Critical Week: You're going to be just fine

It seems that awards season is arriving early this year, as screenings have already begun for many of this year's festival favourites, who are jostling for attention in the awards conversation. What's nice about this is that, at many of these screenings, we get a chance to meet the actors and filmmakers. And I particularly like getting a bit ahead of the buzz - making up my own mind without reading reviews. One of my most anticipated this year was Harris Dickinson's writing-directing debut Urchin, starring Frank Dillane (above). It's a stunner, authentic and artistic, and profoundly moving.

BEST OUT THIS WEEK:
Plainclothes • Solo • Steve
The Lost Bus • Happyend
Tape • Peacock • Megadoc
ALL REVIEWS >

The starriest event, attended by the cast and crew, was for Steve, which stars Cillian Murphy as headmaster of an English reform school. It's another remarkably artful, skilfully shot and acted drama with a powerful kick. Paul Greengrass' riveting, immersive true story The Lost Bus stars Matthew McConaughey and American Ferrera as a pair of everyday heroes trying to save young kids during a horrific California wildfire. And Emma Thompson is terrific in the snowy and very gritty thriller Dead of Winter.

I also caught up with three festival favourites: The Love That Remains is an unusually nuanced collage of complex family life from Iceland, Two Prosecutors is a wryly ironic drama set in Soviet-era Russia as a young lawyer tries to take on the system and, from Spain, Romeria is an involving look at identity as a young woman seeks answers about her heritage. I also loved Mike Figgis' making-of-Megalopolis documentary Megadoc, which is a gorgeous portrait of Francis Ford Coppola. Finally, I attended two offbeat live performances that mix dance, music and spoken word: How to Be a Dancer in Seventy-two Thousand Easy Lessons at Sadler's Wells East and Vlaemsch (Chez Moi) at Sadler's Wells.

Films to watch this coming week include Dwayne Johnson and Emily Blunt in The Smashing Machine, Channing Tatum in Roofman, Sam Claflin in All the Devils Are Here and Brett Goldstein in All of You, plus Acosta Danza's A Decade in Motion on stage at Sadler's Wells. I'm also hosting a Q&A with director Sophie Dupuis and actor Felix Maritaud tomorrow following their new film Solo.

Critical Week: Winter is coming

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

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

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

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

Critical Week: Happy New Decade!

I watched a handful of films in the time between Christmas and New Year, some were catch-up awards-qualifying titles, others are coming to cinemas soon, some are both! The Japanese animated feature Weathering With You looks simply gorgeous (see above) and tells an imaginative story with style and emotion. Guy Ritchie's The Gentlemen stars Matthew McConaughey in a British crime comedy-drama. And the Russia's Oscar qualifier Beanpole is an unforgettable, twisted, powerful post-war odyssey. There were also these three: the first is an acclaimed and pointedly timely drama set in Paris, the second is Poland's provocative Oscar contender, the third is a masterpiece made by my all-time favourite filmmaker before I was born...

Synonyms Synonymes
dir Nadav Lapid; scr Nadav Lapid, Haim Lapid
with Tom Mercier, Quentin Dolmaire, Louise Chevillotte, Uria Hayik, Olivier Loustau, Yehuda Almagor, Gaya Von Schwarze, Gal Amitai, Idan Ashkenazi, Dolev Ohana
release Fr 27.Mar.19, UK Jun.19 eiff, US 25.Oct.19
19/France 2h03 ****

With an impressionistic, visceral filmmaking style, Nadav Lapid takes a fictionalised look at his own experiences moving away from his home country and adapting to a new culture. The narrative takes a series of random and sometimes absurd turns along the way, adding a range of textures to the film and its themes. It's strikingly well shot and edited, with intriguing angles and surprising twists in each scene. And it's anchored by a remarkably thoughtful performance from Tom Mercier, who brings a brave willingness to reveal the character inside and out.

Frustrated by his native country Israel, 20-ish Yoav (Mercier) esacapes after his military service to live in Paris. On his first night, literally everything he has brought with him is stolen. Neighbours Emile and Caroling (Dolmaire and Chevillotte) come to his rescue. As he befriends them, Yoav refuses to speak Hebrew, studying a French dictionary whenever he has a spare moment. Indeed, his only goal is to be French. He gets a job with a rather offbeat security group, which makes it even more difficult to simply reject his past. Yoav is angry at the ugliness he sees in Israeli society, but Emile reminds him that there is rot in every culture.

As Yoav bonds with Emile, Caroline and a Jewish colleague (Hayik), he reminisces about his life before France. Scenes are offbeat and unexpected, sometimes warmly involving or blackly comical, including a moment of sudden aggressive physicality. The character portrait and nature of his odyssey sometimes feel so broad that it's difficult to find the central idea, but then fleeing one culture for another is never going to be straightforward. The film is shot with style and honesty that hints at angles to the story Lapid deliberately struggles to explore, like identity or masculinity. Or perhaps he's just provoking his audience to find a way through their own stories.

