LFF: If looks could kill

The 65th BFI London Film Festival came to an end tonight with the closing night gala screening of Joel Coen's The Tragedy of Macbeth. As always, I've enjoyed catching up with a lot of great films over the past month, and there are some I still need to chase in the coming months. Here are my favourites from this year's festival, and three more highlights...

RICH'S BEST OF THE FEST

• 
  BENEDICTION (Davies, UK)
• FLEE (Rasmussen, Den)
• THE POWER OF THE DOG (Campion, NZ)
• THE FRENCH DISPATCH (Anderson, US)
• A HERO (Farhadi, Irn)
• PLAYGROUND (Wandel, Bel)
• BAD LUCK BANGING OR LOONY PORN (Jude, Rom)
• COMPARTMENT NO 6 (Kuosmanen, Fin)
• HIT THE ROAD (Panahi, Irn)
• MEMORIA (Weerasethakul, Col)

The Tragedy of Macbeth
dir-scr Joel Coen; with Denzel Washington, Frances McDormand 21/US ***.
Joel Coen takes a strikingly stylised approach to Shakespeare's Scottish play, shooting it in the style of a 1950s movie adaptation with grand-scaled stage sets and glowering black and white cinematography by Bruno Delbonnel. It looks spectacular, and the fine ensemble cast throw themselves fully into the dialog and action. Although the over-egged sound mix muffles their words, the emotionally energetic performances give the film several strong kicks... FULL REVIEW >

Wild Indian
dir-scr Lyle Mitchell Corbine Jr; with Michael Greyeyes, Chaske Spencer 21/US ****
As it grapples with issues of identity and justice, an ethereal tone engulfs this dark indigenous American drama. Drawing on his own Objiwe heritage, writer-director Lyle Mitchell Corbine add layers to characters and situations that force audience to engage on an especially intense level. It may get a bit melodramatic, but this is a sensitive, thoughtful film that has a lot to say in a short time.

Dashcam
dir Rob Savage; with Annie Hardy, Amar Chadha-Patel 21/UK ****
Shot as live-stream footage, this horror romp makes The Blair Witch Project look like it was made for the Hallmark Channel. With relentless action, raucous violence and a continuous stream of hilarious gags, this is another fantastic genre reinvention from Host filmmaker Rob Savage, who is clearly a flan of classic horror movies. This is hugely enjoyable filmmaking that delights in both shocking the audience and keeping us laughing.

All full reviews of festival films will be published as possible and linked at Shadows' LFF HOMEPAGE

LFF: Art appreciation

It's always bittersweet to get to this stage in the festival and realise how many films I'll be missing this year. At the 65th BFI London Film Festival, I made a list of the movies I wanted to see - about 70 titles from nearly 200 films in the programme. And in the end I've had to admit that there about 35 of those that I won't catch here. Some will pop up during awards season or on UK release dates over the coming months, but sadly many will never be available again here. Meanwhile, with the festival's end in sight, I'm trying to catch up on the backlog of reviews for the website - they should all be posted there over the next few days. Here are five highlights for Saturday...

Memoria
dir-scr Apichatpong Weerasethakul; with Tilda Swinton, Elkin Diaz 21/Col ****
Thai filmmaker Apichatpong Weerasethakul makes his first foray abroad, taking an international cast on an evocative odyssey set in various beautifully shot locations in Colombia. It's the kind of film that only hints at its meaning, requiring faith from the audience as we're taken a journey that's haunting for reasons we can barely define. It's a beautiful exploration of sights, sounds and, as the title says, memory.

King Richard
dir Reinaldo Marcus Green; with Will Smith, Aunjanue Ellis 21/US ***
In this lively, crowd-pleasing biopic, Venus and Serena Williams' rise to fame is recounted through the story of their father. This throws things out of balance, because it's not actually his movie. In a mannered performance by Will Smith, Richard comes across as stubborn and annoying, which no doubt fuelled his daughters' success. But we're much more interested in their points of view, which are underrepresented here.

