Critical Week: Take a leap

I travelled back from rainy California to icy London this week, having submitted my final ballot for the Golden Globes last weekend. So I look forward to seeing what our international group of critics chose to take home prizes on Sunday night in Los Angeles. I also caught up with two films opening this week: Kristen Stewart's writing-directing debut The Chronology of Water is a challenging arthouse collage, based on a dark memoir. Imogen Poots is superb in the lead role, although the film is a bit too fragmented to pull us in. By contrast, People We Meet on Vacation is a charming and silly romantic comedy (now on Netflix) that's a bit too slick and long, but has some underlying themes that resonate. Plus ridiculously likeable leads in Emily Bader and Tom Blyth. Still, Chloe Zhao's Hamnet is hands down the best film out this week.

I also caught up with the acclaimed German drama Sound of Falling, an ambitious and luxuriant multi-generational epic that continually sends shivers down the spine with its darkly astute observations. Another awards contender, the doc Orwell: 2+2=5 is expertly assembled by Raoul Peck to explore how George Orwell's prescient novels have been echoed in global politics over the past century. It's essential viewing, partly because of the rather terrifying things it says about humanity. And then there were two movies I finally caught up with on the plane flight home: Megan 2.0 is an enjoyably bonkers sequel that is unafraid to get both silly and sharply pointed. I loved it. And gifted filmmaker Kogonada takes a huge swing with A Big Bold Beautiful Journey, a surreal romance starring Margot Robbie and Colin Farrell. It's skilfully crafted, but almost nothing about the story works at all.

Coming up this next week, I'll be watching Chris Hemsworth and Mark Ruffalo in Crime 101, survival horror Primate, Palestinian drama All That's Left of You and catching up on films and TV I haven't had time to watch over the past few weeks. There are also more voting deadlines to contend with.

BFI Flare: Reveal yourself

The 38th BFI Flare wrapped up on Sunday, after Saturday night's closing ceremony and the world premiere of Lady Like, starring Lady Camden, who brought her starry glamour to the evening. It was a great festival, with lots of excellent films. Although without a delegate centre or team, it was tricky for press to see the films. And of course the best thing about this event each year is catching up with my Flare friends! Here are some final highlights, plus comments on the relatively few short films I managed to see and my 10 best films of the fest...

Lady Like
dir-scr Luke Willis; with Rex Wheeler, Shiloh Brody-Clarke 24/US ***
There's a terrific story at the centre of this documentary, tracing the life of drag star Lady Camden from her London childhood to TV stardom and beyond. Filmmaker Luke Wheeler has wonderful access, capturing Camden's alter-ego Rex Wheeler with unusual openness and authenticity. But the film itself isn't edited together with momentum or a clear structure, circling around and repeating emotional points. So it's entertaining, but never as moving as it wants to be.

Unspoken
dir-scr Jeremy Borison; with Charlie Korman, Michael Zapesotsky 24/US ****
Sensitive and introspective, this teen drama plays out almost like a mystery thriller. Sharply shot with a vivid attention to detail, the film has a focussed perspective that's both riveting and involving. Writer-director Jeremy Borison maintains narrative momentum along with a knowing sense of how it feels to be gay in a religious community. And because the story is connected to history, it carries surprising weight and complexity.

Love Lies Bleeding
dir Rose Glass; with Kristen Stewart, Katy O'Brian 24/US ****
Cleverly using excessive audio and visual flourishes to heighten the mood, filmmaker Rose Glass takes the audience on a pitch-black adventure that propels forward without mercy. The film is dark and often intensely gruesome, but there's a terrific undercurrent of raw emotion even in the more outrageous situations. So as it closes its grip on us, the movie becomes a skilfully lurid, heady mix of romance, murder and bodybuilding.

