Critical Week: Summer holiday vibes

It's been a very sticky week in Britain, so I've enjoyed the chance to cool off in some air-conditioned cinemas. Screenings are still a bit thin on the ground, seeing as it's holiday season, but there are plenty of things to be watching. Bob Odenkirk is back in action for Nobody 2, in which the violence is perhaps a bit too gleeful. But it's also hilariously entertaining, expecially when a villainous Sharon Stone is chomping on the colourful scenery. Joaquin Phoenix leads the sprawling cast of Ari Aster's epic Eddington, a very dark satire about us-vs-them attitudes set in the pandemic-era Wild West. It's riveting, complex and very important. Costars include Pedro Pascal, Emma Stone and Austin Butler. 

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Daisy Edgar-Jones, Jacob Elordi and Will Poulter lead the cast of the nuanced romantic drama On Swift Horses, a beautifully made film that explores hidden desires in 1950s America. Orlando Bloom is a tough-guy boxer in The Cut, which rather unevenly shifts from gritty drama to psychological horror. Matilda Lutz leads the charge as Red Sonja in a new take on the comic heroine. Even with flashes of wit, it's too serious for its own good. And the adult-aimed animated comedy Fixed has a lot of fun with its raunchy premise about a dog getting the snip, but there's not much else going on.

This coming week I'll be watching Helen Mirren and an all-star cast in the whodunit The Thursday Murder Club, Peter Dinklage in a new take on The Toxic Avenger, the Irish care-system drama Christy, the fact-based epic Chinese WWII action film Dongji Rescue, and the animated racing-mice action romp Grand Prix of Europe.

Screen: August TV Roundup

After the disruption of the pandemic, we're finally getting to see several delayed series (with more still to come). These long gaps between seasons continue the shift in the way TV shows roll out, so the old network schedule of launching new episodes every autumn feels like it's becoming rare. There's been plenty for me to watch in between my film and theatre work, both enjoyable returning shows, original series and several that are adaptations, spinoffs, reboots or based on existing properties. And that's definitely a trend that is continuing...

Stranger Things: series 4 
With its epic-sized episodes and ramped-up plot, this series powers straight through to set things up for the final fifth season. Since the actors have all aged significantly, they perhaps seem a bit older on-screen than written, but this allows for intriguing nuances in the evolving relationships between them, superbly played by a tremendous cast. Splintering the story into three main strands is sometimes annoying, especially as the Russian plotline, as wildly entertaining as it is, clings to several coincidences. Otherwise, various set pieces produce proper thrills as everything builds to an enormously cathartic intake of breath, then leaves us gasping for more. (Netflix) 

Hacks: series 2  
Pushing these characters further into their rather tense working relationship, this series feels like it gets stronger with each episode. And this is largely due to the towering performance from Jean Smart as Joan Rivers-style comic Deborah, straining to kickstart her career with the help of messy writer Ava (Hannah Einbinder). This series also spirals out to follow Deborah's assistant Marcus (Carl Clemons-Hopkins), which isn't strongly enough developed yet to be involving. But this season's central idea, putting the characters on the road for a series of warmup gigs, is inspired. And having Laurie Metcalf turn up (too briefly) is a stroke of genius. (HBO)

The Umbrella Academy: series 3
This rather madcap action show continues to play with both alternate realities and the end of the world, as the Umbrellas have returned to the present and find themselves replaced by the Sparrows. Clashes, romances and lots of mayhem ensue, as reality begins collapsing in on itself and these oddly supercharged antiheroes need to once again rescue humanity. The actors are what makes this unmissable, as each character is such a bundle of nutty quirks that it's a wonder they get anything done at all. There isn't a weak link in the excellent ensemble, and the writers make sure each gets plenty of chaotic development along the way. Bring on a fourth season. (Netflix)

Physical: series 2 
Carrying on with the story, this new season continues the extremely slow evolution of Sheila Rubin (Rose Byrne), an intelligent wife and mother who keeps her personal demons secret, then punishes herself by becoming a fearsome 1980s aerobics expert. The narrative focusses on tiny shifts rather than momentous changes, and the cast goes all-in to each twist and turn, most notably Rory Scovel, Paul Sparks and Murray Bartlett, who arrives with a lot of promise but never gets to fully deliver on it. That's kind of how the whole show feels, as so little seems to happen. But the underlying thoughts and feelings make it entertaining and even important. (Apple)