Benedetta
dir Paul Verhoeven; with Virginie Efira, Charlotte Rampling 21/Fr ***.
Leave it to Paul Verhoeven to turn the true story of Sister Benedetta into a lurid religious horror romp with equal measures of fervour and lust. More than a little camp, this biopic is deliberately provocative as it adds steamy melodrama to real-life events. It's skilfully assembled, with strong period detail and a vicious sense of humour. So even if it plays loosely with facts, it remains devilishly entertaining.

Bull
dir-scr Paul Andrew Williams; with Neil Maskell, David Hayman 21/UK ***
Highly stylised in the form of an old-time movie, with added quirky touches and hints of a modern sensibility, this offbeat British biopic is impossible to pigeonhole. And filmmaker Will Sharpe isn't afraid to mix overwhelming cuteness with pitch-black drama and soaring sentimentality. It's all a bit too mannered to properly engage the audience, but it does look amazing, and it features some defiantly singular performances.

Petrov's Flu
dir-scr Kirill Serebrennikov; with Semyon Serzin, Chulpan Khamatova 21/Rus ***.
A riotous odyssey through post-Soviet Russia, this demanding epic keeps the audience on its toes, as adept filmmaker Kirill Serebrennikov moves rapid-fire through a series of full-on set pieces. The camerawork is extraordinary, often in elaborately long takes. With the titular viral infection spreading, the film has a clever timeliness, and its blackly comical tone prevents the outrageously gloomy series of events from ever feeling too heavy... FULL REVIEW >

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

LFF: Tell your story

There are several reasons why film festivals become addictive to fans and critics. There's nothing like the feeling of seeing something amazing before you've ever heard anything about it. And the range of movies is much more diverse than what makes it out into general release, so a festival opens up places, cultures and even filmmaking styles you've never seen before. It's tricky with a programme like the 65th BFI London Film Festival, because it's impossible to see even a third of the films. So here are a few more that I managed to catch - including two of my very favourites so far...

Flee
dir-scr Jonas Poher Rasmussen; voices Rashid Aitouganov, Daniel Karimyar 21/Den ****.
Bracingly cinematic, this documentary traces an Afghan refugee's staggeringly involving story. Because much of his journey wasn't captured on film, and since he prefers to remain anonymous, his story is gorgeously animated by director Jonas Poher Rasmussen in a range of hand-drawn styles. But it's so detailed and skilfully put together that it's hugely involving on a range of levels, both in the bigger themes and the darker emotions... FULL REVIEW >

Benediction
dir-scr Terence Davies; with Jack Lowden, Peter Capaldi 21/UK *****
Master filmmaker Terence Davies takes a gorgeously poetic look at the life of poet Siegfried Sassoon, blending moments that are funny, sexy and wrenchingly emotional into a stunning collage of powerful moments. Grappling with the nature of time and mortality, the film is a swirl of punchy scenes and period newsreel footage that isn't afraid to tackle hard truths about humanity. It's an elegantly devastating work of art.

Shepherd
dir-scr Russell Owen; with Tom Hughes, Kate Dickie 21/UK **.
This British horror thriller is so atmospheric that it's almost overwhelming. The sound mix alone is ceaselessly jarring, with added unsettling imagery and a story that plays on some deep emotional issues. So it's more than a little frustrating that writer-director Russell Owen keeps the scary stuff on the surface, rather than mining the complex underlying themes. Still, it looks and sounds amazing, and features superbly evocative performances.

Money Has Four Legs 
dir Maung Sun; with Okkar (Dat Khe), Ko Thu 20/Mya ****
Not only is this a rare film out of Myanmar, it's also a knowing comedy about Myanmar's movie industry. With a low-key pace, it gently pokes fun at the absurdities of filmmaking in general, but also specific issues in nations with their own challenges. And the earthy, realistic approach takes the audience into the messy life of a young filmmaker battling obstacles to make his first real movie.

