Critical Week: I feel pretty

While all eyes continue to be on Los Angeles as the extent of the fire damage becomes even more horrifically clear, the film industry here in London continues relatively as normal. Bafta announced their film awards nominations on Wednesday, the usual expected lists with idiosyncratic touches here and there. And among screenings this week, Michelle Yeoh popped in (on great form) for a lively Q&A at a press screening for Star Trek: Section 31, which spins her Discovery character Philippa Georgiou off for her own action-comedy mayhem. It will be interesting to see how franchise fans take on the film's riotous tone.

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There was also a late screening of Leigh Whannell's latest reworking of a monster classic: Wolf Man. Stars Christopher Abbott and Julia Garner make the most of the emotional angles in the somewhat thin script, and the grisly suspense will keep fans entertained. Tom Hanks and Robin Wright reunite with Robert Zemeckis for Here, a gimmicky experimental film that places a camera in one place for millions of years. The effects and imagery is impressive, but the mini-melodramas feel arch. From Lithuania, the New York-set drama The Writer features just two actors as they talk over the course of one afternoon, and it's properly gripping stuff, taking on big issues and quietly intimate emotion. Finally there was Charlie Shackleton's Zodiac Killer Project, documenting the film he never got to make. It's witty and inventive, and premieres at Sundance.

This coming week, among the films I'll be watching are Steven Soderbergh's Presence, the Irish drama Four Mothers, the musician doc Luther: Never Too Much and a restored screening of Peter Weir's Picnic at Hanging Rock, which I've never seen projected.

Screen: February TV Roundup

I watched more TV than usual over the Christmas break, and then in January there was an onslaught of new material, while film screenings have been quiet. So here's an update on what I've been watching to kill time in between the movies...

Hawkeye
Due to my general exhaustion about Marvel-world, I was planning to skip this series. But the clips revealed a lively comical sensibility, so I've been sucked back in. And this is an enjoyable romp, with sparky turns from Jeremy Renner and Hailee Steinfeld as arrow-shooting heroes who bicker because the script insists that they must. The story is enjoyably convoluted and a bit out of control, packed with characters who are rather too sure of themselves based on flawed information. As Kate, Steinfeld's refusal to be the usual brooding hero is hugely refreshing. And the best surprise is the sizzling action-banter between Steinfeld and Florence Pugh's Yelena. Please give them their own movie. (Disney)

The Tourist
Jamie Dornan is terrific as a guy who wakes up in an Australian Outback hospital with no memory of who he is or how he got there. He makes a connection with Danielle Macdonald's rookie cop, while she intrepidly investigates his identity against all advice. Details about who he is and the trouble he's deeply into dribble out slowly over six episodes, maintaining a ripping sense of mystery while throwing in some heart-stopping action here and there. It's more violent than was strictly necessary, with one villain to many. But the variety of the baddies (from Olafur Darri Olafsson's man-beast to Alex Dimitriades' swaggering billionaire to Damon Herriman's wheezy cop) keeps things very lively. (BBC)

The Woman in the House Across the Street From the Girl in the Window 
Kristen Bell somehow maintains a straight face all the way through this thriller pastiche, which deploys every imaginable cliche of the mystery thriller genre with gusto. Although because those movies are essentially spoofs themselves (they never resemble anything like real life), this show really needed to go much further than this. Even the requisite steamy sex montage is oddly undercooked, as it were. Still, it's hilarious to watch Bell guzzle litre-sized glasses of wine as she gazes out her window, so emotionally wounded that no one believes she's witnessed a murder. As the whodunit takes some silly turns, more arch, over-the-top satire might have set this apart from the shows it's poking fun at. (Netflix)

A Very British Scandal
Claire Foy and Paul Bettany are terrific as the real-life Duke and Duchess of Argyll in this three-part drama about a 1963 court case that caused a seismic shift in Britain's tabloid coverage. There's a problem woven into the fact-based narrative, because it's impossible to end this story on a satisfying note. But the writers bravely refuse to embellish anything, so all of the events are deliberately left as hazy or undefined as history has recorded them, which is also slightly frustrating. Still, the entire cast is excellent, and the period is recreated with understated flair. It's also an eye-opening exploration of gender roles, centring on a woman who simply refused to be bound by the rules. (BBC)