Orlando, My Political Biography
dir-scr Paul B Preciado; with Paul B Preciado, Oscar Miller, Janis Sahraoui 23/Fr ****
Breathtakingly original, this drama-documentary hybrid is a loose adaptation of Virginia Woolf's classic novel blurred inventively with portraits of trans people who connect with and elevate the book's story and ideas. Writer-director Paul Preciado maintains a cheeky tone, mixing plot elements with real-life details to create a movie that's colourful and often hilarious. And it also takes on several enormous issues with wit and knowing observations, challenging audience preconceptions.

Baldiga: Unlocked Heart
dir Markus Stein; with Jurgen Baldiga, Ulf Reimer 24/Ger ***.
Shot and edited with a contemplative, artful sensibility, this documentary focusses on thoughts and feelings as it recounts the life of German photographer Jurgen Baldiga, remembered depicting the truth in his images, which was uncomfortable to gay men during the Aids epidemic. Even if it's a bit slow and ponderous, the film is a remarkable depiction of a man who was hungry for everything life had to offer.

Flare Shorts

I wasn't able to watch as many shorts as I hoped to see, because they didn't make them accessible to the press this year. So I only managed to catch 12 of them - including the Five Films for Freedom. My favourite was from Spain, The First Kiss (dir Miguel Lafuente), a sharply clever drama that goes from funny to cute to intense in 15 minutes. I also really enjoyed The Lime Green Shirt (UK, Kaushik Ray), a lovely mother-son drama that's moving and provocative; Halfway (India, dir Kumar Chheda), a simple and inventive relationship drama with a quirky twist; We Collide (UK, dir Jason Bradbury), a two-minute thrill ride through a nightclub; Car Wash (Spain, dir Lucas Sogas), a complex drama about closeted football players; and A Bed for Three (Germany, dir Jan-Peter Horstmann), a silly but pointed comedy with a witty Ikea kick.

Rich’s Best of the Fest

1. 
   Crossing
2. Orlando, My Political Biography
3. The Summer With Carmen
4. Unspoken 
5. Unicorns
6. Love Lies Bleeding
7. Toll
8. Calls From Moscow
9. Riley
10. Desire Lines

All full reviews will be posted soon and linked on Shadows' BFI FLARE PAGE >
For festival information, BFI FLARE >

Critical Week: Life is like a golgappa

London's heatwave continues, following the driest July in 111 years with an uptick in temperatures that has everyone heading for anywhere that's air conditioned, like a movie theatre. This week I particularly enjoyed India's lovely Forrest Gump remake Laal Singh Chaddha, which adapts the story to make it culturally resonant in unexpected ways while emphasising the epic romance at the centre of the plot. David Cronenberg's latest body horror drama Crimes of the Future has had a mixed reaction since its Cannes debut, but I loved its moody tone, insidious plot and deeper themes. Great cast too, led by Viggo Mortensen, Lea Seydoux and Kristen Stewart.

BEST OUT THIS WEEK:
Fall • Laal Singh Chaddha
Nope • Girl Picture
ALL REVIEWS >

And then there was the bracingly original coming-of-age comedy Funny Pages, by filmmaker Owen Kline, starring Daniel Zolghadri as a teen cartoonish. It's in-your-face funny, and emotional too. The thriller No Way Out has some nicely harrowing and sexy touches, but is ultimately too grim. There were two very different animated movies: From Japan, Fortune Favours Lady Nikuko is a dramatic anime with a remarkably strong point of view about its quirky characters. And from Estonia, The Old Man: The Movie sends its characters on a wildly surreal and utterly bonkers adventure. Finally, the finely assembled documentary Bloom Up takes a remarkably straight-faced look at an Italian couple that runs parties for swinging couples.

Films to watch this coming week include Harris Dickinson in this year's Palm d'Or winner Triangle of Sadness, Colin Farrell in After Yang, the splintered-reality comedy Look Both Ways, the horror movie Glorious, the thriller The Runner.