28.Dec.19 • Berlin/Toronto

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Corpus Christi Boże Ciało
dir Jan Komasa; scr Mateusz Pacewicz
with Bartosz Bielenia, Aleksandra Konieczna, Eliza Rycembel, Lukasz Simlat, Tomasz Zietek, Mateusz Czwartosz, Barbara Kurzaj, Leszek Lichota, Juliusz Chrzastowski, Zdzislaw Wardejn
release UK 18.Oct.19, US 22.Apr.20
19/Poland 1h55 ****

From Poland, this boldly provocative drama takes on some enormous issues while telling the darkly personal tale of a young man grappling with who he is. The story is set in the deep-seated Catholic culture, tackling underlying repression, prejudice and, most notably, the appalling inability of religious people to forgive each other. Writer Mateusz Pacewicz  and director Jan Komasa refuse to pull any punches as the events unfold, and their actors play it beautifully.

The story centres on Daniel (Bielenia), a teen who gets parole just as his arch-nemesis Bogus (Czwartosz) arrives at the juvenile detention centre. Daniel had found solace there working alongside Father Tomasz (Simlat), so while heading to his new job in a sawmill, he's distracted by the village church, and especially Eliza (Rycembel), daughter of church administrator Lidia (Konieczna). Presenting himself as a priest, Daniel winds up taking over while the vicar (Wardejn) is away in hospital. And Daniel works himself into the heart of the community.

Tension emerges throughout this story, including dark hatred around the village relating to a fatal car crash a year earlier, ruthless control exerted by the sawmill owner (Lichota), and another ex-con (Zietek) who recognises Daniel and threatens to expose him. Balanced on this precipice, it's fascinating to watch Daniel's crisis of faith, beautifully played by the young Bielenia, barely concealing his emotions under layers of earthy bluster. It's clear to see that this is where Daniel belongs: even if he's an unqualified interloper, he's not a fraud, his work is genuine. And the filmmakers never take an easy route through his story, which means that it is packed with moments of joy, pain and even a few epiphanies.

27.Dec.19 • Venice/Toronto

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La Dolce Vita
dir Federico Fellini; scr Federico Fellini, Ennio Flaiano, Tullio Pinelli
with Marcello Mastroianni, Anita Ekberg, Anouk Aimee, Yvonne Furneaux, Alain Cuny, Annibale Ninchi, Nadia Gray, Magali Noel, Lex Barker, Jacques Sernas, Walter Santesso, Alain Dijon
release It 4.Feb.60, UK 24.Aug.60, US 19.Apr.61
reissue UK 3.Jan.20
60/Italy 2h54 *****

Any excuse to rewatch Federico Fellini's masterpiece should be embraced, so it's great that the film continues to be restored/reissued. This is one of the most audacious movies ever made, packed with life, love, energy, wit and some bleak emotion. It's very long, sweeping the audience along on an episodic odyssey that combines Fellini's larger-than-life exuberance with his earthier realism. It's also quite possibly the coolest movie ever made.

The story centres on Marcello (Mastroianni), a journalist who travels with a pack of paparazzi, chasing famous starlets around Rome. Marcello seems to fall deeply in love with each of these glamorous women, so it's no wonder that his drama queen fiancee Emma (Furneaux) is at home contemplating suicide. But Marcello carries on flirting, dancing through each night with a sequence of gorgeous celebrities even as darker drama plays out around him, including a freaky night in the pouring rain following two children who say they can see the Madonna, a lovely but unsatisfying visit with his father (Ninchi), and a friend (Cuny) who loses it horrifically.

From the opening shot of a helicopter dangling a statue of Christ over a rooftop pool of bathing beauties, the film explodes with life. And everyone's loving it. These achingly cool people wear sunglasses indoors, seduce each other shamelessly and have moments of serious introspection ("My father's still a handsome man, isn't he?" Marcello muses). Classic imagery and moments abound, from Maddalena's (Aimee) vast Cadillac convertible to a frolic in a fountain with a red-hot movie star (Ekberg) to an outrageous party in an unoccupied villa ("And I'm unoccupied too," notes Maddalena). There's a range of astonishing settings, various types of music, and both old and young people being free and happily sexy.

Few filmmakers have ever had Fellini's powers of observation, spotting the tiniest telling movement within the grandest spectacle. So the film is a funny, crazy, wrenching collision of banter, bravado and humanity. It's the kind of movie that reminds us to howl at the moon from time to time, to remember that the good times go hand in hand with the bad ones and to take nothing for granted.

revisited 31.Dec.19 • Cannes/Berlin

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Screenings will be cranking up slowly this coming week as press offices return from the holidays. At the moment, I only have two in the diary: the British road movie The Runaways and the shorts compilation The Uncertain Kingdom. More are to come, surely.

