Screen: May TV Roundup

There's been some very high-profile television over the past few months, including shows that have made global headlines, like Adolescence and the third season of The White Lotus. There have also been a few new series that are happy to simply keep us smiling, like The Four Seasons and The Studio. We need more of these at the moment! This roundup starts with four shows that came back for another season...

The White Lotus: series 3
Writer-director Mike White continues to take on major themes in unusually subtle ways, this time at a resort Thailand that's so beautiful we will all start saving up now. And the guests and staff are a terrific collection of people who are dealing with a range of issues that relate to morality and spirituality. It's so skilfully written and played that each scene worms its way into our subconscious. Standouts in the exceptional ensemble include Jason Isaacs, Parker Posey, Carrie Coon, Aimee Lou Wood, Patrick Schwarzenegger and Sam Nivola, plus a blazing Sam Rockwell. There are some loose threads that feel a bit messy, but this is top-tier TV. (Max)

Hacks: series 4
With a much darker tone, this season kicks off as war rages between the imperious Deborah (Jean Smart) and the feisty Ava (Hanna Einbinder). And things get very nasty indeed in these sharply well-written and performed episodes, with various subplots helpfully providing comic relief, most notably the ongoing antics of agents Jimmy and Kayla (Paul W Downs and Megan Salter). The depiction of the world of late night television is astute, including a properly pointed look at network TV politics. But as always, it's the rollercoaster relationship between Deborah and Ava that keeps us hooked, and it's a fantastic ride this time around. (Max)

The Conners:
series 7
There are only six episodes in this show's final season, capping a span of 37 years in the life of this working class family. The writers set out to both maintain the timely, salt-of-the-earth sensibilities while providing strong arcs for each of the central characters, and they manage to do this with clever plotting and their usual hilariously barbed dialog. The focus is on the veteran cast members, who continued to deepen their roles from episode to episode. So we'll miss John Goodman, Laurie Metcalf, Sara Gilbert and Lecy Goranson, and it's a little frustrating that Michael Fishman (as DJ) wasn't back for the emotional goodbye. (ABC)

Wolf Hall: The Mirror and the Light
Based on Hilary Mantel's historical novel, Wolf Hall gripped the nation in 2015, and it's taken a decade to get Part 2. The story picks up immediately, following Thomas Cromwell (Mark Rylance) as he tries to navigate backchannel politics in the court of Henry VIII (Damien Lewis) and Jane Seymour (Kate Phillips). Beautifully written by Peter Straughan, and skilfully played by an excellent ensemble, this is a gorgeously made series that lives in its quieter moments. While the pacing is slow and delicate, the dialog is packed with subterfuge, as relationships are twisted by gossip and ambition. History is rarely recounted with so much introspection. (BBC)

S O M E T H I N G   N E W

Adolescence
This feels like landmark television, with four utterly unmissable episodes. It's written, directed and performed with staggering skill to tell a story that feels almost terrifyingly urgent. On the surface it's about a detective (Ashley Walters) investigating the murder of a teen girl by a 13-year-old boy (Owen Cooper), whose father (Stephen Graham) can't comprehend the situation. But the show is actually a deep dive into the impact of toxic masculinity on society, touching on a range of jaw-dropping aspects. Philip Barantini directs each episode in a single long take that ramps up the intensity and provides powerful gut punches. (Netflix)

The Studio
While this comedy is somewhat goofy, it's also so much fun that we never want it to end. Seth Rogen leads the cast (and creative team) to take us behind the chaotic scenes, playing a Hollywood studio boss who's in over his head. Each episode works as a meta-joke exploring various aspects of moviemaking with humour that's both jaggedly smart and profoundly silly. And amid the broad jokes are some knowing observations about Hollywood. The quality slips in the final few episodes, which begin to feel somewhat repetitive, but the terrific cast includes the great Catherine O'Hara, and more A-list cameos per episode than seems humanly possible. (Apple)