LFF: Queen of hearts

It's only day two but I'm already feeling a bit worn out by the 65th London Film Festival, and I'm blaming it on these super-early screenings. While most of the year morning movies start around 10.30am, during the festival it's 8am, which is perhaps a bit early for something violent or sexual, or indeed violently sexual. But we're trained professionals, so we persevere. Alas, limited capacity means that even arriving 45 minutes early was no guarantee of getting in, and I spent more time waiting in queues today than actually seeing films. And I was actually on the red carpet tonight with Kristen Stewart, briefly. Here are highlights from inside the cinemas...

Spencer
dir Pablo Larrain; with Kristen Stewart, Timothy Spall 21/Ger ***.
Taking an inventive, ambitious approach to a familiar story, writer Steven Knight and director Pablo Larrain elicit resonant emotions over a few days in the life of Princess Diana. Calling this "a fable from a true tragedy", the film uses surreal touches to get deep under the surface of events depicted. This adds humour, melodrama and even horror, while pulling us down into the rabbit hole.

Red Rocket
dir Sean Baker; with Simon Rex, Bree Elrod 21/US ***.
Pushing his loose, improvisational filmmaking style in a new direction, filmmaker Sean Baker combines comedy with a hint of a thriller for this engagingly unhinged exploration of masculinity and ambition. It helps that the lead character is such a likeable loser, because as he ricochets from one potential crisis to another, we find it eerily easy to identify with him. And the setting becomes another character in the story.

Bergman Island
dir-scr Mia Hansen-Love; with Vicky Krieps, Tim Roth 21/Swe ***.
A textured look at the nature of relationships that's played as a warm homage to all things Ingmar Bergman, this multi-layered drama isn't quite as grim as you'd expect it to be. Writer-directer tinges the story's knowingly sad angles with glimpses of hope and even happiness. This is a provocative depiction of the challenge of balancing a connection with deeper, lingering feelings. And it's gorgeously shot in striking locations.

Cop Secret [Leynilögga]
dir Hannes Thor Halldorsson; with Audunn Blondal, Egill Einarsson 21/Ice ****
Wild and loose, this punchy 1970s-style police thriller from Iceland starts with a bang and never lets up. Hilariously over the top, the film gleefully deploys the tough-guy genre cliches. The film is entertaining both for its gritty crime action and the way it makes the usual homoerotic subtext in a buddy movie much more central to the narrative. But can the nation's toughest cop admit that he's gay?

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

Critical Week: Happy place

We're halfway through Lockdown 2.0 in London, beginning to worry that if this doesn't work Christmas might be cancelled. But we'll try to stay positive. Movies I watched this week were a real mixed bag. One of the most challenging was the arthouse horror Black Bear, starring Aubrey Plaza, Christopher Abbott and Sarah Gadon. It's a smart, freaky exploration of creativity and control. Plaza also pops up in Happiest Season, an unusually intelligent Christmas rom-com starring Kristen Stewart and Dan Levy.

BEST OUT THIS WEEK:
Collective • Mangrove
Supernova • Roobha • Born to Be
FULL REVIEWS >

The week's guilty pleasure was the utterly bonkers Chinese action romp Vanguard, starring Jackie Chan as the head of a global spy agency. The most disappointing film was the all-star Come Away, a mash-up origin story for both Peter Pan and Alice in Wonderland. It's a good idea that never quite comes together. Even worse is Buddy Games, a painfully unfunny lads comedy starring Josh Duhamel, who also directed, produced and cowrote the script. More watchable was the uneven Finding Steve McQueen, which chops around to recount the largest bank heist in US history. 

Off the beaten path, Mosul is an American-made film set in Iraq during the battle against Daesh, and it's a riveting, powerfully involving thriller that has an emotional kick. There were two very sexy films from Brazil: Divine Love is a provocative drama set in a near-future Christian community, while Dry Wind is a stylised collision of gay machismo. And from Romania, the documentary Collective is one of the most urgent films of the year, exploring a political corruption scandal in the style of a heart-stopping journalistic thriller.