Short Cuts: Death, love and rehab

Here are two Netflix films I caught up with this week, plus another film that hasn't had a UK release but is already streaming from the US...

Murder Mystery
dir Kyle Newacheck; scr James Vanderbilt
with Adam Sandler, Jennifer Aniston, Luke Evans, Terence Stamp, Dany Boon,Gemma Arterton, Adeel Akhtar, Luis Gerardo Mendez, David Walliams
19/US Netflix 1h37 **.

Let's be honest: you know you're in trouble when they can't even be bothered to give a movie a title. A bit of breezy entertainment, this energetic comedy is relentlessly dopey, but will just about do the trick when you want no mental stimulation whatsoever. It's about New York cop Nick (Sandler), who takes his frustrated wife Audrey (Aniston) on the European honeymoon he promised her 15 years ago, mainly to cover his continuing failure to pass his detective exam. On the plane she meets Viscount Charles (Evans), who invites them to Monaco for a weekend on a palatial yacht owned by his billionaire Uncle Malcolm (Stamp). The passengers are a who's who of characters from one of Audrey's mystery novels, so when Malcolm is stabbed with the bejewelled family dagger just before signing his new will, Nick steps in to help solve the crime. Of course, he immediately becomes the prime suspect.

The script plays with the stereotypes and genre cliches as the body count grows and the amusingly blustery Inspector Delacroix (Boon) takes the case. From here the writer and director lazily indulge in trite jokes, never creating a coherent plot or characters. Action moments are clumsy, and much of the humour falls flat. But there are witty gags here and there leading to the usual closed-room solution, which of course is followed by twists, turns and some random madcap action amid picturesque scenery. For an Adam Sandler comedy, this means that it's far above average. But by any other measure, this is a stumbling mess of a movie. Even so, it fills the time amiably enough. Aniston invests fully into the role with her enjoyably shrill comical energy. Her chemistry with Sandler even makes him seem almost funny.

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Always Be My Maybe
dir Nahnatchka Khan
scr Randall Park, Ali Wong, Michael Golamco
with Ali Wong, Randall Park, James Saito, Michelle Buteau, Vivian Bang, Keanu Reeves, Daniel Dae Kim, Karan Soni, Charlyne Yi, Susan Park
19/US 1h41 ***.

This romantic comedy has a silly tone that makes it likeable, finding realistic edges to the characters that make them deeply engaging. It's thoroughly obvious where the film is heading, but the characters and story are both witty and involving, so it's never easy to predict how any scene is going to unravel. Sasha and Marcus (Wong and Park) are best buddies from childhood, then share a romantic moment in their teens, which leaves their friendship in an awkward place. Now in Los Angeles, Sasha is a celebrity chef with a hot restauranteur fiance (Kim), but he has just taken an extended job in India. So Sasha decides to start over as she goes to San Francisco to open a new branch. She soon runs into Marcus, who's living at home, working with his dad (Saito) and playing in an indie band. He also has a crazy girlfriend, Jenny (Bang). But Sasha and Marcus begin rekindling their friendship, and they know each other too well to let each other get away with any rubbish.

The dialog is snappy, often with an improvisational feel to it. Park and Wong have terrific chemistry, bouncing off each other with jaggedly perfect timing. Marcus' band plays smart-alecky pop-rap novelty songs that you'll want to download immediately. And there are zinger one-liners scattered through the script for each of the side characters ("I'm an LGBTQIA ally, so thank you for your service," says Soni, as Marcus' bandmate, to Buteau, as Sacha's lesbian assistant). Keanu Reeves' sequence, in which he plays himself as Sasha's new boyfriend, is simply hilarious, as he unapologetically pokes fun at the image people have of him. Thankfully, along with some pointed pastiche about new cuisine, the film also dips a little deeper into celebrity culture as the story develops. It's never provocative or surprising, but it's thoroughly enjoyable, keeping the audience laughing and sighing right to the end. And there are moments that make us hungry too.

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The Beach Bum
dir-scr Harmony Korine
with Matthew McConaughey, Isla Fisher, Snoop Dogg, Stefania LaVie Owen, Jonah Hill, Zac Efron, Martin Lawrence, Jimmy Buffett
19/US 1h35 **.