Around the World in 80 Days
Lavishly produced on a remarkable scale, this grand adventure stars David Tennant and Ibrahim Koma as Phileas Fogg and Passepartout, with Leonie Benesch as a gender-swapped Fix, who's now a feisty journalist rather than a tenacious detective. Switching characters around isn't a problem, but the writers have essentially abandoned Jules Verne's novel completely, with big set pieces that feel contrived to add thrills at specific intervals. And the plot contrivances that have been inserted are surprisingly lazy and underdeveloped. Thankfully the actors are terrific, creating a nice sense of camaraderie between the bickering-but-loyal trio. And the landscapes are spectacular, augmented by above-average effects work. (BBC)

The Wheel of Time 
Clearly straining to be the new Game of Thrones, this over-serious epic about ancient lands and terrible wigs is bursting with convoluted mythology about the nature of fate (see the title) and how various people tap into power for good or evil, represented as white or black swirls, of course. The costumes designs are just as cliched, but at least the production is splashed with some bright colours to liven up the usual drab beige-greyness. Rosamund Pike produced the show, so it's surprising that she's wasted in an underdeveloped role (including two episodes in which she's unconscious). The rest of the cast has a fresh-faced intrigue that bodes well for a second series. Just give Pike more to do, please. (Amazon)

T H E Y ’ R E   B A C K !

And Just Like That: aka Sex and the City series 7 
This reunion show catches up with three of the central characters: Carrie, Miranda and Charlotte, played by Sarah Jessica Parker, Cynthia Nixon and Kristin Davis (Kim Cattrall's Samantha has moved to London). It works best when it's exploring how the characters have maintained their spark into their mid-50s, although packing so many momentous life events into these 10 episodes feels rather artificial. It also feels awkward as it tries to tick a series of trendy and politically correct boxes, while the darkly emotive sequences are rather soggy, as if concocted by writers to add depth on cue. That said, revisiting these characters is fun, and the lively and engaging new cast members add a fresh perspective. (HBO)

Dexter - New Blood: aka Dexter series 9
All these years later, we catch up with our favourite blood-spatter expert Dexter (Michael C Hall), who's now calling himself Jim and working in a weaponry shop somewhere very snowy. He's also being haunted the ghost of his snarky sister Debra (the great Jennifer Carpenter). Of course he's managed to fall in love the local police chief (Julia Jones). Then his now-teen son (Jack Alcott) turns up, triggering a series of momentous events that churn into a powerful finale. This has never been the most tightly scripted show, with its gaps in logic and continuity, but its characters have been so indelible that we hate to miss a single episode. And this limited series has clearly been created for the fans. (Showtime) 

A N O T H E R    S E A S O N

The Great: series 2 
Even more raucous than the first season, this historical romp continues to play loose with the facts while unpicking deeper truths about humanity. Everyone in the story is somewhat cartoonish, and the plots are bonkers, but that's the point, as present-day attitudes and dialog are overlaid on the 18th century Russian court. Now that Catherine (Elle Fanning) has seized control of the Russian Empire, her lovelorn husband Peter (Nicholas Hoult) languishes in house arrest. Although he can't be contained at all. The surrounding characters come into their own this season, orbiting hilariously around these bickering rulers. And then there's Gillian Anderson's riotous appearance as Catherine's mother. (Hulu)

The Witcher: series 2 
While this show still has some self-effacing wit, this season is far more serious than the lively, scruffy first set of episodes. This time it's much more about politics and power, as the characters jostle for position and engage in a lot of soapy melodrama that just seems silly because everyone maintains such a straight face. Which is even more astonishing since everyone is wearing an appalling wig. Thankfully, Henry Cavill knows how to rock a terrible weave, and his costars have plenty of tetchy energy as they circle each other. What makes this show so engaging is the fact that everyone is trying to find their place in this crazy world. But the writers need to have a lot more fun with it next time round. (Netflix)

Dickinson: series 3
The American Civil War is now raging, and the Dickinson family continues to battle among themselves, comically butting heads on all sides as poetry-minded Emily (Hailee Stanfield) tries to make sense of things in her askance, observant way. The narrative unfolds in a flurry of modern-day expressions mixed in with period detail in a way that's sometimes oddly jarring. But there's an important point being made here about the power of poetry to heal both a family and a society that are torn in half. And while the bigger issues may be rather overly pointed, and given rather a lot of artistic licence, the show does draw some well-deserved attention to the iconic poet and the challenges she faced. (Apple)