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

LFF: Take a break

I feel like I hit a wall today at the 65th BFI London Film Festival, as my wall-to-wall schedule finally overwhelmed me. So I'll be skipping a couple of movies tomorrow just to regain my equilibrium. It's difficult to miss films at the festival, as I'm already only seeing about a third of the movies I really want to see. But something had to give, and I'll be slowing things down a bit over the final four days just so I survive until the end! Here are some more highlights...

The Lost Daughter
dir-scr Maggie Gyllenhaal; with Olivia Colman, Dakota Johnson 21/Gr ***.
As an exploration of motherhood, this film has a remarkable complexity that sets it apart, especially since it centres around yet another mesmerising performance from Olivia Colman. Writer-director Maggie Gyllenhaal takes an internalised approach that's engaging even it if sometimes feels meandering and indulgent. It also taps into sharply resonant themes using a range of interconnected mothers, fathers, daughters, sons and lovers. And it finds truth in contradictions.

A Hero
dir-scr Asghar Farhadi; with Amir Jadidi, Sahar Goldust 21/Irn ****
Iranian master Asghar Farhadi continues to take a nuanced approach toward morality with this striking drama about justice. It's a hugely involving story that quickly gets under the skin, then takes a series of twists and turns that challenge perceptions of the characters and situations. In his usual earthy, unflashy style, Farhadi makes bold comments about how difficult it is to do the right thing in an unfair society.

Luzzu
dir-scr Alex Camilleri; with Jesmark Scicluna, Michela Farrugia 21/Mlt ****
The title of this Maltese film is a type of traditional fishing boat locals use to maintain traditions. Writer-director Alex Camilleri creates a documentary-style realism that's instantly involving, following earthy, likeable people through everyday highs and lows. This is captured with a sharp eye by cinematographer Leo Lefevre, both in the sun-drenched seaside scenes and some colourful nighttime sequences. And the complex narrative takes a series of unpredictable turns... FULL REVIEW >

Natural Light
dir-scr Denes Nagy; with Ferenc Szabo, Laszlo Bajko 21/Hun ***.
With a documentary approach to realism and minimal dialog, this gritty World War II drama relies on the moral dilemmas faced by a central character who gives little away to the audience. Writer-director Denes Nagy creates beautiful imagery in a cold, muddy place while exploring complexities of wartime interaction. So its slow pace is strikingly involving, although the icy approach to emotion leaves it more academic than moving... FULL REVIEW >

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

 

LFF: At the movies

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

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

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

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

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

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

LFF: Under a big sky

Yes, there was more queuing today for the journalists covering the 65th London Film Festival, but by now we're getting better at using the hours standing in the alleyways to write up film notes on our phones or get to know our fellow delegates. Today's weather was variable, with both sunshine and rainshowers. But it was worth it for the movies. Meanwhile, somewhere far from us there's an actually festival going on, with star-studded red carpets, private parties and lots of schmoozing. Or so I imagine. Here are some more highlights...

The Power of the Dog
dir-scr Jane Campion; with Benedict Cumberbatch, Kirsten Dunst 21/NZ ****.
Writer-director Jane Campion masterfully combines spectacular landscapes with complex internal journeys in this provocative Western set in 1925 Montana (which is beautifully played by New Zealand). A collection of characters and connections are delicately played to pull the audience into an intriguing web of desire, expectation and legacy. And while much of the big emotion is under the surface, the film still packs a vivid punch.

Passing
dir-scr Rebecca Hall; with Tessa Thompson, Ruth Negga 21/US ***.
Shot in iridescent high-contrast monochrome, this brittle period drama raises some powerfully haunting themes before its more standard plot takes over. Finely written and directed by Rebecca Hall, and circling around a remarkably layered performance from Tessa Thompson, the story offers a lot to think about. This helps make the film involving even when the metaphors get a bit obvious, and when the story seems to veer off-topic.