Matthew McConaughey is typecast as a loose-living stoner in this comedy by anarchic filmmaker Harmony Korine. He plays Moondog, a worry-free guy in Key West whose life is a series of hedonistic antics. Then he's called back to Miami to help his equally free-spirited wife Minnie (Fisher) with their 22-year-old daughter's (Owen) wedding. "I forgot how rich we were," Moondog says when he returns to their bayside mansion. His literary agent (Hill) berates him for throwing away his talent. So after a run-in with the law, Moondog checks into a year of court-ordered rehab, hoping he'll find the clarity to finally write his book. There he meets Flicker (Efron), a vaper who's equally irresponsible, so they escape and go on a crime spree.

Unsurprisingly, the film looks gorgeous, thanks to Benoit Debie's deep-hued cinematography, and it's accompanied by a superb collection of 1970s songs. Even so, the film feels like it was made in a marijuana-fuelled haze, full of wacky slapstick and broadly overplayed nuttiness, punctuated by McConaughey's piercing cackle. The film is mainly assembled from disconnected scenes of Moondog's aimless carousing and partying. Stinking rich, he hasn't a care in the world, so he never makes much sense. The open relationship between Moondog and Minnie is rather sweet, so a moment when the perpetually inebriated Moondog seems to feel a pang of jealousy feels downright false. Everyone talks about how his genius outweighs his bad behaviour, but there's little evidence of that. His best friends are his wife's lover (a mellow Snoop Dogg) and a disastrous dolphin tour guide (Lawrence). But aside from his general joie de vivre, there's nothing likeable about Moondog. So it's very difficult to celebrate him as a poetic hero rather than just a rich jerk who has had far more luck than he deserves. But then perhaps that's the vaguely political point Korine is making with this unexpectedly toothless romp.

Critical week: He's behind you!

It's been a busy week catching up with movies here in London. The biggest films were entries in decades-old franchises. Child's Play is a reboot, rather than sequel, updated to the artificial-intelligence era and starring Aubrey Plaza. Toy Story 4 tells another superbly engaging story, again bringing these indelible characters together with action and emotion. And Men in Black International attempts a fresh turn in the saga, with younger stars Tessa Thompson and Chris Hemsworth, rather too much digital nuttiness and an only OK plot.

Three small-screen movies will be covered in another blog entry: Jennifer Aniston and Adam Sandler reunite for the dopey Europe-set comedy whodunit Murder Mystery, Randall Park and Ali Wong star in the snappy-silly rom-com Always Be My Maybe, and Matthew McConaughey plays to type as the stoner title character in the somewhat unfocussed comedy The Beach Bum (out this week on VOD).

As for more arthouse fare, there was Joanna Hogg's new film The Souvenir, another exploration of British upper-class repression, starring Tilda Swinton and her daughter Honor Swinton Byrne, plus Tom Burke. All are excellent, and the film is deeply chilling. Swinging Safari is a wild and woolly Aussie 1970s-set comedy starring Guy Pearce, Kylie Minogue and Radha Mitchell. It's a bit over-the-top and chaotic. The American-set British thriller Division 19 is set in a near-future society in which privacy is outlawed. It looks great but makes little sense. From South Africa, the musical Kanarie is a powerful exploration of bigotry and self-acceptance, as a young man goes through his mandatory military service as a member of a choir. From India, Unsaid is a dark drama about deep family secrets, powerfully well played. And the British documentary Are You Proud explores the Pride movement with an intriguingly critical eye.

Coming up this next week, we have Benedict Cumberbatch in The Current War, Alicia Vikander in Euphoria, Angus Macfadyen in Robert the Bruce, the Oscar-nominated drama Never Look Away, the French water polo comedy The Shiny Shrimps, the Indian drama Roobha, and the doc Southern Pride, among others....

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: A boy's best friend

Big movies screened to the press this week include the action romp Monster Trucks, which is a proper guilty pleasure with a solid cast including Luke Till (above), Jane Levy, Rob Lowe, Amy Ryan and Thomas Lennon. The dream team of Jennifer Lawrence and Chris Pratt makes Passengers thoroughly engaging as a high-concept sci-fi drama-romance-thriller hybrid. And Assassin's Creed reunites Michael Fassbender and Marion Cotillard but falls into the usual trap of neglecting to find a coherent plot in a videogame.

James Franco and Bryan Cranston square off in the comedy Why Him?, yet another Meet the Parents-style romp from John Hamburg. It's stupid, but funny. Gold stars Matthew McConaughey in the fascinating true story of a rather dodgy mining operation, but the film isn't easy to engage with. Will Smith is bogged down in syruppy sentiment in Collateral Beauty, which is livened up a bit by Helen Mirren, Keira Knightley, Michael Pena and Kate Winslet. And the indie drama Retake is an enigmatic and surprisingly moving road trip starring Tuc Watkins.