The Four Seasons
Loosely based on the 1981 film, this eight-part series created by Tina Fey centres on three couples who take four holidays together over the course of a year. As their relationships shift, there's plenty of sharp comedy and strong emotion thanks to first-rate actors Fey, Steve Carell, Colman Domingo, Will Forte, Kerri Kenney and Marco Calvani. Most enjoyable is the way the show is unafraid to indulge in some very silly antics alongside the much more serious storylines. So even if it all feels a bit too smart to be believable, the terrific actors find strongly grounded moments along the way. All of which makes it hugely entertaining. (Netflix)

Mid-Century Modern
Almost painfully broad, this is an old-school sitcom with a queer twist, essentially remaking The Golden Girls with three gay men in Palm Springs. Nathan Lane is the sardonic leader of the pack, Matt Bomer is the brainless himbo and Nathan Lee Graham is the wry socialite, with the great Linda Lavin as the resident house mother. This could work a treat, but the writing is almost painfully simplistic, falling back on obvious jokes and a string of starry cameos. Thankfully, the actors are excellent at providing the textures needed to make the characters likeable. But without much of interest going on, it's not easy to care if they return for more. (Disney)

Étoile
This has promise, an ensemble comedy centred around an exchange between premiere ballet companies in New York and Paris, but it's assembled in a bewilderingly uneven way. Everything is infused with slapstick, creating deliberately wacky characters who are both unsympathetic and frankly implausible. This almost works for quirky artistes like Tobias Glick's obsessively awkward choreographer, but it rings badly false with the administrators who take up the vast majority of the screen time. It seems like a crime to saddle actors like Charlotte Gainsbourg and Luke Kirby with such one-note roles. Still, it's just about watchable. (Amazon)

Mr Loverman
This is a beautifully written and directed series, based on the Bernardine Evaristo novel about a lively Afro-Caribbean family man in London (a stunningly complex role for Lennie James) who is secretly in love with his best friend Morris (Ariyon Bakare), but is still unable to come out of the closet. The show flickers back to previous times and places in their decades together, punctuated by both everyday encounters and momentous events. Most intriguing is how this sensitive, observant show traces how gay rights evolved around these two men, and their very different reactions to that. And the final episodes are powerfully moving. (BBC)

Carême
Loosely based on real historical figures, this French series centres around the very first celebrity chef Antonin Careme (Benjamin Voisin) in the early 19th century, and throws him into the middle of soapy romance and lots of political intrigue under Napoleon's turbulent rule. The food on display is fabulous, of course. And there's some fun to be had in Careme's sexual shenanigans, even if the plot badly bogs down in the more thriller-style elements that leave it little more than a quest for revenge. At least it plays out with some nice twists, and strong performances from the seductive Voisin, Lyna Khoudri, Jeremie Renier and others. (Apple)

GUILTY PLEASURES: Britain's Got Talent, Fool Us, The Traitors (Australia), Drag Race (17/Down Under), Million Dollar Secret.

NOW WATCHING: Overcompensating, Your Friends & Neighbors, Andor 2, The Last of Us 2, The Handmaid's Tale 6

COMING SOON: MurderBot, Adults, Stick, Long Way Home, And Just Like That 2, Fubar 2, Squid Game 3.

Previous roundup: MARCH 2025 > 

Critical Week: All for one and one for all

I'm back in London today after a few weeks in Los Angeles visiting friends and family, celebrating Thanksgiving with them, and catching up with a few films there as well. Jet lag will make the next few days a challenge, as will Britain's icy cold snap, but I have too much going on during awards season to give in to that feeling that I should be sleeping. 

BEST OUT THIS WEEK:
Matilda the Musical
The Silent Twins
The Alleys • Hidden Letters
PERHAPS AVOID: The Leech
ALL REVIEWS >

The forthcoming sequel Puss in Boots: The Last Wish continues the lively antics of the swashbuckling cat voiced by Antonio Banderas, alongside Salma Hayek's Kitty Softpaws. It's hilariously entertaining, as expected. Less satisfying is Devotion, based on an inspiring true story about Korean War pilots that's told with far too much earnest reverence. There's enough to hold the interest and stir the emotions, but the film feels like it plays out in slow motion. And then there's the doc All That Breathes, which sneaks up on us with its bracing insights and vividly involving people who rescue traumatised birds in Delhi.