Boiling Point
dir Philip Barantini; with Stephen Graham, Jason Flemyng 21/UK ***.
Bravura filmmaking elevates this propulsive British drama, as personal issues engulf a group of characters over one fateful evening in a busy restaurant. Unfolding in real time as a single, continuous handheld take, it remains fast and busy all the way through, and frequently gets very intense. The collision of momentous plot lines in a small space feels somewhat overwrought, but the ace cast make it gripping.

Playground
dir-scr Laura Wandel; with Maya Vanderbeque, Gunter Duret 21/Fr ****
Despite a tough theme, this film has such a bracing sense of authenticity that it can't help but deeply engage the audience even as it gets under the skin with some provocative issues. Actor-filmmaker Laura Wandel shoots it with both doc-style urgency and intimate emotionality, while eliciting powerfully complex performances from a cast of young children. It's a remarkable achievement, putting us into the perspective of a little girl.

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

LFF: Chin up

While it's packed to the brim with an astonishing array of high-profile movies and small gems from all over the world, the 65th BFI London Film Festival will probably be remembered just as much for all of the queuing involved. Today I got caught in a brief rainshower standing in a urine-soaked alleyway outside a cinema waiting to get into a press screening - which is something I've had to do for two to three hours each day between films. The things we do to watch movies we've read about but haven't had a chance to see yet! And in most but not all cases, it's well worth the effort...

The French Dispatch
dir-scr Wes Anderson; with Tilda Swinton, Frances McDormand 21/Fr ****.
Wes Anderson creates yet another offbeat, fully realised universe in this witty homage to old-school journalism. With a fabulous cast of hundreds, including at least two dozen A-list stars, the film has a sprawling feel to it but remains engagingly intimate as it traces a series of contained stories. Mainly set in the 1970s, it's even more gorgeously designed than expected, packed with hilarious touches and audaciously inventive storytelling... FULL REVIEW >

Ron's Gone Wrong
dir Sarah Smith, Jean-Philippe Vine; voices Zach Galifianakis, Jack Dylan Grazer 21/US ***.
Lashings of goofy charm, wildly coloured imagery and frantic action make this resolutely silly animated romp enjoyable. And it even has a decent message buried under all the usual guff about the importance of family and friends. The filmmakers perhaps try a bit too hard to keep the jokes firing throughout the slapstick narrative. But it's ultimately impossible to resist a movie that's this warm and funny... FULL REVIEW >

Last Night in Soho
dir Edgar Wright; with Thomasin McKenzie, Anya Taylor-Joy 21/UK ***
A luridly over-the-top sensibility makes this crazed London drama compulsively watchable. And while it looks terrific, the film becomes rather exhausting in the way it depicts a young woman's struggle with madness. Filmmaker Edgar Wright pours style into each scene, skilfully using real locations to playfully mirror the present day with the swinging '60s. And the superb ensemble is fully committed to even the most outrageous moments... FULL REVIEW >

True Things
dir Harry Wootliff; with Ruth Wilson, Tom Burke 21/UK **
Like an indulgent autobiographical first film, this British drama is so insular that that it becomes increasingly difficult to identify with the characters. Director-cowriter Harry Woodliff is actually adapting a novel, which adds an odd sense of distance to the material. It looks gorgeous with its swirly cinematography and dreamy editing, and Ruth Wilson gives a tremendous central performance. But the pushy filmmaking leaves it feeling empty.

Costa Brava, Lebanon
dir-scr Mounia Akl; with Nadine Labaki, Saleh Bakri 21/Leb ***.
With an earthy pace, this film set on the outskirts of Beirut is both a sparky family drama and a lament for a nation engulfed in corruption. It's skilfully shot in a terrific location, with a few surreal touches that reveal the characters' internal journeys. And its universal themes about justice, regret and expectation carry a nice kick, as the politics are deliberately drowned out by the personal story... FULL REVIEW >

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

LFF: Find inspiration

More disappointment today, as long queues meant that I missed another film's press screening. The BFI is putting on about 300 seats for more than 2000 accredited journalists, so even arriving an hour early isn't a guarantee of getting in. It certainly makes properly covering their festival almost impossible. But we critics forge ahead, see what we can see, and work around the system by speaking to distributors about seeing their films in another way. Maybe next year I'll save the accreditation fee and simply stop standing in queues all day! In the meantime, there are great movies to see...