My last actual screening of the year is Billy Lynn's Long Halftime Walk, but I have several screener discs I need to watch over the next week or so before voting in various awards (I've already voted in the London Critics' Circle Film Awards - we announced our nominations this afternoon). Discs in the pile include Hello My Name Is Doris, Touched With Fire, A Man Called Ove, Aferim!, Zero Days, Before the Flood, Kate Plays Christine and My Scientology Movie. How many will I find time to watch?

Critical Week: Show some style

There were a couple of big animated movies screened for London critics this past week. First up was Sing, Garth Jennings' lively musical-animals romp, which comes complete with a witty satirical swipe at TV talent competitions. There was also Disney's Moana, a gorgeously animated South Pacific adventure with a rather fluffy plot but engaging characters.

Other mainstream movies included Robert Zemeckis' World War II romantic drama Allied, which is overproduced but has a great story and solid leads in Brad Pitt and Marion Cotillard. Mark Wahlberg reteams with director Peter Berg for another true story in Patriots Day, sharply recounting the Boston Marathon bombing with raw emotion and nerve-jangling suspense. And Billy Bob Thornton returns for Bad Santa 2, which has its moments but is undermined by a cheap, rather mean script.

A little further afield, Briana Evigan stars in the high-concept drama Love Is All You Need, with inverts social ideas about sexuality to make a pungent statement, although the film is melodramatic and rather corny. And the engaging, sweet and ultimately shattering Italian teen drama One Kiss has a powerful message about diversity and subtle bigotry.

Screenings coming up this week include Nicole Kidman in Lion, Annette Bening in 20th Century Women, the noir thriller Kiss Me Kill Me and the documentary Cameraperson. And I also have a few for-your-consideration titles to watch before voting starts in various awards groups over the next few weeks.

Critical Week: Join the jet set

Diane Kruger and Bryan Cranston are terrific in The Infiltrator, based on the true story of federal agents infiltrating the Colombian drug trade in the mid-80s. And then there's Jonah Hill and Miles Teller getting involved in the illicit arms trade in War Dogs, a lively and too-violent comedy from the director of The Hangover. The week's other heavy hitter was also a true story, although it's from the 1860s. Free State of Jones is a long, important and perhaps too-earnest drama starring Matthew McConaughey as a southerner who rebelled against the Confederacy.

And then there was the British post-apocalyptic thriller The Girl With All the Gifts, a terrific premise with an excellent cast that includes Gemma Arterton, Glenn Close, Paddy Considine and talented newcomer Sennia Nanua. The third film in the series, The Purge: Election Year continues the rather anachronistic anti-violence preachiness alongside gratuitous grisly horror. 400 Days is an uneven low-fi thriller starring Brandon Routh and Caity Lotz as astronauts preparing to go to Mars but ending up somewhere entirely different. And Liebmann is an involving, offbeat German drama set in France, as a guy moves to a rural town to escape his past, but it of course catches up with him.

This coming week I have screenings of Kristen Stewart in Personal Shopper, the animated adventure Kubo and the Two Strings, the action mayhem of Kickboxer: Vengeance, the arthouse thriller Under the Shadow, the acclaimed festival film The Clan and the horror romp We Are the Flesh.

Critical Week: Shake your money maker

It feels like months since I've done a regular weekly blog entry! (It was 7th October.) After the one-two punch of London and Abu Dhabi film festivals, I'm back to normal for three weeks. In the three days since flying home from the UAE, I've only seen four films....

Get On Up is an ambitious biopic about James Brown starring the seriously talented Chadwick Boseman, although the film is a bit too fragmented to properly convey much insight into Brown's own genius. One of the year's most hotly anticipated films, Interstellar is Christopher Nolan's trip into space to seek a future for humanity, featuring strong performances from Matthew McConaughey, Anne Hathaway, Jessica Chastain and others but a plot that wobbles badly in the middle. Nativity 3: Dude, Where's My Donkey?! is the latest instalment in the silly British Christmas musical series, as another new teacher (Martin Clunes) is tormented and ultimately won over by Marc Wootton's Mr Poppy and his ludicrously adorable students. And X+Y is a remarkable little British drama anchored by a powerhouse performance from Asa Butterfield as an autistic maths-whiz teen.

This coming week, I'll be watching the year's next blockbuster The Hunger Games: Mockingjay Part 1, plus Tommy Lee Jones' starry Western The Homesman, Wong Kar-wai's much delayed award-winning film The Grandmaster, the German drama Diplomacy, the French drama Eastern Boys, the Swiss drama The Circle and the Arab Spring documentary We Are the Giant.

Out on a limb: Oscar picks and predictions

This year's Oscar race is the most wide open competition in years - it's hard to remember when there were so many categories that could go one of two (or even three) ways, and this year only Best Actress is a true lock.