I have the usual random collection of movies to watch this coming week, including Steve McQueen's Red White and Blue, Charlie Hunnam and Jack O'Connell in Jungleland, Vanessa Kirby and Ellen Burstyn in Pieces of a Woman, the Scottish holiday movie Lost at Christmas, the psychological thriller Muscle, the Zoom thriller Host, the Danish horror The Ringmaster and the documentaries Zappa and Markie in Milwaukee.

Critical Week: Don't call me angel

It was another mixed bag of movies for me this week, with awards-worthy movies jostling for attention with the usual weekly releases. We had Elizabeth Banks' new take on Charlie's Angels, an entertaining but slightly off-balance mix of comedy and violence. Edward Norton wrote, directed, produced and stars as a detective with Tourette's in Motherless Brooklyn, a beautiful film that's also a bit indulgent. Chadwick Boseman stars in the cop drama 21 Bridges, which looks great but really needed a much better script. And Ophelia retells the story of Hamlet as a teen romance with great performances and production values, but little point.

Aaron Eckhart toplines the cop thriller In the Line of Duty, which is gritty and a bit predictable. Daniel Isn't Real is a fascinating psycho-thriller that never quite finds something to say about mental illness. The Amazing Johnathan Documentary is a riveting look into the comical magician's fatal heart condition and rather slippery life. And I was able to rewatch the beautifully made British independent drama Into the Mirror on a big screen at a cast and crew screening - great to see it projected instead of on a small screen at home, and really nice to meet the director and writer-actors.

This coming week I have a line-up of acclaimed arthouse movies to see, including Sterling K Brown in Waves, Jennifer Reeder's Knives and Skin, Helen Hunt in I See You, the Chinese thriller Long Day's Journey Into Night, the Brazilian drama Greta and Steven Berkoff in The Last Faust. I also have some more theatre, a special film archive event and the London Critics' Christmas party!

Flare: Be yourself tonight

Well, another year of BFI Flare came to a close last night with the premiere screening of Jeremiah Terminator LeRoy, attended by director Justin Kelly and writer Savanna Knoop, whose story the film recounts. This was followed by another roaring party night. At this year's Flare, I saw 23 features (plus 10 features I'd seen before the festival) and 24 shorts. Here are a few more highlights, and then below that are my best of the fest lists...

Jeremiah Terminator LeRoy
dir Justin Kelly; with Kristen Stewart, Laura Dern 19/Can ****
After the terrific 2016 documentary Author: The JT LeRoy Story, these true events get a dramatic feature with knock-out performances from Kristen Stewart and Laura Dern in the central roles. Director Justin Kelly keeps the pacing brisk, never wallowing in the melodrama as he explores issues of identity and connection from fresh angles. It's still a rather mind-boggling story, but this film cleverly humanises the characters, revealing their flaws without vilifying them.

From Zero to I Love You
dir-scr Doug Spearman; with Scott Bailey, Darryl Stephens 19/US ***
An ambitious romantic comedy with hints of deeper themes, this bright and watchable movie is loaded with good-looking people who remain likeable even when they do something stupid. Writer-director Doug Spearman orchestrates the twisty story with some flair, although the story can't help but feel somewhat simplistic and predictable, especially with an uneven collection of side performances. But even if the film is somewhat arch, it's easy to identify with the central characters.

Man Made
dir T Cooper; scr T Cooper, Allison Glock-Cooper
with Mason Caminiti, Dominic Chilco, Kennie Story, Rese Weaver, Tommy Murrell, T Cooper, Rufio Bell, Cody Harman, Sebastian Roy Noriega 18/US 1h33 ****

