Critical Week: Wine o'clock

Heading into the summer, the movies are an eclectic bunch, a surreal swirl of effects-based blockbusters, crowd-pleasing comedies, offbeat independent films and rather a lot of documentaries. At least this keeps us critics on our toes, and the main challenge is to watch all these films and still find time to enjoy the sunny weather. But it does help that so many of these films are things we're looking forward to (and bracing ourselves for disappointment). So the occasional unexpected gem is extremely welcome. This week I caught up with Catherine Hardwicke's Mafia Mamma, starring Toni Collette and Monica Bellucci in a silly comedy with a more serious drama lurking inside it. Out on digital this week in the US, it still doesn't have a UK release date. And the Bumblebee sequel Transformers: Rise of the Beasts was a very pleasant surprise: a big action movie that's actually a lot of fun, with strong characters and deeper ideas that grab the interest.

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Further afield, the web series Bridesman has been edited into a feature, and is much stronger. It's still silly and queeny, but has more bite now. From Canada, You Can Live Forever is a very nicely made low-key romantic drama about two girls who fall in love in their religious community. From Australia, Talk to Me is a particularly nasty and very effective horror movie about a demonic hand. And the engaging documentary All Man: The International Male Story traces the rise and fall of a fashion catalog that changed the way men dress themselves. I also attended the experimental film double bill Motion Picture at Sadler's Wells, which was fascinating and very beautiful. And once again, I thoroughly enjoyed attending the Critics' Circle National Dance Awards along with a terrific range of nominees, winners and, yes, critics.

This next week I'll be watching Pixar's new animated feature Elemental, Wes Anderson's Asteroid City, Jennifer Lawrence in No Hard Feelings and the Take That musical Greatest Days. I'm also preparing to serve on the jury at this year's Bifan in Bucheon, South Korea, at the end of the month.

Critical Week: A horse and his boy

We seem to be in the dog days of summer, as distributors unload festival titles that they couldn't figure out what else to do with. It's a glut of variable quality, some very good, some only OK (I've seen half of the 16 titles opening in the UK this week). At least there are intriguing things at arthouse cinemas beyond the dregs of the blockbusters. This week's press screenings featured the drama The Mustang starring Matthias Schoenaerts (above), terrific as an inmate at a Nevada prison who begins to find himself through working with a horse. It's beautifully shot, and very moving, but nothing terribly new. A great supporting role for Bruce Dern makes it worth a look.

The eclectic mix includes Scarborough, a strikingly well-made, darkly involving adaptation of a four-person play nicely adapted for the big screen with Jessica Barden, Jodhi May, Edward Hogg and Jordan Bolger. The Belgian thriller Spider in the Web rides on an effortless performance by Ben Kingsley as a veteran Mossad agent who simply gets on with the job despite all kinds of murky goings-on. Monica Bellucci costars in an underwritten role. A fiercely unflinching autobiographical drama from actor-filmmaker Adewale Akinnuoye-Agbaje, Farming tackles a thorny historical topic in a personal way. It's provocative and intense, but almost misses the best part of the story. From Norway, Phoenix is a relentlessly grim story about a 14-year-old grappling with family issues. It's not easy to watch, but is very well made. And then there was the documentary sequel All Male, All Nude: Johnsons, which again takes a homemade approach as it looks at world of male strippers at Johnsons in Ft Lauderdale. It's not very deep, and includes far too much footage from the first film (about an Atlanta club).

This coming week, while many of my colleagues are in Venice, I'll be watching the anticipated sequel It: Chapter Two, the South African drama Cargo, the sci-fi thriller Empathy Inc, and the queer comedy-drama Bathroom Stalls & Parking Lots. And I'm chasing screenings of Downton Abbey, Judy, The Farewell and Hustlers, among others.