The Souvenir Part II
dir-scr Joanna Hogg; with Honor Swinton Byrne, Tilda Swinton 21/UK ****
Incisive filmmaker Joanna Hogg continues to mine her own backstory in this astonishing sequel to 2019's The Souvenir. It continues the narrative in the same short, sharp scenes, but expands to be funnier, darker and much more boldly inventive. And since much of it takes place on a movie set, it features some gorgeously surreal touches as well, all while maintaining that middle-class effort to bury anything unpleasant... FULL REVIEW >

Encounter
dir Michael Pearce; with Riz Ahmed, Octavia Spencer 21/US ***
An inventive visual approach and strong performances make this somewhat under-plotted thriller far more involving than it should be. Filmmaker Michael Pearce wisely hones in on the complex characters rather than the standard action story points, which have an odd flattening effect on the film's more intriguingly ambiguous elements. But it looks terrific, especially in the clever ways it nods to classic alien invasion adventures.

Titane
winner: Cannes Palme d'Or
dir-scr Julia Ducournau; with Vincent Lindon, Agathe Rousselle 21/Fr ***.
An intense, Cronenberg-style provocation, this French odyssey pushes several buttons in its bracingly complex depictions of female empowerment and toxic masculinity, and vice versa. It's relentlessly pungent, as filmmaker Julia Ducournau challenges the audience to invest in the characters and consider seemingly random things that are happening in the context of a much bigger picture. It's too scattered and loose to narrow its target, but thoughts it raises are haunting... FULL REVIEW >

Bad Luck Banging or Loony Porn
winner: Berlin Golden Bear
dir-scr Radu Jude; with Katia Pascariu, Claudia Ieremia 21/Rom ****
Fiendishly clever and endlessly provocative as it explores the messiness of humanity at this point in history, this satirical Romanian comedy starts with an explicit sex tape then proceeds to unpack and then challenge our reactions to it. Writer-director Rade Jude's approach is endlessly playful and also very pointed, rummaging around in culture and history while allowing a wide range of opinions to surge within the narrative... FULL REVIEW >

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

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 

LFF: Feeling festive

The 65th London Film Festival launched on Wednesday evening with a gala screening of The Harder They Fall at a grand new venue, the Royal Festival Hall on the Southbank (critics watched the film there very early in the morning). The festival still has some online elements, but is largely back in-person this year, with a full schedule of press screenings that's keeping me busy. As usual for journalists attending, this feels less like a film festival than a lot of standing in long lines to get into screenings. But it's a terrific season of top titles from the past year's leading festivals - with only a few exceptions, all of the most prominent movies from Sundance, Cannes, Venice, Toronto and New York are showing here. So I have a lot of great films to look forward to over the next 10 days. Here are some highlights from the first few days, followed by my usual weekly roundup...

Belle
dir-scr Mamoru Hosoda; voices Kaho Nakamura, Ryo Narita 21.Jpn ****
A spectacularly animated riff on Beauty and the Beast, this Japanese drama layers in social media themes with complex explorations of pungent issues like grief and child abuse. It's a fascinating approach to a story that's packed with surprises, even as it sometimes feels wildly over-emotional or somewhat gimmicky. Filmmaker Mamoru Hosada (see Mirai) is skilled at maintaining perspective to tell a story that's vividly visual and hauntingly resonant... FULL REVIEW >