Ostensibly a documentary about an unusual body-building competition, this film is actually a much more profound exploration of masculinity, community and self-acceptance. It's powerfully moving all the way through, as filmmaker T Cooper takes an intimate approach to the stories of five competitors, each of whom recounts his extraordinary story with humour, honesty and an open heart. The competition is Trans FitCon in Atlanta, which accepts anyone who identifies as a trans man, regardless of physical presentation. From Minneapolis, Dominic is a lively 26-year-old rapper who is just having his first surgery (yes, there's footage of it). He has also just connected to his biological mother and heads off to meet her (this scene is amazing). In Cleveland, Mason is 40 and married, competing in mainstream bodybuilding meets, where no one knows he's trans. His biggest frustration is what to wear in the tanning booth, because the tiny bikini reveals too much. Rese is in Atlanta, a 23-year-old single parent rejected by his family and exorcised by his pastor. He's eventually taken in by his grandparents, then marries a trans woman who also has a child. Kennie Story is 34 from Conway, Arkansas, a university fitness coach whose girlfriend worries about him starting on testosterone, because it will make him too masculine. And in Miami, the hulking Tommy is a 40-year-old heavyweight whose parents refused to kick him out even though their church told them to. Cooper includes interviews and scenes with a wide range of family and friends, each openly discussing their feelings. "I don't understand," Kennie's mother admits, then adds, "but that's my kid! I love her and that trumps everything." And their body-builder colleagues are hugely engaging too, revealing strong backstage camaraderie. All of this makes the film deeply endearing, a profile of people who are hugely likeable, with big personalities and the same hopes as everyone else. And the way they face their challenges also reveals them as heroes. "I've been called every name you can imagine," one says. "But I don't care, I'm being my authentic self."

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B E S T   O F   T H E   F E S T

Features...

1. WE THE ANIMALS (Jeremiah Zagar, US)
2. THE BLOND ONE (Marco Berger, Argentina)
3. RAFIKI (Wanuri Kahiu, Kenya)
4. JOSE (Li Cheng, Guatemala)
5. SOCRATES (Alex Moratto, Brazil)
6. MAN MADE (T Cooper, US)
7. CONSEQUENCES (Darko Stante, Slovenia)
8. NEVRLAND (Gregor Schmidinger, Austria)
9. MAKING MONTGOMERY CLIFT (Robert Clift/Hillary Demmon, US) 
10. THE GOSPEL OF EUREKA (Michael Palmieri/Donal Mosher, US)

Special mention: JEREMIAH TERMINATOR LEROY, TRANSMILITARY, MAPPLETHORPE, TUCKED, GIRL

Shorts...

1. PARKING (Ahmad Seyfipour, Iran)
2. HIGH TIDE (Claire Zhou, Netherlands)
3. RENOVATION (Fabio Leal, Brazil)
4. BREAK ME (Irasj Asanti, Norway)
5. RUBBER DOLPHIN (Ori Aharon, Israel)
6. INFINITE WHILE IT LASTS (Akira Kamiki, Brazil)
7. OCTOBER BOY (Soren Green, Denmark)
8. ISHA (Christopher Manning, UK) 
9. BLACK HAT (Sarah Smith, US)
10. BLACK LIPS (Adrian Chiarella, Australia)

Flare: Meeting of minds

The British Film Institute's 33rd Flare: London LGBTQ+ Film Festival kicked off last night on the Southbank with the gala screening of Vita & Virginia, attended by Gemma Arterton, Rupert Penry-Jones, director Chandra Button and several cast and crew members. This is my 21st year covering what is one of London's biggest film festivals, and the most festive film festival I get to attend each year - one where you can mix with the filmmakers and actors, attend parties and casual gatherings alongside screenings and special events. Not only are the films of unusually high quality, but BFI Southbank is always a much more colourful part of the city for these 10 days! I'll be blogging the festival every day or two. Here's the first bunch of highlights...

Vita & Virginia
dir Chanya Button; with Gemma Arterton, Elizabeth Debicki 18/Ire **.
There's a refreshingly modern sensibility to this period drama, which allows the actors to create vivid characters. But the script is so wordy that it never lets the audience in. This leaves this as a film that's lovely to look at, and even admire, but it's impossible to crack the surface and genuinely experience the emotions. And the excellent cast struggles to make the dialog resonate with the famous characters they're playing.