M O R E   T O   C O M E

Star Trek - Discovery: series 4a
Things get very dense very quickly this season, with yet another undefined "anomaly" causing catastrophe and confusion across the galaxy. The crew's various attempts to investigate this are rather tiresome, distracting from the much more intriguing interaction between them, which leaves their personal journeys to develop more slowly than usual. Sonequa Martin-Green is still a tremendous presence at the centre, complex and fascinating, and her connection with David Ajala's Book is at the show's heart. Also terrific are characters played by Anthony Rapp, Wilson Cruz and the excellent Blu del Barrio. But the departure of Mary Wiseman's Tilly feels like a mistake, as her fresh vibe is badly missed. (Peacock)

Ozark: series 4a
It hardly seems possible, but this saga turns even darker this season, as the Byrdes find themselves increasingly squeezed between the FBI, the Mexican drug cartel and local suppliers. As if the show needed another psychopath, the kingpin's nephew Javi (Alfonso Herrera) is perhaps even more wildly unpredictable than terrifying opium farmer Darlene (Lisa Emery). Meanwhile, Marty (Jason Bateman) keeps a level head, and Wendy (Laura Linney) is properly losing a grip on reality, especially where their daughter Charlotte (Sofia Hublitz) and 14-year-old son Jonah (a series-stealing Skylar Gaertner) are concerned. And it leaves things set up for even more carnage in the final run of episodes. (Netflix)

C A T C H I N G    U P 

Squid Game 
I defiantly refused to watch this Korean show when everyone else did, then finally gave in when I was in covid isolation over Christmas. It's an entertaining thriller packed with terrific characters and some gasp-worthy violence as society's losers are given a chance to make a fortune, or die trying. Colourful visual flourishes also make it stand out from bleak American thrillers. Although some more sharply pointed satire might make it more memorable. (Netflix) 

What/If 
I find Renee Zellweger mesmerising, even with her oddly pinched physicality. She's the driving force in this series, but remains mainly in the background as the central plot follows a young couple (Jane Levy and Blake Jenner) drawn into the gravitational pull of Renee's billionaire. The show is slick and prudishly sexy and, aside from the melodramatic reveals, it makes some nice observations about the power of greed and the strength of real relationships. (Netflix)

NOW WATCHING: The Book of Boba Fett, Peacemaker, The Afterparty, Pam & Tommy, Murderville, Euphoria (2), Snowpiercer (3), The Connors (4), This is Us (6).
COMING SOON: Severance, Star Trek: Picard (2), Star Trek: Discovery (3b), Killing Eve (4), The Marvelous Mrs Maisel (4).

Screen: April TV roundup

The seemingly never-ending lockdown continues to provide more time to watch television than usual, and I've squeezed in entire series between films over the past few months. It's been a largely mixed bag, with only a few triumphs: It's a Sin, Call My Agent (final season) and Young Rock (so far). There seems to be a bit of a lull at the moment, so I'm catching up with a couple of things before new stuff begins dropping in May. Here's what's kept me distracted since January...

Wandavision 
Just when you've think that Marvel has played all its cards, this show breaks new ground with its opening episodes, dead-on pastiches of sitcoms from the 1950s to the 90s. Paul Bettany and Elizabeth Olsen have fun with the lead roles, playing to the laugh-track silliness while adding an undercurrent of dread. There are terrific side roles for Kathryn Hahn, Teyonah Parris and Randall Park. And the production values are extraordinarily cinematic for a half-hour TV series. Then reality flips and it becomes rather a lot more Marvelly, especially as it approaches another overblown, formulaic, effects-heavy finale. It's a shame that the story ultimately feeds the Marvel Universe beast, because this would have been iconic as a stand-alone show. (Disney)

It's a Sin 
Russell T Davies mines his personal history for this lively, telling series set in 1980s London. It's a strikingly fresh approach to the period, capturing a realistic mix of energy and life as a community of gay men faces the horror of the Aids outbreak. Olly Alexander shines in the central role, while newcomer Callum Scott Howells deserves to become a star for his terrific turn as the observant Colin. Davies has a gift for creating ensembles of recognisable people then sending them through literally earth-shattering events, while never losing either the humour or emotion. This approach makes the show a landmark exploration of the Aids pandemic, and with only five episodes it left us wanting more. (BBC)