The Harder They Fall
dir Jeymes Samuel; with Idris Elba, Jonathan Majors 21/US ***.
Loud, stylised and loaded with attitude, this action Western pits two gangs of outlaws against each other in a violent series of gun and fist fights. Essentially a blood-splattered fantasy, the film has deeper resonance in its themes, while filmmaker Jeymes Samuel puts the focus on the snappy carnage. It's all strikingly well-staged with a powerful ensemble cast, but the mayhem almost drowns out the story's subtler meaning... FULL REVIEW >

The Feast
dir Lee Haven Jones; with Annes Elwy, Nia Roberts 21/UK ****
Strikingly directed by Lee Haven Jones, this Welsh drama has a blackly comical surface with churning folk-tale horror elements underneath it. And Roger Williams' script taps into some very deep ideas along the way, including a wider resonance that relates to the impact greedy humans have had on the planet. It's a gripping, grisly, remarkably assured feature debut for Jones, and it carries a vicious kick.

Compartment No 6 [Hytti Nro 6]
dir Juho Kuosmanen; with Seidi Haarla, Yuriy Borisov 21/Fin ****
A celebration of brief connections that can change a life, this offbeat Finnish comedy-drama is set on a long Russian train journey. But it isn't the typical road movie that it seems to be, about a budding romance or friendship; it's a more nuanced exploration of self-discovery. Filmmaker Juho Kuosmanen has a terrific eye for detail, both in people and places, so the story reverberates with witty real-life touches... FULL REVIEW >

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L   W E E K

BEST OUT THIS WEEK:
No Time to Die
Knocking • Pier Kids
PERHAPS AVOID:
John and the Hole
ALL REVIEWS >

Among the films I saw this week are Wes Anderson's delightful new ensemble comedy The French Dispatch, Ridley Scott's punchy epic 14th century morality drama The Last Duel, Joanna Hogg's audacious autobiographical sequel The Souvenir Part II and the adaptation of the darkly moving hit stage musical Dear Evan Hansen. There was also the warm but cliched drama South of Heaven with a superb Jason Sudeikis,  the shot-for-shot cartoon remake Night of the Animated Dead, which doesn't add much to the original, and the astute street-life documentary Pier Kids.

Films next week are almost all LFF titles, although many will soon hit cinemas as well, including Spencer, Ron's Gone Wrong, Last Night in Soho, The Lost Daughter and Belfast. I'll also catch up with Venom: Let There Be Carnage, On the Fringe of Wild and Night Drive, which open next week.

London Film Fest: Hat's off!

The 63rd London Film Festival kicked off on Wednesday with a gala premiere for Armando Iannucci's take on Dickens with The Personal History of David Copperfield. This is the kind of festival where you know there are parties, but you're not invited to any. And I'm not the kind of person who chases invitations. So there are stars around the festival, but they rarely cross paths with either press or audience members. That said, Iannucci did come in person to chat to the press after the screening on Wednesday morning, so that makes a start! And I do have appointments to interview various actors and filmmakers over the next 10 days. The trick is finding time to write and sleep in between watching movies. It's Day 1 and I'm already exhausted. Here are some highlights...

The Personal History of David Copperfield
dir Armando Iannucci; with Dev Patel, Tilda Swinton 19/UK ***. 
After taking on Russian history with The Death of Stalin, Armando Iannucci turns to Charles Dickens with this elaborately funny and relatively faithful adaptation. Of course, the film is laced with the filmmaker's usual quick-fire wit and engagingly ridiculous characters, but it also maintains an undercurrent of deep sadness in its timely tale of income inequality and social injustice. With a mostly happy ending, naturally.