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 >

Jose
dir Li Cheng; with Enrique Salanic, Manolo Herrera 18/Gua ****
Earthy and honest, this observational drama deals with big themes without ever getting pushy about them. Chinese-born American filmmaker Li Cheng lets the story develop in an organic way, almost as if he's capturing real events with the camera. This astute style stretches from the busy street scenes to much more intimate moments, grounding the events and emotions in a way that's powerfully resonant... FULL REVIEW >

Girl
dir Lukas Dhont; with Victor Polster, Tijmen Govaerts 18/Bel ****
Belgian filmmaker Lukas Dhont takes a matter-of-fact approach to an extraordinary story, turning a teen trans girl's epic struggles into something that's remarkably easy to identify with. And without a traditional plot, the film builds a gnawing sense of dread that bottled-up feelings will lead to something very dark. Indeed, the climactic scenes deliver a powerful punch... FULL REVIEW >

The Gospel of Eureka
dir Michael Palmieri, Donal Mosher; with Lee Keating, Walter Burrell 18/US ****
Beautifully written and edited, this documentary centres on an unusual corner of the world where devout Christians mix with the LGBTQ community. The filmmakers wisely avoid commenting on the issues, cutting scenes together with knowing wit to make an important point, bracingly highlighting the hypocrisy of people who use the Bible to justify bigotry. And the personal stories earn the viewers' tears... FULL REVIEW >

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: Up against the wall

It's been another busy week in the screening rooms as I prepare to travel over the next couple of weeks. One of the bigger titles wasn't screened for most of the press, so I had to buy a ticket to see Venom, Tom Hardy's Marvel movie, a spin-off that has is again marred by that glut of murky grey digital animation. Otherwise, Hardy is charming and makes up for a rather dull plot. Life Itself was also a disappointment. From the creator of This Is Us, it's an over-ambitious multi-generational schmaltz-fest, but the acting is excellent (Oscar Isaac, Olivia Wilde, Antonio Banderas) and there are strong moments here and there. Much more fun, Johnny English Strikes Again returns Rowan Atkinson to the goofy James Bond spoof character. The film is very silly, but it's also genuinely funny.

Moving into art-film territory, Suspiria is Luca Guadagnino's remake of the Dario Argento classic, a bonkers satanic dance freak-out with Dakota Johnson and Tilda Swinton (both superb). White Boy Rick gives Matthew McConaughey another strong role as the dad to the title character (the excellent Richie Merritt), a teen caught between the FBI and 1980s Detroit drug kingpins. Joaquin Phoenix is solid as cartoonish Jim Callahan in the biopic Don't Worry, He Won't Get Far on Foot. As directed by Gus Van Sant, it's wonderfully experiential. And Chloe Sevigny and Kristen Steward are terrific in Lizzie, an offbeat period piece spinning the story of notorious murder suspect Lizzie Borden.

Even further afield, An Evening With Beverly Luff Linn is a thoroughly nutty and oddly loveable comedy-drama with Aubrey Plaza and Jemaine Clement. Papi Chulo is an involving drama about an odd friendship between Matt Bomer and a hired workman (Alejandro Patino). Cruise is a nostalgic teen romance set in late-80s Queen. There were also two gems from Scandinavia: Border is an indescribably brilliant fairy tale from Sweden, while Heavy Trip is a hilariously engaging road movie about a scruffy death metal band from Finland. Made in Germany because it could never be made in Iran, Tehran Taboo is a beautifully animated story of young people fighting an oppressive culture. And Testosterone: Volume One is a collection of four shorts, three of which are about very mopey gay men, while the other is a black comedy about murdering a friend.

I have no plans to see any films at all over the next 10 or 11 days, as I will be travelling halfway around the world on a charity trip. I'll blog about that afterwards! I return to London in time for the last four days of the London Film Festival, so will be playing catch-up then.