Lupin
Fiendishly entertaining, these first episodes are labelled as "Part 1", and (warning!) they end on a cliffhanger that leaves us impatient for the next chapter. Omar Sy brings his outsized charisma to his gentleman-thief character Assanne, who was raised on, and seeks to emulate, the classic Maurice Leblanc stories about Arsene Lupin. The show's cat-and-mouse structure is a lot of fun, as are the elaborate heists and cons that fill each episode. And it'd also deepened with some complex interpersonal issues. There are a few rather obvious plot elements, but it's all so skilfully written and played that we're happy to go along with it. And now we're waiting impatiently for Part 2 in the summer. (Netflix)

The Irregulars
There's a lot to enjoy about this scrappy adventure-thriller about a group of offbeat teens in 1870s London. The writing is fairly simplistic, relying on corny horror, the usual relational carnage and a lot of magical mumbo jumbo, and the show seems oddly unsure how to handle the presence of Sherlock Holmes (a fascinating Henry Lloyd-Hughes). But Dr Watson (Royce Pierreson) adds intrigue to the shenanigans, and the young cast members manage to be likeable even though their characters are all a bit too reactionary, impulsive and downright angry about everything. Darci Shaw is particularly strong in a difficult role, delivering on the promise she showed as the young Judy Garland in Judy. (Netflix)

The Stand 
Stephen King's epic 1978 novel gets the sprawling series treatment, with a sometimes jarring structure that unevenly flickers around in time. The eerily resonant premise is set around a pandemic that kills 99.9 percent of humans, leaving the remnant to take a stand with good in Boulder (James Marsden and Whoopi Goldberg) or evil in Las Vegas (Alexander Skarsgard and Nat Wolff). The editing is unnecessarily choppy, and the direction makes the whole show look rather cheesy, but the excellent actors help the series build some momentum as things heat up. So it's frustrating that the writers and directors botch the climax then finish on a jarringly lacklustre epilog. (CBS)

Your Honor
This show's hyper-manipulative style makes it both gripping and annoying at the same time, particularly in the wildly intense, downright panicky first episode. And things remain at peak-pressure moving forward. Bryan Cranston is excellent as a determined judge compromised by his son's involvement in a hit and run that's linked to a mob boss and his fearsome wife (the terrific Michael Stuhlbarg and Hope Davis). The script throws everything imaginable at the characters, and then some. So even with the continuous glaring plot implausibilities and very few characters who remain likeable, it's compulsively watchable rubbish. (Sky)

The One
There's a terrific idea at the centre of this series: that DNA can be used to find your perfect match. Although there are serious problems with the writing, from a string of massive holes in the premise to an over-reliance on the tired procedural murder case that holds the series together. It would have been far more engaging to explore the central idea with more complexity. Side-plots are promising, but they're never developed into anything interesting, merely feeding into a dull mystery. The casting seems oddly dull, but the actors are strong enough to hold the interest. And of course there's always the hope that the show might go somewhere interesting. Alas, it doesn't. (Netflix)

ONGOING & ENDING

Young Rock
Dwayne Johnson has so much charisma that he's easy to watch in just about anything, and here he's playing a ridiculously starry version of himself, narrating his life story. Three terrific young actors play him at 10, 15 and 20, and after the choppy first episode it just gets better and better, inventively diving in for a nuanced and often hilarious exploration of each period in Johnson's entertaining young life, surrounded by riotous family members and colourful wrestlers. With its 2032 framing scenes (featuring the superb Randall Park interviewing Johnson about his presidential campaign), this series could run and run. And Johnson could no doubt run 11 years from now. (NBC)

Kim's Convenience: series 5
In its final season, this series continues with its collection of snappy and amusingly insecure people causing all kinds of awkwardness as they meddle in each others' lives. Simu Liu missed the first few episodes (as he was off being a Marvel star), but makes a welcome return. And each of the ensemble cast members continues to add wrinkles to his or her character, riffing off each other with silly enthusiasm. It's all very broad, and most of these people are infuriating; perhaps a bit more progression in the overall story arc would make it a classic. But it's hugely likeable, the humour is warm and often topically resonant, and in its own nutty way the show frequently touches a nerve. (CBC)

Call My Agent: series 4 
With another collection of perfect episodes, this awesome French comedy comes to an end after four seasons. Sigourney Weaver, Jean Reno and Charlotte Gainsbourg are among the actors playing themselves as they drive their agents around the bend.  And once again the ensemble led by Camille Cottin, Thibault de Montalembert and Gregory Montel are endearing, intrepid and hilariously inventive as they try to both save their firm and maintain relationships with their riotously passive aggressive clientele. There are only 24 episodes in total, and they are hugely binge-worthy. It's a shame they're not making more of them, but this is the kind of classic show that will be worth revisiting from time to time. (Netflix)