Venezia 73: Far from home on day 9

The 73rd Venice Film Festival is entering its final days, so talk is turning to who will scoop up the awards? Will it be an old favourite filmmaker or a rising star? Will a known name like Timothy Spall or Natalie Portman take an acting prize over someone unknown and devastating? Everyone has an opinion. And the first flurry of jury prizes will be handed out tonight, while the rest come tomorrow. Here's what I've seen in the last day or two (that's Charo Santos above)...

The Woman Who Left [Ang Babaeng Humayo]
dir-scr Lav Diaz; with Charo Santos, John Lloyd Cruz 16/Ph ****.
At nearly four hours long, you'd think this Filipino epic would try the patience. But you'd be wrong. This is a riveting odyssey that tells a straightforward story of revenge and redemption with strong echoes of life anywhere on earth. It may feel a bit like binge-watching an entire miniseries, but Lav Diaz's filmmaking is worth experiencing on a big screen, as he shoots in a style that's deceptively rough and old-fashioned, but is packed with skill, wit and some big surprises.

Planetarium
dir Rebecca Zlotowski; with Natalie Portman, Lily-Rose Depp 16/Fr **
A baffling story set just before WWII broke out, this lavishly produced film looks great, and has a lovely central performance by Natalie Portman. Alas, the plot simply never comes into focus, veering all over the place, complicated by flashbacks, framing scenes, dreams and visions, plus a film-within-a-film motif. but none of this resolves itself into anything terribly coherent.

On the Milky Road
dir-scr Emir Kusturica; with Monica Bellucci, Emir Kusturica 16/Ser ***
Veteran Serbian filmmaker Emir Kusturica is back with another lively, cacophonous romp through his nation's history, this time centring on the 1990s war. The film's first half is a joyous depiction of the experiences of a rather wacky group of characters, including several animals. Then the film takes a hard swerve into violence and fantasy that may gel for Serbian viewers, but leaves everyone else in the dark.

These Days [Questi giorni]
dir Giuseppe Piccioni; with Maria Roveran, Marta Gastini 16/It **
It's not easy to work out what this Italian comedy-drama is all about. It's a road movie that neglects to show us the journey, following a group of lively characters who never do or say anything amusing. Romances are thin and unfocussed, and the plot itself is only a hint. There are some intriguing ideas swirling around, but over two long hours filmmaker Giuseppe Piccioni never quite finds anything to make the movie either meaningful or entertaining.

Only a few films to go now, including Denzel Washington in The Magnificent Seven, Mathieu Amalric in Never Ever and the Aussie drama Boys in the Trees.

Critical Week: A cry for help

Jennifer Connelly gives a storming performance in Shelter, written and directed by her husband Paul Bettany and costarring the excellent Anthony Mackie. The film tries to say too much about homelessness, but the drama is involving and the themes important. I've tried to keep this week a bit slow screening-wise, but caught the British comedy A Christmas Star, a goofy romp in the vein of the Nativity! movies - in other words, almost charming enough to make up for its silliness. And The Hallow is an Irish horror about a family that finds sludgy demons living in the woods. It's enjoyably yucky, but not very scary.

But of course the big film of the week was Spectre, the 24th James Bond movie, which I thoroughly enjoyed because it combines the darkly personal elements of Skyfall with old-style 007 storytelling. And for sheer wonder, I have binge-watched the entire first series of David Lynch and Mark Frost's 25-year-old classic gonzo mystery Twin Peaks and am now diving into the second, which I know will remember was more troublingly surreal. I hadn't seen the show since it originally aired 1990-1992, when I participated in Operation Pine Weasel to save the show from cancellation! On Wednesday evening I'm attending the London diner/bar experience The Owls Are Not What They Seem - and I'll cover it here later this week.

I'm preparing for a break in November, so have a few films to catch up with over the next week, including awards-season contenders like Steven Spielberg's Bridge of Spies and Tom McCarthy's Spotlight, as well as the horror comedy Scouts Guide to the Apocalypse, the South African heist movie Momentum and the drag-queen doc Queen of Ireland.