I also managed to catch up with two movies on the flight home. Infinite Storm, directed by Malgorzata Szumowska, stars Naomi Watts, Billy Howle, Denis O'Hare and Parker Sawyers in a contained, often silent story of survival on a snowy mountain. A jaw-dropping true story, it's spectacularly shot to put the audience in the situation with Watts' tenacious rescue worker. Ad The Outfit, directed by Graham Moore, stars Mark Rylance, Zoey Deutch, Johnny Flynn, Dylan O'Brien and the fabulous Nikki Amuka-Bird in a 1950s Chicago-set tale of a suit maker who becomes entangled with feuding mob bosses. The twisty plot is great fun, even if the film is rather uneven.

Movies this coming week include the blockbuster sequel Avatar: The Way of Water, Hirokazu Kore-eda's Broker, Ulrich Seidl's Rimini, Pakistani drama Joyland, the Iranian drama Winners, Italian comedy Marscapone, Spanish musical The Phantom of the Sauna and last year's surprise Oscar nominee Lunana: A Yak in the Classroom.

LFF: Ground yourself

As the 66th London Film Festival comes into its final days, I know that not being press accredited has meant that I have missed quite a few of the big titles, but I've also been able to discover lots of smaller unexpected gems along the way. And I'll see the bigger films anyway when they are released (or in awards season screenings). I've also been just as busy each day, but without those nasty 8am starts. And I haven't been in a single queue. I've also, for the first time in 28 years, been invited to the closing night party, although the invite came from Netflix not the LFF. I'll have one last post on Monday with a few more films, the award winners and my best of the fest. In the meantime, here are more highlights...

You Won't Be Alone
dir-scr Goran Stolevski; with Anamaria Marinca, Alice Englert 22/Ser ****
Delighting in a particularly yucky grisliness, this dramatic horror film has a timeless quality to it, feeling almost like a tone poem as it explores elemental feelings in an almost primordial setting. Writer-director Goran Stolevski has a wonderfully original approach to building tension in mostly wordless scenes, playing with light and sound while dipping into some genuinely nasty imagery. And a deeper exploration of gender makes the film haunting.

Decision to Leave
dir Park Chan-wook; with Tang Wei, Park Hae-il 22/Kor ****.
Whizzy visual touches make this far more intriguing than the usual police procedural thriller. But then, master filmmaker Park Chan-wook doesn't make simplistic movies, and this churning mystery is packed with jagged humour, eerie violence and an understated but powerfully heated noir-style romance. It's a dazzling film that tightens its grip with an intricately constructed drama that's both witty and emotionally powerful.

Inland
dir-scr Fridtjof Ryder; with Rory Alexander, Mark Rylance 22/UK ***
Infused with moody atmospherics, this dark and insinuating British fairy tale has a densely wooded setting and characters who are driven by past events they may not understand. Using inventive, sometimes experimental filmmaking, writer-director Fridtjof Ryder keeps the tone otherworldly from the start, evoking primal emotionality and ancient pagan rituals. But the storytelling is so loose that details of the plot feel just out of reach.

The Blue Caftan [Le Bleu du Caftan]
dir-scr Maryam Touzani; with Lubna Azabal, Saleh Bakri 22/Mor ****
Opening on luxuriant folds of blue silk, this Moroccan drama maintains a fluid tone that pulls the audience deep inside. Writer-director Maryam Touzani beautifully depicts details that are disappearing in the modern world, where people are too impatient to wait for hand-crafted tailoring. And the narrative is unusually involving, weaving in personal themes that have a strong emotional impact.

Crows Are White
dir Ahsen Nadeem; with Ahsen Nadeem, Kamahori, Ryushin 22/US ****
Beautifully photographed in otherworldly locations that have been rarely seen by outsiders, this documentary has a compelling narrative structure as it explores the nature of faith and traditions in the present day, specifically looking at Buddhism and Islam. Set out as a personal journey, this complex odyssey centres on filmmaker Ahsen Nadeem as he explores extreme lengths people go to in search of enlightenment. The offbeat result is witty, personal, revealing and strongly resonant. 