SECOND SERVINGS

Snowpiercer: series 2 
Things have become much more heated, as it were, in this second season, as Snowpiercer has merged with supply train Big Alice, bringing a new collection of troublemaking characters, including Sean Bean as the imperious Wilford. Emotional issues are bubbling up everywhere, and they bring far more interest than the action thrills. There are also intriguing things going on outside on the frozen-over earth, although sending Jennifer Connolly out there feels like a mistake dramatically, because the warring factions on the train aren't nearly as interesting as the slow-churning power struggle between her, Daveed Diggs and now Bean. Still, the season built to an exciting climax. (Netflix)

Dickinson: series 2 
There's an ongoing problem with this show, as it indulges in so many flights of fancy that it's difficult to determine what's actually happening in the plot and what's in the imagination of iconic poet Emily Dickinson, who is sharply well-played by Hailee Steinfeld. Plus of course the unmissable Jane Krakowski as her mum. The modern-day touches are witty and very clever, making this feel like a more accurate rendition of history than the usual po-faced approach. This also allows for some perhaps too-knowing references to present-day issues. And while there are real biographical elements scattered throughout each episode, the writers are mainly creating stories out of implications between the lines of poems and letters. (Apple)

Staged: series 2 
After making a splash with their offhanded, larky lockdown sitcom, Michael Sheen and David Tennant are back for more six months later. And the premise is hilariously inspired, as they try to sabotage Hollywood's efforts to make an American version of season 1 without them. Big stars again make witty cameos, including Whoopi Goldberg and Ben Schwartz as slippery agents, plus Cate Blanchett, Phoebe Waller-Bridge, Ewan McGregor, Michael Palin, Jim Parsons and many more playing ridiculous versions of themselves. All of this is a knowing look at the insecurities of being an actor, played to perfection using video conferencing screens, then sharply edited to keep us chuckling. (BBC)

I GIVE UP

Raised by Wolves: The idea for this show was intriguing, and it came recommended, but I struggled to get through three episodes of ponderous moralising before giving up. I just couldn't find a reason to care about anyone on-screen. (HBO)

NOW WATCHING: Young Rock, The Queen's Gambit, The Conners (3), This Is Us (5), Kim's Convenience (5), Mom (8), Shameless (11).
LOOKING FORWARD: The Mosquito Coast, Pose (3), The Handmaid's Tale (4), Special (2), Younger (7).

LFF: How did I get here?

I got to take a break last night from the London Film Festival and head down to the Archlight cinema next to the Battersea Power Station to watch the short film Cognition, which was partly filmed here. It was my first real trip away from my home since the festival began more than a week ago, and it was a relief to do something completely different. I have a theatre press night tonight, so another chance to get out. Meanwhile, the festival films are still screening through the online portal, keeping me busy. Here are a couple of highlights, plus my usual weekly roundup below...

David Byrne's American Utopia

dir Spike Lee; with David Byrne, Chris Giarmo 20/US ****

A filmed version of David Byrne's triumphant 2019 Broadway show, this is a musical and visual extravaganza photographed and edited with precision. Director Spike Lee brings the audience right on-stage to become a part of the performance, drawing out the show's striking exploration of the highs and lows of US society. The film will thrill Byrne's fans, and should also spur newcomers to take a dive into his catalog.

After Love

dir-scr Aleem Khan; with Joanna Scanlan, Nathalie Richard 20/UK ****.

Written and directed with sensitivity by Aleem Khan in his feature debut, this British drama approaches weighty themes with a remarkably light touch. It's a tender, internalised story that pulls the audience in deeply without the need for much in the way of dialog or exposition, skilfully revealing a complex story through observations and reactions. And it compassionately speaks to major cultural issues without ever pushing a message.

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C R I T I C A L   W E E K

BEST OUT THIS WEEK:
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The Other Lamb • I Am Greta
Martin Eden • Herself 
PERHAPS AVOID:
Honest Thief • War With Grandpa 
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This week has been mainly about the LFF, so I've only seen four films that aren't part of that: Liam Neeson as good as ever in the tediously cliched action thriller Honest Thief; Paul Bettany in a superbly textured role in the powerful but a little too pushy topical drama Uncle Frank; the Faustian horror thriller Nocturne; and Andrew Scott and Jeremy Irvine in the lavishly produced half-hour sci-fi epic Cognition. I should have watched more, but there just wasn't enough time.