I'll be watching the ceremony Sunday night in London with a gang of critics and friends in a pub that's staying open all night for us. Of course, the ceremony kicks off at 1am British time and finishes around 5am, so Monday isn't going to be too terribly coherent for me! But I plan to live-tweet right through the red carpet and the ceremony.

Below are the ways I think the wind is blowing this year. I will be hoping for upsets and surprises, as always. I should also admit that I hope Gravity only wins in the craft categories, where it belongs. The film is astonishing technical genius, but let's be honest: the script makes it the least of the nine Best Picture nominees.

Picture
Will win: 12 Years a Slave
Could win: Gravity
Dark horse/should win: American Hustle

Director
Will win: Alfonso Cuaron
Could/should win: Steve McQueen

Actress
Will/should win: Cate Blanchett
Dark horse: Amy Adams

Actor
Will win: Matthew McConaughey
Could/should win: Chiewtel Ejiofor
Dark horse: Leonardo DiCaprio

Supporting Actress
Will/should win: Lupita Nyong'o
Could win: Jennifer Lawrence

Supporting Actor
Will/should win: Jared Leto
Could win: Barkhad Abdi

Original Screenplay
Will/should win: American Hustle
Could win: Her

Adapted Screenplay
Will win: 12 Years a Slave
Could/should win: Philomena

Foreign-language Film
Will win: The Great Beauty
Could/should win: The Broken Circle Breakdown

Documentary
Will win: Twenty Feet From Stardom
Could/should win: The Act of Killing

Animated Feature
Will win: Frozen
Could/should win: The Wind Rises

Score
Will win: Gravity
Should win: Her or Philomena

Cinematography/Film Editing/Effects/Sound Mixing/Sound Editing
Will/should win: Gravity

Production Design/Costumes
Will win: The Great Gatsby
Should win: American Hustle

Critical Week: The Quarter Quell

The big screening this past week for UK critics was, of course, The Hunger Games: Catching Fire, the second chapter in the saga, which ramps up the stakes considerably with its beefier story, potent cast and bigger effects budget. We were all pretty stunned afterwards - in a good way. Jude Law stars in Dom Hemingway, an offbeat British crime comedy-drama that starts extremely well but takes a mopey turn about halfway in. And I also caught up with Dallas Buyers Club, starring a gaunt Matthew McConaughey in the true story of a man subverting government and pharmaceutical inaction during the 1980s Aids epidemic - an involving, important story.

Further afield, the Italian comedy Tell No One is a warm and engaging coming-out story, while the Aussie drama Monster Pies is a much darker teen drama that also grapples with sexuality issues. And there were two docs: the colourful, fascinating Exposed features full-on burlesque artists, while the clever This Ain't California fictionalises the real story of skaters rebelling against East German control.

Shadows is on holiday over the next two weeks, but I plan to see some films while I'm in America. On my to-see list are Oldboy, Frozen, The Book Thief and Charlie Countryman, and I am also working on possible awards-consideration screenings of things like American Hustle, August: Osage County and others. Watch this space for updates!

In the mean time, below are the Shadows covers for the next two weeks...

Sundance London: Day 1

The 2nd Sundance London Film and Music Festival kicked off at the O2 today with another ambitious collection of films from the January event in Park City, plus a number of live performances, workshops, panel discussions and musical events. Press screenings have been underway all week, and now the fun really starts, since all of the filmmakers are in town for the festival.

Yesterday we had a big launch press conference with Robert Redford, who noted that Sundance's first venture outside its home base in Utah was a big success last year, and he was happy to be invited back again. "It's a cultural exchange," he said, "We bring foreign films to Utah and now we're exporting American films to London audiences. And the filmmakers are excited to see their films travel outside America's borders." Here are a few early highlights...

The Kings of Summer
dir Jordan Vogt-Roberts; with Nick Robinson, Gabriel Basso 13/US ****
Witty direction and an exceptionally sharp script give this coming-of-age film a blast of originality that completely wins us over. There may be a few too many wacky touches, but overall the film is grounded in solid characters and hilariously squirm-inducing observations. It centres on three teens (Robinson,  Moises Arias and Basso, pictured) who run away from home and build a cabin in the woods to escape their humiliating parents. And we can see why, with brilliant supporting turns by the likes of Nick Offerman and Megan Mullally. So even if the film sometimes drifts toward Napoleon Dynamite, it remains grounded by the excellent performances and sharply observant filmmaking.