Clemency
dir-scr Chinonye Chukwu; with Alfre Woodard, Richard Schiff 19/US ***
A somewhat overwrought sensibility kind of undermines this hushed, intense death row drama. Where it needs to be coolly aloof, the film indulges in gyrating emotional fireworks. This give the actors plenty of scenery to chomp on, but it waters down the power of the writer-director Chinonye Chukwu's story. Still, the film makes important comments about the issue of capital punishment, without ever preaching... FULL REVIEW >

The Peanut Butter Falcon
dir-scr Tyler Nilson, Mike Schwartz; with Shia LaBeouf, Dakota Johnson 19/US ***.
A warmly offbeat road movie, this drama takes a fable-like approach that becomes increasingly engaging as the story progresses. It's beautifully shot in American coastal wetlands, with an evocative song score and superbly unfussy performances from the cast. First-time feature filmmakers Tyler Nilson and Mike Schwartz refreshingly ground everything in a matter-of-fact tone that draws out the themes without ever pushing them... FULL REVIEW >

Monos
dir Alejandro Landes; with Julianne Nicholson, Moises Arias 19/Col ****
Dramatically filmed in an epic landscape with a Lord of the Flies sensibility, this wildly inventive Colombian thriller has an earthy, honest tone and a plot that's unpredictable and often unnerving. With its almost allegorical style, the film is a bracing depiction of both animalistic humanity and lost youth, echoing war-zones around the world. This adds a proper kick of both intrigue and resonance... FULL REVIEW >

You Don’t Nomi
dir Jeffrey McHale
with Adam Nayman, David Schmader, Haley Mlotek, Jeffrey Conway, Paul Verhoeven, Elizabeth Berkley, Gina Gershon, Joe Eszterhas
release US Apr.19 tff, UK Oct.19 lff • 19/US 1h32 ****

A fascinating exploration of the notorious 1996 drama Showgirls, this documentary asks whether it's a masterpiece or a turkey. Or maybe it's both at the same time. Certainly, Paul Verhoeven's film has become a cult classic in the two decades since it was declared the worst film of the year (it swept the Razzies). With comments by journalists, academics and commentators, plus archival interviews with the actors and filmmakers, this is a deep dive into why such an obviously trashy movie has had such an indelible impact. It gets a little sidelined into the film's cultural impact (which is rather dubious), but it's all great fun.

Showgirls was dismissed on its release, this doc suggests, because Verhoeven was far too comfortable with using nudity and sexuality at the centre of a Hollywood movie, especially one with strong female leads. In Europe this isn't such a problem, and director McHale includes extensive clips from Verhoeven's Dutch films before and after his American sojourn (there are also plenty of scenes from RoboCop, Total Recall and Basic Instinct). It's fascinating to hear experts talk about the over-the-top acting, Eszterhas' blatantly in-your-face script and Verhoeven's trashy eye. On the other hand, the film also contains serious themes that echo elements of society most viewers (and pretentious critics) don't want to face.

In other words, it's not a fluke that Showgirls has become a beloved classic. And that's not just because it's so bad it's good. It's actually a technically adept film with astute directorial touches everywhere. So there's more to the story. And in exploring the shattered career of the film's star Berkeley, this doc begins to touch on a much bigger topic about the underlying sexism of both Hollywood and all of America.

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CRITICAL WEEK

Of course, I also had to watch a few non-festival films this past week, including Joaquin Phoenix storming the cinema in Joker, Will Smith doubled in the rather standard action movie Gemini Man, Eddie Murphy's terrific turn in the groovy Dolemite Is My Name, Chris Morris' gut punch of a political comedy satire The Day Shall Come and the haunting Polish post-war thriller Werewolf.

LFF: Fancy footwork

The 62nd London Film Festival wrapped up tonight with the world premiere of Jon Baird's Stan & Ollie. It seems to have gone by in a blur for me this year, mainly because I missed about two thirds of the festival due to my travels. Although I still managed to see 35 of the films! And I am catching up with a few more over the coming weeks. There are eight more films listed below, beneath the award winners (none of which I've seen) and my own best of the fest.

2018 LFF AWARDS
Best Film: JOY
Sutherland Award - First Feature: Lukas Dhont (GIRL)
Grierson Award - Documentary:
WHAT YOU GONNA DO WHEN THE WORLD'S ON FIRE?