Plus one of the best films I saw in Venice...

The Banshees of Inisherin
dir-scr Martin McDonagh; with Colin Farrell, Brendan Gleeson 22/Ire ****.
Focussing on seemingly inconsequential events, this witty Irish drama becomes a startlingly vivid look at human interaction. Writer-director Martin McDonagh has an uncanny ability to sharply capture connections in small communities while echoing larger themes. So this often absurdly funny film brings continually surprising textures and impacts, with a literal civil war taking place in the distance. And the contained story at the centre is almost criminally satisfying... FULL REVIEW >

All London Film Festival reviews, once they're uploaded, will be linked to SHADOWS' LFF PAGE >

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C R I T I C A L   W E E K

There were a few non festival movies this week, including Jamie Lee Curtis' final (supposedly) movie in the 40-year franchise, Halloween Ends, which is enjoyably grisly but not very scary; the silly and surprisingly sophisticated comedy adventure Lyle, Lyle, Crocodile, with a singing-dancing Javier Bardem; the creepy and clever Irish horror-drama Nocebo; and the unexpectedly involving zombie pastiche The Loneliest Boy in the World.

Coming this next week are Dwayne Johnson in Black Adam, Billy Eichner in Bros and several more LFF movies, including Harry Styles in My Policeman and Daniel Craig in the closing movie Glass Onion, plus films for both the Iris Prize Festival and the London East Asia Film Festival, followed closely by Raindance. Yes, it's a festival traffic jam this month.

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 

Critical Week: Change the system

I've been playing catch-up since the festival ended, trying to watch things I'd been putting off, which means that several of the screening links have expired (why do they so rarely tell us there's an expiry date?). Oh well, I don't have time to watch everything, especially with two more festivals incoming.

BEST OUT THIS WEEK: 
Summer of 85 • The Climb
David Byrne's American Utopia
The Secret Garden
PERHAPS AVOID:
Honest Thief
Max Winslow & House of Secrets 
FULL REVIEWS >

Two movies I watched this past week star Sacha Baron Cohen, who gives a serious Oscar-contending performance in The Trial of the Chicago 7, Aaron Sorkin's smart, all-star dramatisation of the events surrounding the 1968 Democratic Convention Riots. It's very dense but also riveting, and the film couldn't be much more timely. Baron Cohen's other movie is Borat Subsequent Moviefilm, in which he reprises his role as the bumbling Kazakh journalist. His schtick isn't as fresh this time, which is probably why it plays more like a scripted comedy. But he still manages to expose some shocking stuff.

Anne Hathaway goes for broke in The Witches, a new adaptation of Roald Dahl's classic novel. It's more gleeful than actually nasty, but still good fun. Malin Akerman stars in Friendsgiving, a chaotic holiday comedy that almost writes itself, but has some very nice touches. The Sundance hit The Climb is a terrific exploration of a long friendship between two rather dopey men, so it's very funny in between the emotional bits. The kids' fantasy Max Winslow and the House of Secrets has its moments but never quite finds anything fresh or new in the formula. David Attenborough: A Life on Our Planet is a beautiful, powerful documentary that's trying to be hopeful about how we can stop destroying the planet. But it feels pretty bleak. And The Italian Boys is a collection of five thoughtful, sharply well-made shorts about men and boys trying to make sense of their inner desires.

I've got more catching up to do next week, including Elizabeth Debicki in The Burnt Orange Heresy, Jaeden Martell in The True Adventures of Wolfboy, the British drama Philophobia, the Peruvian drama Song Without a Name, the Argentine drama Young Hunter and the doc Boys State, plus some titles for both FrightFest and Raindance. 

Critical Week: On the run

It's been the hottest week in Britain for 60 years, and I don't think I've stopped sweating for more than about 30 seconds. Great weather for heading to the cinema, if only there were press screenings! But no, I've watched everything this week in my very warm home office. And it's been another eclectic collection of films. Claes Bang (above) is terrific in The Bay of Silence, a slightly muddled mystery that spins a twisty Hitchcockian plot, costarring Brian Cox and Olga Kurylenko. Waiting for the Barbarians boasts the powerhouse trio of Mark Rylance, Johnny Depp and Robert Pattinson, all excellent in an insightful and challenging exploration of imperialism.