The Look of Love
dir Michael Winterbottom; with Steve Coogan, Imogen Poots 13/UK ***.
This fascinating story is told with vivid style, a terrific use of actual settings and a strong cast. But the characters never quite get under our skin, so our interest in the history of one of London's more colourful districts is never deepened by personal resonance or larger meaning... REVIEW >

Mud
dir Jeff Nichols; with Tye Sheridan, Jacob Lofland 12/US ***.
Nichols is a gifted writer-director who knows how to get into the heads of his characters. And this film has superior actors who create people who are intriguing and hugely involving. But the overlong running time makes the story drag badly, straining our patience to the point where we don't really mind how things end... REVIEW >

God Loves Uganda
dir Roger Ross Williams; with Christopher Senyonjo, Lou Engle 13/US *****
This deeply disturbing documentary shines the light on a side of American culture that seems wholly positive to everyone involved. But from the outside it looks sinister and hateful. Credit must go to the filmmakers for presenting this in a fair and balanced way, covering the whole story with remarkable restraint. The topic is the missionary work run by the Kansas City-based International House of Prayer in Uganda, where in the name of Christian outreach they export ultra-conservative views that would never take root in America. This has led to several violent murders as "Christians" rise up to kill anyone perceived to be a homosexual, and indeed a law is before Uganda's parliament to make being gay a capital offense. Watching these clean-cut, under-educated American young people is shocking: their hearts may be in the right place, but they simply don't realise that they are actually killing people instead of helping them. A remarkably honest but truly shocking film that deserves to spark a lot of discussion. Especially in Uganda.

Critical Week: Dancing on air

I essentially took the week off, because I had family visiting. But still managed to attend a few screenings in between the London Eye, the National Gallery, Madame Tussaud's, We Will Rock You (not bad!) and even a day trip to Paris. Filmwise, Pedro Almodovar's latest film I'm So Excited is a broad 80s-style farce about a group of people on what they think is a doomed airliner. It's unusually camp and ridiculous even for Almodovar, and will probably divide audiences. Some will be disappointed that Antonio Banderas and Penelope Cruz only have cameos in the film, but gay audiences will at least get all the hilarious jokes.

London critics also got to see Mud, Jeff Nichols' new drama with Matthew McConaughey and Reese Witherspoon. It's skilfully written, directed and played, as expected - a fascinating Huck Finn-style drama - but it feels very long. Also overlong, the Swedish thriller Easy Money with Joel Kinnaman is finally getting a UK release (it was made in 2009) - it's slick and enjoyable, but not hugely original. And Disney's Chimpanzee is also getting a long-delayed UK release. It's a cuddly doc that shamelessly humanises a baby chimp.

This coming week we have a very late screening of Tom Cruise in the apocalyptic thriller Oblivion, Paddy Considine in Honour, Greta Gerwig in Frances Ha, the rock band adventure Bula Quo, and two collections of short films: this year's Bafta nominees and Boys on Film 9: Youth in Trouble.

Critical Week: Nicole's on fire

London critics had a double bill of Nicole Kidman this week, as she vamped her way through both Lee Daniels' The Paperboy and Park Chan-wook's Stoker. Both are the kind of movie you talk about - full of style and passion, colourful characters and controversial situations. And costars on fine form too: Zac Efron, Matthew McConaughey, John Cusack in one, Mia Wasikowska and Matthew Goode in the other.

The other big films included the funny-cruel British anti-romcom I Give It a Year, starring Rafe Spall, Rose Byrne, Stephen Merchant, Minnie Driver and everyone else they could rope into it. An even more outrageous cast populates the harshly unfunny Movie 43, which wasn't shown to the press (I bought a ticket Friday morning with all the other critics) and which is being sold on its Oscar-calibre cast alone. More likeable were the low-budget British films Papadopoulos & Sons and Do Elephants Pray, both of which yearn for simpler times by undermining a workaholic businessman. Neither is a classic, but the former is at least likeable.

We also had a trilogy of terror in Mama, a cleverly creepy horror starring Jessica Chastain; Chained, some effectively grisly nastiness from Jennifer Lynch; and Crawl, a twisted pitch-black comedy from Australia. More artful freakouts were had in the bracingly well shot and edited Danish ship-board thriller A Hijacking and the darkly artful Korean animated bullying drama The King of Pigs.

This coming week we have Ben Affleck in Terence Malick's To the Wonder, Al Pacino and Christopher Walken in Stand Up Guys, Nicholas Hoult in the zombie romance Warm Bodies, the undersea animation Sammy's Great Escape, the 3D crazy-stunt movie Nitro Circus and the Turkish drama Home (Yurt).

EIFF 1: The kickoff

The rebooted 66th Edinburgh International Film Festival kicks off tonight with William Friedkin's Killer Joe, starring Emile Hirsch, Juno Temple, Gina Gershon, Matthew McConaughey and Thomas Haden Church.