RICH'S BEST OF THE FEST

1. If Beale Street Could Talk
2. Colette
3. The Favourite
4. Won't You Be My Neighbour?
5. A Private War
6. Dogman
7. Border
8. Shadow
9. The Breaker Upperers
10. Stan & Ollie

Stan & Ollie
dir Jon S Baird; with Steve Coogan, John C Reilly 18/UK ****
With a gentle tone, this biopic traces Laurel and Hardy's final stage tour. The focus is on their relationship, and Jeff Pope's script beautifully captures their rivalry and deep affection. Director Jon Baird stages the film as a loving homage to the iconic duo, replaying their best bits and thankfully resisting the temptation to over-egg them for a modern audience. So the film remains warm and, yes, funny.

A Private War
dir Matthew Heineman; with Rosamund Pike, Jamie Dornan 18/UK ****.
Filmmaker Matthew Heineman (City of Ghosts) brings his documentarian's eye to this biopic about noted war reporter Marie Colvin. Played with earthy intensity by Rosamund Pike, Colvin was a powerhouse who shined light on people caught in the crossfire. This film is sharply well-assembled to throw the audience into both her life and her perspective... FULL REVIEW >

Can You Ever Forgive Me
dir Marielle Heller; with Melissa McCarthy, Richard E Grant 18/US ***
Based on an extraordinary true story, this low-key comedy-drama is a terrific showcase for Melissa McCarthy's acting skill, something lost in the silly mayhem of her usual projects. It's a punchy tale about artistic frustration and the need to find an outlet for expression, even if it might be an illegal one. And while the events are actually rather serious, they unfold with plenty of offbeat wit and warmth.

Sorry to Bother You
dir-scr Boots Riley; with Lakeith Stanfield, Tessa Thompson 18/US ***
There's a loose, surreal nuttiness to this film, which mixes topical drama and edgy comedy to create something bracingly original. It starts out as an office satire, but shifts gears along the way as writer-director Boots Riley plays with fantastical imagery and thematic parody. Sometimes, the pastiche becomes a little too insane for its own good, and where the story goes is deliberately confrontational... FULL REVIEW >

The Hate U Give
dir George Tillman Jr; with Amandla Stenberg, Regina Hall 18/US ***
Despite an oddly simplified script and glossy mainstream direction, this film tackles a huge issue in a way that will engage a wide audience. It's a take on Black Lives Matter that helps illuminate the issue with a warmly involving story packed with solid characters. So even if the ideas are obvious, the film may help audiences understand the topic with more clarity... FULL REVIEW >

Sauvage
dir-scr Camille Vidal-Naquet; wtih Felix Maritaud, Eric Bernard 18/Fr ***.
Observed in an offhanded, almost documentary style, this French drama traces the day-to-day experiences of a French prostitute who is looking for love. Filmmaker Camille Vital-Naquet takes an unflinching approach that catches details in the characters and the relationships between them. With minimalistic dialog, the film features skilful naturalistic performances from a cast of brave rising stars.

Utøya - July 22
dir Erik Poppe; with Andrea Berntzen, Aleksander Holmen 18/Nor ***.
This film explores the events of 22 July 2011 in Norway. After CCTV footage of the Oslo car bomb, filmmaker Eric Poppe traces the right-wing extremist's subsequent attack on a summer camp outside the city. Shot as a single take matching the 72-minute attack, events unfold in real time through the eyes of the (fictionalised) young people. It's a harrowing film that vividly puts the audience into an unthinkable situation.

Burning
dir Lee Chang-dong; with Yoo Ah-in, Steven Yeun 18/Kor ***
It wouldn't be too difficult to cut an entire hour out of this dramatic thriller. While the meandering approach does add some realism and earthiness, plus a lot of fascinating detail, it also leaves the audience unable to piece together disparate, seemingly irrelevant elements into something coherent. Still, it's finely written, directed and played, and it's packed with superb moments.