Critical Week: Bump in the night

Back into screening mode after returning to London, my first was to finally catch up with Personal Shopper, which reunites a superb Kristen Stewart with French filmmaker Olivier Assayas. It's an endlessly fascinating mix of personal drama and ghostly horror that leaves the audience wondering. Kong: Skull Island is a big, enjoyably 1970s-style take on the monster movie that's entertaining and very cool, even if the characters are rather thin. My comments on two British comedies are embargoed until closer to the release dates: Roger Allam, Matthew Modine and Fiona Shaw in The Hippopotamus, and Diane Keaton, Brendan Gleeson and Lesley Manville in Hampstead.

There were two micro-budget underwater thrillers: The Dark Below is a wordless cat-and-mouse chase on a frozen-over lake, while The Chamber is a claustrophobic stranded-sub adventure. Both have solid production values but little in the way of story or characters. Fair Haven is a sensitive American indie drama that grapples with issues of expectations and sexuality with warmth and honesty. And from Argentina, Bromance is a provocative drama that raises some big themes and almost deals with them. I also caught up with this gem...

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Fifty Shades Darker
dir James Foley
scr Niall Leonard
with Dakota Johnson, Jamie Dornan, Marcia Gay Harden, Kim Basinger, Eric Johnson, Eloise Mumford, Bella Heathcote, Rita Ora, Luke Grimes 17/Can *.
This sequel, based on the second novel in EL James' trilogy, is noticeably dumbed down from the first movie, with empty slick direction (by safe pair of hands Foley) and an embarrassingly simplistic script (by James' husband Leonard). But the biggest problem is that it abandons the premise, as billionaire Christian (a sleepy Dornan) goes all mushy in the presence of his young lover Ana (a feisty Johnson) this time. Instead of punishing her as before, he gives her pleasure and begs her to move in and then marry him. This never remotely rings true, as there is only a slight spark of chemistry between them and no sign of love at all. Conflict arises simplistically from outside in the form of two of Christians exes (glowering Basinger and psycho Heathcote), plus a near rape and a random helicopter crash that both like a pointless asides. But then, there is nothing about this movie that even remotely grabs hold. Every scene feels rushed and superficial, with dialog that's painfully cheesy, completely missing the central themes of control and dominance. So by the time Basinger takes a drink and slap to the face, the audience reaction is laughter. Badly in need of a sense of humour about itself, as well as an awareness of its own misogyny (Dakota is often naked while Dornan takes off his shirt a few times), the film is hardly whetting appetites for next year's sequel.

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As for films this coming week, I have the Disney revamp of Beauty and the Beast, the indie drama Bwoy, the British drama The Levelling, the Korean thriller The Age of Shadows, the award-winning Brazilian drama Aquarius, the Finnish comedy-drama The Happiest Day in the Life of Olli Maki and the Oscar-nominated doc I Am Not Your Negro. There's also a film festival starting next week, the 31st edition of BFI Flare - expect my usual coverage....

Critical Week: Face the music

As awards season begins to get serious (less than two weeks until my nominations deadlines begin in three groups), screenings are getting tricky to schedule in amongst the holiday parties! Yes, life is tough! This week's most mainstream offering was Jessica Chastain's drama Miss Sloane, an entertainingly twisty look at Washington DC lobbying. Kelly Reichardt's much more challenging Certain Women focuses tells three separate, very subtle stories about intriguing women (Michelle Williams, Kristen Stewart and Laura Dern). And the much more low-brow Office Christmas Party is also essentially female-centred, led by Jennifer Aniston, Olivia Munn and scene-stealing genius Kate McKinnon alongside costars Jason Bateman and TJ Miller. It's not quite as awful as it looks.

The most serious contenders were two docs with linked subject matter relating to race and justice. Ava DuVernay's 13th is a passionate, powerful exploration of America's prison system, exploring how it was essentially designed to continue slavery based on a clause in the 13th Amendment. And at nearly eight hours, O.J.: Made in America will stretch most viewers' patience, but it's a riveting exploration of a fallen superstar told in parallel with the checkered history of the LAPD and the weaknesses in the American judicial system. Both films are must-sees.