BEST OUT THIS WEEK:
Big Fur • Babyteeth
Waiting for the Barbarians
PERHAPS AVOID:
Endless
FULL REVIEWS >

Ethan Hawke is superb as Tesla in an odd, artful biopic that loosely depicts the genius' life story and celebrates a complex man who is still changing the world. Alexandra Shipp stars in Endless, a relentlessly sappy romantic drama that ultimately lets her down. Roberto Benigni is perfectly cast as Geppetto in an earthy, faithful adaptation of the classic Italian novel Pinocchio. Jay Baruchel writes, directs and costars in the comic book thriller Random Acts of Violence, which starts very well before giving into its own into grisliness. Anthony LaPaglia stars in Pearl as a failed filmmaker who finds meaning through the teen daughter he never knew he had. Yes, it's as sentimental as it sounds, but also surprisingly edgy. And there were two docs: Barbara Kopple's astonishing Desert One offers astonishing firsthand accounts of the failed US rescue mission to free the hostages in 1980 Iran, while the entertaining Big Fur is a cheeky profile of a taxidermist trying to recreate a sasquatch for the world championships.

I'm taking a few days off this next week, but I have some films to watch before and after the break, including Jamie Foxx in Project Power, Janelle Monae in Antebellum, the animated adventure The One and Only Ivan, the British drama S.A.M, the revenge thriller Message Man and the Iranian drama Ava.

Critical Week: Land, sea, air and space

Two big movies this week were passion projects written and directed by top filmmakers. Luc Besson's Valerian and the City of a Thousand Planets is an almost outrageously colourful outer space romp starring Dane DeHaan and Cara Delevingne. It's visually fabulous, but never terribly thrilling. By contrast, Christopher Nolan's Dunkirk is so viscerally inventive that it pulls us into a cleverly splintered narrative - on land, sea and air - surrounding Britain's epic 1940 evacuation across the channel. Unlike any war movie you've seen, it's perhaps the year's best film so far. And it's especially powerful on the Imax screen.

Much sillier thrills were to be had at Captain Underpants, the riotously rude animated comedy centred on a friendship between two pranksters who convince their principal that he's a superhero. Frenetic but very funny. The Vault is a heist movie with supernatural horror overtones starring James Franco and Francesca Eastwood (comments are embargoed). Killing Ground is more straightforward grisly horror from Australia about two families who face scary locals in the woods. And the 1961 British classic Victim gets a welcome reissue to mark the 50th anniversary of the decriminalisation of homosexuality. It's also still a great drama, with powerhouse performances from Dirk Bogarde and Sylvia Syms.

Coming up this next week are Kathryn Bigelow's 1960s riots drama Detroit, Bill Nighy's Victorian whodunit The Limehouse Golem, Jada Pinkett Smith and friends on a comical Girls Trip, Gerard Butler as A Family Man, a couple of women trapped 47 Metres Down, and the festival-winning On Body and Soul.

Critical Week: A big buddy

London critics saw two big effects-based movies this week featuring young kids interacting with huge digital costars. Steven Spielberg brings his usual sense of wonder to The BFG, based on the Roald Dahl classic. The excellent cast features Mark Rylance, newcomer Ruby Barnhill and Penelope Wilton, and the story is involving and lovely, although it does feel very animated. Surprisingly, Pete's Dragon feels rather more tactile and grounded, with its loveable giant green furry puppy dog-like dragon. It's just as wondrous, with fine acting from Bryce Dallas Howard, Oakes Fegley and Robert Redford.

Off the beaten path, we had screenings of Things to Come, a clever, thoughtful French drama starring Isabelle Huppert; the moving documentary Jim: The James Foley Story, about the American journalist kidnapped and executed by Islamic State; and the artful portmanteau movie Confessions, exploring issues of love and sex through rather actorly monologs.

This coming week I have rescheduled screenings for both Jason Bourne and Hell or High Water, plus that other Chris Pine movie Star Trek Beyond, Viggo Mortensen in Captain Fantastic and the new film version of the British classic Swallows and Amazons. Then I'm off on a short holiday for five days, hurrah! My first proper break since last November.