The Boys: series 3 
Things continue to escalate for the rather awful people who populate this show, and this time the eponymous superhero-battling team dabble with their own temporary powers, ramping up clashes enormously. The writers cleverly put key characters in real danger, although we have to wait quite a while to see if they'll bump anyone off. It's a rare show in which both the good and bad guys are abrasive and often unlikeable, and most of them have the ability to kill someone without trying too hard. So it's violent and nasty, but also wry and knowing. And all of the lead actors are terrific at layering vulnerabilities and emotions in unexpected ways. (Prime)

The Marvelous Mrs Maisel: series 4 
A huge step up from the uneven third season, this new series is much more sharply focussed on both the characters and the overarching themes. So Rachel Brosnahan is able to both broaden and deepen Midge, while also remaining genuinely hilarious in her stand-up performances. Meanwhile, the side roles aren't merely spiralling aimlessly this time around: each narrative thread weaves together cleverly to offer meaty scenes for the actors while pushing this extended family further forward. And Alex Borstein just gets more intriguing with each episode, building her business on hilariously fragile foundations. And you can never go wrong with the fabulous Jane Lynch. (Netflix)

M O S T L Y   N E W

Ms Marvel 
Lively and engaging, this Marvel origin series has Pakistani culture and history engagingly woven through it, similar to Moon Knight's Egyptian connection. But this one's an American high school sitcom, as lively junior Kamala (Iman Vellani) engages in banter with her goofy friends and hilariously insistent Pakistani parents. Then a bangle taps into her grandmother's ancestral power, sending Kamala on an odyssey as she realises that she's a superhero connected to ancient folklore. The comical vibe helps make the more violent plot elements easier to take, and the characters are so vivid that we can't wait to see more of them on either big or small screens. (Disney) 

Obi-Wan Kenobi 
Filling in a gap in the Star Wars timeline, this six-episode series returns Ewan McGregor to his eponymous role as the now-jaded Jedi, while Hayden Christensen's Darth Vader marauds across the galaxy trying to finish him off. It feels oddly ill-imagined from the start, focussing on edgy action scenes that are bereft of tension due to the usual prequel issue: we know none of the main characters is in any real danger. A more dramatic approach and some more central (expendable) new characters would have given the series a much stronger sense of intrigue. Still, it's produced to a gloriously high standard, and McGregor and his ensemble of costars are excellent. (Disney)

Uncoupled
Essentially writer-creator Darren Star has created an out-gay remake of his earlier show, Sex and the City, this time starring three New York men grappling with love-life issues. It's equally underwritten and over-designed, but it's also hugely likeable, thank to the up-for-it Neil Patrick Harris as Michael, newly single after a 17-year relationship. His pals (Tisha Campbell, Emerson Brooks and Brooks Ashmanskas) offer the usual mix of good and bad advice/support, mainly for comical effect. Plus the great Marcia Gay Harden as another new singleton who worms her way into Michael's life. It's also actually funny, even if the humorous edges are superficial. (Netflix)

Loot 
Maya Rudolph is terrific in this comedy about a pampered, newly single billionaire who hasn't a clue how to engage with the real world, but wants to try by getting involved in her foundation. Many of the jokes are rather ridiculous, but the Rudolph is so good at playing endearingly naive that we can't help but love her, especially as she begins to connect with others. The wonderful Michaela Jae Rodriguez is terrific as her main foil, plus the absurdly endearing Joel Kim Booster as her hyperactive assistant and Adam Scott as her smarmy ex. The range of subplots are a bit uneven, but if one isn't working the attention quickly shifts to one that is simply genius. (HBO)

Star Trek: Strange New Worlds 
Now that Discovery has leapt into the distant future, this spin-off reverts to the past to follow Captain Pike (Anson Mount) in the years before the original series, complete with a younger Spock (Ethan Peck) and a rookie Uhura (Celia Rose Gooding). The idea here is to mimic the first series' exploratory episodic style, although the showrunners can't resist wallowing in those murky over-arching plot threads. This allows for some character depth, but it also makes the show feel a bit gimmicky, never fully diving in to the adventure of the week because everyone is preoccupied with their larger stories. Thankfully it's sharply well made, and very watchable. (Paramount)