Films coming up this next week include this year's most anticipated blockbuster Rogue One: A Star Wars Story, Martin Scorsese's Silence, Ben Affleck's Live by Night, Taraji P Henson in Hidden Figures, Michael Keaton in The Founder and the thriller The Eyes of My Mother.

Critical Week: Take it to the Supreme Court

I finally caught a late press screening this week for Woman in Gold, the true drama that opened in US cinemas last week and hits the UK this Friday. It's the superb story of a woman fighting for restitution after Nazis stole her family's possessions, and it has a terrific central performance from Helen Mirren, plus strong support from Ryan Reynolds and Daniel Bruhl. Another late screening was for Ryan Gosling's directing debut Lost River, a surreal recession-era drama about a struggling family. Meandering and essentially plotless, it struggles to engage despite notable performances from Christina Hendricks, Iain De Caestecker and Ben Mendelsohn.

Also this past week we had screenings of The Last Five Years, an engaging but fragmented and downbeat romantic musical starring Anna Kendrick and Jeremy Jordan; the award-winning Clouds of Sils Maria, Olivier Assayas' clever but elusive exploration of celebrity beautifully played by Juliette Binoche and Kristen Stewart; the dark Irish drama Glassland, which features a turn by Jack Reynor that won the Sundance acting award for his excellent work opposite Toni Collette and Will Poulter; the mesmerising German freak-out thriller The Samurai, about a young cop confronting a cross-dressing, sword-wielding psycho; and Undocumented Executive, a witty, scruffy comedy playing with immigration and class issues in America.

And there were two documentaries that are a must for fans: Lambert & Stamp explores the two guys responsible for The Who, tracing both the band's history and the music, film and art scenes along the way; and A Fuller Life is a remarkable look at the life of iconic filmmaker Sam Fuller in his own words and as reflected in his films.

This coming week we have Tom Hardy's thriller Child 44, Nia Vardalos' comedy Helicopter Mom, the Iranian festival favourite A Girl Walks Home Alone at Night, the Chinese drama Exit, Mia Hansen Love's rave scene drama Eden, and the acclaimed USSR hockey doc Red Army.

Critical Week: Community action

Wes Anderson's new all-star quirk-fest Moonrise Kingdom was screened to London critics at the same time as its Cannes premiere. It opened the festival on May 16th, and is another surprisingly warm exploration of relationships through Anderson's distinctly yellow-hued eye. While many critics are in the South of France, London press screenings continue full-speed, including several that are still being screened very late in the schedule.

For example, Sony only showed us Men in Black 3 four days before it opens. Was that because it's not as funny as the first two films? It isn't, but still gives fans plenty to smile about. And Sacha Baron Cohen's The Dictator wasn't screened to us at all - we had to buy tickets, and were pleasantly surprised that it's actually a sharp, often gut-wrenchingly funny social comedy. The other biggie this week was Snow White and the Huntsman, starring the achingly on-trend Kristen Stewart and Chris Hemsworth, along with Charlize Theron as the beautiful-but-evil queen. Our comments on this one are embargoed until three days before it opens.

Another Cannes entry screened in London was Ken Loach's enjoyable Scottish caper comedy The Angels' Share, which of course makes some strong social commentary in between the wacky (and somewhat contrived) antics and the serious drama. And from further off the beaten path, we had Bobcat Goldthwait's blisteringly hilarious God Bless America (a great double bill with The Dictator), Kristin Scott Thomas' latest involving-enigmatic French drama In Your Hands and the intriguing but slightly simplistic Christian-Muslim parable Where Do We Go Now? 

Coming up this week, we have Michelle Williams and Seth Rogen in Take This Waltz, Jason Segel and Emily Blunt in The Five-year Engagement, Simon Pegg in A Fantastic Fear of Everything, the all-star French comedy The Women on the 6th Floor, the Mormon drama Electrick Children, the British indie drama Strawberry Fields.