There's an enormous list of releases slated for next week that I need to watch, so we'll see how many of these I can get through, including: Colin Firth and Julie Walters in a new version of The Secret Garden, Malin Akerman in the comedy Friendsgiving, Jamie Dornan in the thriller Synchronic, the cycling drama The Climb, the fantasy adventure Max Winslow and the House of Secrets, the Train to Busan sequel Peninsula, and the short film compilation The Italian Boys.

Critical Week: It's a battlefield

Normal press screenings are slowly returning to London, although there are still a lot of awards-season screenings going on for Oscar and Bafta voters to catch up on things. The Bafta nominees came out this week, led by The Shape of Water, and nominated films are beginning to flood the cinemas.

But I'd seen all of those ages ago! So this week, I caught up with Journey's End, a slow-burning WWI drama with Asa Butterfield, Sam Claflin and Paul Bettany. It's moody and intense, and carries a very strong kick. The late Martin Landau gives his last screen performance in Abe & Phil's Last Poker Game, a warm drama costarring Paul Sorvino about two retirees in a rest home trying to have a bit of an adventure.

The micro-budget British drama In Another Life is a fascinating story told through the eyes of a Syrian refugee trying to get from France to England. It's strikingly well shot, and the story is compelling. And there were also two documentaries: The Ice King is the amazing story of British figure skating legend John Curry, a tortured genius whose life is revealed through lots of lost footage. And there was also this one...

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Eric Clapton: Life in 12 Bars
dir Lili Fini Zanuck; with Eric Clapton, BB King 17/UK *** 
Low-key and a little dry, this documentary is an intriguing portrait of a guitar nerd who became a rock hero. Fans will love it, certainly not minding its long and meandering structure. Filmmaker Lili Fini Zanuck traces Clapton's life from his childhood in Surrey (including the shock of learning that his sister was actually his mother) to art college and London's 1960s underground blues scene, his key influences (BB King, Muddy Waters, Bismillah Khan) and work with the Yardbirds, Bluesbreakers and Cream. It also traces the impact of friendships with Jimi Hendrix and George Harrison, his years battling with addiction and his inability to remain faithful in a relationship. This is assembled from existing footage and interviews, with terrific home movies and performances segments. But the narrative is fractured, dropping key revelations in later on and getting rather distracted by some events while skipping over others. Thankfully it comes back together in a powerful final chapter as Clapton finally seems to have his life in control. Through all of this, his musical genius is indisputable, and that's enough to keep us watching.

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This coming week I'll be seeing Aardman Animation's Early Man, the British drama Finding Your Feet, the British horror Ghost Stories and the doc The Cinema Travellers, among other things no doubt. I also have a lot of work still to do as chair of the London Critics' Circle Film Awards, which take place on 28th January.

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.

Critical Week: On the nose

In a relatively slow week for press screenings, the biggest film shown to the press was Mortdecai, a zany romp starring Johnny Depp, Gwyneth Paltrow, Ewan McGregor and Paul Bettany. Opinions are embargoed until Thursday (the movie opens on Friday). I also caught up with Michael Winterbottom's latest Italy-set film The Face of an Angel, a fictional exploration of the Meredith Kercher murder starring Daniel Bruhl, Kate Beckinsale and Cara Delevingne. It's an odd mix of moody drama, creepy mystery and dark emotions - interesting but not hugely satisfying.

Further off the beaten path, we had Alain Resnais' latest Alan Ayckbourn adaptation Life of Riley, a French-language Yorkshire-set comedy-drama shot on stage-like sets. All a bit mannered, but a fascinating exploration of barbed interaction. And there were two documentaries: Dior and I is an entertaining doc about Raf Simons' first show as Dior's creative director - both invoving and surprisingly moving because of the strong characters and powerful narrative. Maidan is rather more difficult, merely putting us right in the middle of the Ukrainian revolution in Kiev's central square - an outrageously sensual onslaught.

This coming week's films include a couple of movies I've been trying to catch up with for weeks: Stephen Daldry's Trash, Gregg Araki's White Bird in a Blizzard and Simon Helberg's We'll Never Have Paris. There's also Kevin Hart in The Wedding Ringer and the British indie Hinterland.