Queer as Folk
Russell T Davies' landmark show gets a second reboot, this time set in New Orleans. The writing cleverly captures present-day attitudes, as sexuality is much blurrier than it was in the 1999 British original or 2000 American remake. Even as characters echo earlier versions, the plot strikes out in new directions, with a group of people whose lives are entangled in the wake of a nightclub shooting. The cast has a sparky freshness, anchored by the Devin Way as likeable disaster Brodie. The range of characters around him feels a bit overly curated, but each one engages with their messy decisions as they try to both fit in and find someone to love. (Peacock)

T H A T ’ S   A   W R A P

Love, Victor: series 3 
With its final season, this warm-hearted teen sitcom carries on with the likeable Victor (Michael Cimino) and friends. In these episodes, Victor ping-pongs between three smart, adorable guys -- Benji (George Sear), Rahim (Anthony Keyvan) and Nick (Nico Greetham) -- as he faces the usual foibles of the dating scene. It ends in the expected bearhug, but along the way, the story veers through some remarkably open-handed themes. Each cast member is particularly strong at playing vulnerability, especially in the face of genuine obstacles, so the pointed explorations of religion (both Catholicism and Islam) and sexuality feel inspiring and important. (Hulu) 

NOW WATCHING: Surface, Black Bird, Only Murders in the Building (2), Kevin Can F**** Himself (2), Never Have I Ever (3), What We Do in the Shadows (4).
COMING SOON: Andor, House of the Dragon, The Rings of Power, Reboot, She-Hulk, The Handmaid's Tale (5).

Screen: August TV Roundup

As the lines blur between how we watch television and the movies, I continue to use series to break up my feature film watching. Here's what I watched over the past month or so...

The Umbrella Academy: series 2

Kicking off with that same slightly out-of-control tone, this show's second season has almost the exact same plot as the first one did. This time, the siblings have found themselves trapped in 1963 Dallas just before JFK's assassination. But the real problem is another impending apocalypse, and once again they need to learn how to work together and get over their daddy issues. The cast is terrific as ever (Robert Sheehan is still insufferable, Aidan Gallagher still annoying), and the swirling mess of their interrelationships are far more intriguing than the overarching story. But the early-60s setting offers some issue-based humour and drama. And the final two episodes are spectacular. (Netflix)

I May Destroy You 

Complex and challenging, this is a sometimes very bleak drama that plays out with a blast of fresh, authentic humour. It also occasionally feels almost too real to watch, and the scenes crash into each other to keep us on our toes. Actor-writer Michaela Coel is a serious talent, and she plays the central character Arabella so unapologetically that she's often difficult to like, even as we sympathise with her mental anguish after a sexual assault. It's a shattering performance with a lot to say about human connections. The script is sharp and astute, tackling the idea of consent with no holds barred, dropping in pungent references and mind-spinning twists. It's a rare show that refuses to put anything into an easy box. Essential. (BBC)

Snowpiercer

Set a decade before the events of Bong Joon Ho's now-iconic 2013 thriller, this series has a compelling throughline that holds the interest as it shifts from a murder mystery into a class-based revolution. Even so, the plot feels somewhat over-egged, trying a bit too hard to play up the allegorical layers of the premise, which makes the story feel far too dense and abrasive for its own good. But the show is boosted by a razor-sharp cast led by Daveed Diggs and Jennifer Connelly. It also looks terrific, with inventive sets and effects work. And each episode's twists and turns provide terrific wallops, adding layers to the social dynamics at work in the train, which of course are eerily recognisable. (Netflix)

Homecoming: series 2

Expanding on the first season, these seven tightly contained half-hour episodes cover just a few days in the lives of several characters, but they're seriously momentous. Janelle Monae, Hong Chau, Stephan James, Chris Cooper and the awesome Joan Cusack are excellent in complex roles as people coping with the fallout from experiments relating to an all-natural memory-erasing juice. The story starts, then circles back inventively before moving forward to a fiendish conclusion that has massive ramifications, leaving us with plenty to think about. It's finely written and directed, but it's the actors who make it a must-see. (Prime)

The Luminaries

Set in 19th century New Zealand, this show is far more demanding than it needs to be, swirling somewhat erratically between at least three timelines to recount a complex murder mystery. But paying attention pays off, as the characters develop unexpected depth along the way, leading to a fiendishly intelligent conclusion that solves the case with a wink and a nudge. It's also superbly well-played by a cast that includes Eve Hewson, Himesh Patel, Eva Green, Marton Czokas and Ewen Leslie. And in addition to the pitch-black drama and gloriously picturesque settings, the show is packed with pointed observations about imperialism that are still relevant today. (BBC)

