance Jumbo and the shorts collection Upon Her Lips: Heartbeats. I'll also be heading to a West End theatre to finally catch Everybody's Talking About Jamie ahead of the movie adaptation in the autumn.

Critical Week: Going underground

Screenings are still a bit thin at the moment, for two main reasons: I've seen most of things already (thanks to festivals and awards screenings) or distributors either aren't screening their films (as with Fifty Shades Freed) or are refusing to let some journalists see them (as with Jennifer Lawrence's Red Sparrow). I wish I knew why.

Anyway, I did catch the bonkers archaeological adventure 7 Guardians of the Tomb, which stars Li Bingbing, Kellan Lutz, Kelsey Grammer and a lot of big spiders. It's stupid, but rather enjoyably so. And then there was Raoul Peck's gorgeous drama The Young Karl Marx, which traces the friendship between Marx and Engels during a turbulent ideological period. Beautifully written, directed and acted, it deserves to be widely seen, but I suspect political narrow-mindedness will limit its audience. And I also chased down two films nominated for the feature documentary Oscar...

---

Strong Island
dir Yance Ford; with Yance Ford, Barbara Dunmore Ford 17/US ****.
With this documentary, filmmaker Yance Ford tells an astonishingly personal story that layers in a range of pungent issues, questioning elements of American society in thoughtful, challenging ways. At the centre is a family's grief and anger over the shooting death of Ford's older brother William. And no one has ever explained to the family why no charges were filed against the known assailant. Ford traces the series of events, asking probing questions of family members, friends, witnesses and officials while quietly highlighting the much bigger issues involved, including the underlying racism in society and how it has had an impact on this family for generations. The film bristles with rage, but never turns into a rant, as Ford channels artistic and emotional expression into every sequence. He also boldly layers his own emerging sexuality into the narrative. Along the way, there are several shocking moments that hit us square between the eyes, and the final scenes are intensely moving. So the doc is not only resonant and involving, it's also urgent and important.

---

Abacus: Small Enough to Jail
dir Steve James; with Thomas Sung, Jill Sung 17/US ***.
The outrageous injustice woven into this story is enough to get the blood boiling within the first few minutes. So it's frustrating that ace director Steve James gets somewhat bogged down in his own documentation of the situation. That said, the film is beautifully shot and edited, and James leaves no stone unturned as he tells the story of Abacus, a savings and loan set up by the Sung family to serve New York's Chinese community. It's also the only bank that has ever been charged in connection to the 2008 financial crash, which was caused by huge monoliths dealing in illegal mortgages then pleading that they were too big to fail, so they took trillions in bail-out cash. Meanwhile, prosecutors targeted the Sung family, unnervingly proving that the system had no interest in justice, going after a small firm without cause simply because they were an easy target. But patriarch Thomas Sung fought back, and while the narrative of the case is gripping, the details about finance and the global system are more than a little dry, even with whizzy graphics and a superb musical score (by Joshue Abrams) to liven things up. But while the bigger picture is indeed important, it's this family's story that's darkly compelling.

---

This coming week I'll catch up with, among other things, Jason Bateman in Game Night, Agnes Jaoui in I Got Life, the Russian drama A Gentle Creature and the doc Westwood: Punk, Icon Activist. I also have one last Oscar nominee to catch up with before the ceremony next weekend: the animated feature The Breadwinner.

Requisite Blog Photo: Special delivery