Killer Joe
dir William Friedkin; with Emile Hirsch, Matthew McConaughey 11/US ***.
This film's unhinged plot constantly catches us off guard with its bizarre twists and turns, all of which are grounded on the hapless characters. But despite strong filmmaking, it feels like we're watching a play, especially in the contained final act... FULL REVIEW >

Hail
dir Amiel Courtin-Wilson; with Daniel P Jones, Leanne Letch 11/Aus ***
Based on the real experiences of Jones, who plays a version of himself, this intensely personal drama gets under the skin quickly and stays there. The filmmaking is sometimes a bit pretentiously arty, but there's such a gritty earthiness to the film that it's impossible to look away. Jones and Letch have terrific chemistry, bouncing off each other with charming sweetness and hot tempers that could tear each other apart. This is a story about an ex-con drug addict who desperately wants to make his squalid life better, but he's terrified of change. So what chance does he have? Haunting and important, but at times difficult to watch.

Pusher
dir Luis Prieto; with Richard Coyle, Agyness Deyn 12/UK **
Coyle is superb as a cocky low-life London drug dealer whose life takes a few nasty twists and turns - bad luck combined with risky decisions that squeeze him into a nasty corner. Coyle also has terrific chemistry with his sidekick Bronson Webb, which is strained to he breaking point, drawing out some intriguing subtext that the script seems frightened to explore. And this is a big problem. There's little here that hasn't been said in countless urban London dramas, and the central relationship between Coyle and Deyn never remotely ignites, which kind of leaves us unable to really sympathise with anyone in the story.

The Invader
dir Nicolas Provost; with Issaka Sawadogo, Stefania Rocco 11/Bel ***.
This extremely detailed exploration of one man's odyssey is provocative and riveting, even when it takes some grim turns. It centres on Amadou, an illegal immigrant from somewhere in French-speaking Africa (the charming, intimidating Sawadogo) who ends up in urban Belgium trying to survive. He's clearly a smart, resourceful guy, and everyone he meets likes him, but his status makes getting ahead impossible. After breaking from his traffickers, he meets Agnes (Rocco), and sees her as his greatest hope. But this of course puts a bit too much pressure on her, which leads Amadou into a spiral of dehumanising frustration. The film looks terrific, with a sharp sense of human physicality and glassy modern life. But where the story heads is also very, very dark, which makes he film sometimes feel rather melodramatic.

In non-festival screening news, I also watched: Steve Carell and Keira Knightley in the funny and ultimately moving apocalyptic drama Seeking a Friend for the End of the World; Benjamin Walker in Abraham Lincoln: Vampire Hunter, which we know would be ridiculous before we even saw it; Jean Dujardin and Gilles Lellouche in The Players, a French anthology about infidelity that's riotously funny and surprisingly pointed; another anthology film, 7 Days in Havana, an engaging if rather superficial collection of dramas directed by Gaspar Noe, Elia Suleiman, Benicio Del Toro and others; and the eerie drama Electrick Children, about a 15-year-old from an isolated religious community who is sure she's had an immaculate conception.

Critical Week: Man candy

This week's big press screening was for Steven Soderbergh's Magic Mike, the male-stripper drama based on the experiences of Channing Tatum (pictured above with costars Matt Bomer, Joe Manganiello and Matthew McConaughey). As if the film's heterosexual emphasis wasn't enough, the UK distributor screened the film to us after showing the England-France Euro2012 first-round match in the cinema, so it smelled like a locker room in there. Alas, comments on the film itself are embargoed for a couple of weeks.

Keeping with the theme here, we also saw heartthrob Robert Pattinson's new film Cosmopolis, a Cannes entry directed by David Cronenberg that's sleek and intriguing but ultimately impenetrable. Cillian Murphy stars in Red Lights, an increasingly strained supernatural debunking thriller costarring Robert DeNiro and Sigourney Weaver. Adrien Brody stars in Detachment, a ranty drama from Tony Kaye about the education system. And from Australia, we had the corny slapstick farce A Few Best Men with rising-star hottie Xavier Samuel.

And to appeal to our minds, we saw two potent docs: Searching for Sugar Man is a fascinating story of a forgotten Detroit musician whose failed recording career wasn't quite as disastrous as he thought, since he was bigger than Elvis and the Stones in South Africa. And Ai Weiwei: Never Sorry vividly chronicles the life and work of the charismatic, outspoken Chinese artist who is notoriously in trouble with his own government.
 

This coming week, London critics are watching Keira Knightley and Steve Carell in Seeking a Friend for the End of the World, Jean Dujardin and Michel Hazanavicius' next collaboration The Players, the Jo Nesbo thriller Jackpot, the Cannes-contending anthology 7 Days in Havana and the acclaimed Mormo-youth drama Electrick Children.

Finally, I'm heading to Scotland on Monday for the 66th Edinburgh International Film Festival (18 June-1 July), so the blog will reflect what I'm watching there on a daily basis over the next couple of weeks.