36th London Critics' Circle Film Awards: in words and pictures

The UK's top film critics held their annual awards ceremony on Sunday night at The May Fair Hotel in London, with a superb lineup of red carpet guests. I happen to be the chair of the 36th London Critics' Circle Film Awards, which we started organising back in June, so it was great to see the evening unfold in such a joyous, celebratory way. The most memorable moment (pictured above) was when Kate Winslet led the audience into a spontaneous standing ovation for beloved actor-filmmaker Alan Rickman, who died on Thursday.

The ceremony was hosted by comic Robin Ince (left), who stepped in at the last minute due to the sudden illness of one of our planned host. He balanced the mood perfectly, with a witty look at movies that included a number of hilarious Brian Blessed anecdotes. On the right are nominated writer Emma Donoghue (Room) and the Critics' Circle Film Section Chair Anna Smith.

We had a new award this year. First, we handed out our inaugural prize for British/Irish Short Film of the Year, which went to Ben Cleary (left) and his lovely, and now Oscar-nominated, short Stutterer. And we rebranded our British/Irish Breakthrough Filmmaker prize as The Philip French Award, in honour of our esteemed colleague who passed away this year. It went to John Maclean (right) for Slow West.

Of course, Kate Winslet was one of the brightest stars on our red carpet, and she also took home the award for Supporting Actress of the Year for Steve Jobs. She also had a mini reunion with Judi Dench - they both played Iris Murdoch in Iris.

Maisie Williams won the Young British/Irish Performer of the Year award, and livened up the red carpet in her Mexican-wrestler themed dress, accompanied by fellow nominee Florence Pugh (left), her costar in The Falling. Along for the party were actor Blake Harrison and his fiancee Kerry (right).

Producer Sygne Byrge Sorensen (left) collected the Foreign-Language Film of the Year award for Joshua Oppenheimer's documentary The Look of Silence, while top producer Stephen Woolley (right) accepted the Technical Achievement Award for Ed Lachman's cinematography in Carol.

Two directors accepted awards on behalf of their actors. Rufus Norris (left) read a thank you message from Tom Hardy, who was named British/Irish Actor of the Year for his body of work in 2015, including Norris' London Road, The Revenant, Mad Max: Fury Road and Legend. And Brooklyn director John Crowley (right) relayed a hilarious thank you from Saoirse Ronan as British/Irish Actress of the Year.

Andrew Haigh (left) sent a video thank you for British/Irish Film of the Year for 45 Years. Producer Tristan Goligher took to the stage to grab the trophy. Meanwhile, Asif Kapadia (right) was on hand to collect the Documentary of the Year award for Amy.

Mark Rylance sent a surreal video to accept Supporting Actor of the Year, performed in character (left) from the set of the play he's doing in Boston. His Wolf Hall costar Thomas Brodie-Sangster (right) accepted the award for him.

And then there was George Miller, who sent two witty videos to gratefully accept the top awards for Director of the Year and Film of the Year for Mad Max: Fury Road.

And the ceremony wrapped up with the main event of the night, as Judi Dench took to the stage to present the Dilys Powell Award for Excellence in Film to Kenneth Branagh. Both gave smart, gracious speeches that had the audience laughing and sighing.

Of course, I also have to shamelessly include two collages of photos that I appear in. As chair, one of my many jobs is to welcome all of our guests at the top of the red carpet, so I had a chance to talk with each of them before the event started. Below is a rather ridiculous photobombing session with Dame Judi and Sir Ken.

And I also feel I should share this series of photographs taken while I was chatting to Kate Winslet about the last time I saw her (when she was about to pop with her third child) and her next movie, Triple 9 - I saw it last week but she hasn't seen it yet. Of course she's awesome in it.

And to drop one more name, as I made my way home following the after-party, I received a lovely email from Tom Hardy, who was deeply apologetic that he had been unable to turn up to accept his award and join the party. He's shooting a film in London at the moment, and production ran over. Hopefully he'll make it next year.