Life Is Easy

From New Zealand, this short-form sitcom follows two best friends from school as they navigate young adulthood with a body-swapping twist. It's fast, sexy and enjoyably silly, even if the snappy pacing and multi-screen editing make it tricky to get a grip on it. But scenes are packed with knowing wit as best pals Jamie-Li and Curtis (Chye-Ling Huang and Cole Jenkins) discover themselves in each others' bodies during an eclipse. Since this is a straight woman and gay man, the show is able to explore all kinds of gender and sexuality issues through wacky comedy, including body image, homophobia, racial issues and various kinds of sexual harassment. Which adds a point to the nuttiness. (Revry)

Brave New World

This series drastically simplifies Aldous Huxley's iconic novel. For example, the gender roles, clothing and styling are far more 20th century than 25th, when it's set. (They're wildly misogynistic even by today's standards.) Basically, the writers have taken the concept and created a cool-looking series that pretends to be edgy and sexy, but isn't at all. The unambitious writing is moralistic and almost childish, sidelining any salient ideas about social engineering or control. At least the cast is excellent, led by Jessica Brown Findlay, Alden Ehrenreich and Harry Lloyd, with added Demi Moore. Each provides just enough nuance to their characters to keep us watching. But it's a missed opportunity. (Peacock)

Down to Earth

Zac Efron gallivants around the globe exploring important issues and trying out local food with vegan friend Darin Olien, who can't eat any of it. The main focus is on environmental themes, particularly sustainability, which is somewhat simplified for American audiences, but that's not necessarily a bad thing. Efron has a nicely unpolished charm as a host, genuinely enthusiastic about what he's discovering, and he has terrific camaraderie with Olien, the crew and everyone they meet along the way. Each episode is gorgeously shot in a spectacular place that's packed with mind-bending ideas and positive approaches to today's world problems, if only someone will listen. (Netflix)

PLAYING CATCHUP

The Plot Against America

Philip Roth's prescient 2004 novel describes an alternate autobiographical history as Charles Lindbergh becomes US president in 1941 and makes an deal with Hitler not to interfere in the European war. Which effectively roots antisemitism into US society. The show is sharply produced, with a solid cast (led by Zoe Kazan, Morgan Spector, Winona Ryder and John Turturro) playing a Jewish Newark family facing this shift in culture. The script is insightful if a bit flabby, padding out each hour-long episode with scenes that don't always feed into the larger story. But it's packed with present-day parallels, and chilling observations about American culture and politics. (HBO)

I Know This Much Is True

Tackling an important topic, filmmaker Derek Cianfrance takes an indulgent storytelling approach with this dark drama, demanding a lot of the audience. It's not easy to watch, as each scene spirals into shouty chaos, often for no apparent reason, and the narrative heaps misery on the characters. That said, Mark Ruffalo is on peak form as twin brothers, one a hothead and the other with schizophrenia, neither of them remotely sympathetic. And the supporting cast is excellent (Rosie O'Donnell is particularly good). But there's barely a moment of peace, as Cianfrance shoots impatient outbursts in gritty close-up. Still, there are undercurrents of raw emotion, and the final episode makes it worth sticking with it. (HBO)

The Witcher

This fantasy series has a fiendishly clever structure that doesn't resolve itself until the final episodes, when the actual timeline comes into focus. It's made up of three connective story strands that have properly epic moments dotted through them. Like Game of Thrones with a sense of humour about itself, it's packed with riveting situations and unusually complex characters, anchored by Henry Cavill in the title role (a deeper performance than it seems on the surface), Anya Chalotra as a rogue mage and Freya Allan as a portentous orphan. It takes the misstep of staging a climactic battle at night, but the show is wonderfully entertaining. Bring on season 2. (Netflix)

UnReal: series 1-4

This show ran for four seasons, but I only just discovered it. It's the kind of premise I love, lifting the curtain on the backstage antics at a lusty reality dating show. The way these producers shamelessly manipulate contestants and each other is probably understated, so every single character is loathsome. The horrible things they do are gripping and blackly funny. Although the show digs into nasty melodrama rather than more entertaining cheesy antics, tipping a cynical nod at some big themes. It's also one of those American series that pretends to be sexy but is actually timid and prudish. (Prime)

NOW WATCHING: A Suitable Boy, Muppets Now, Insatiable (2), You (2), The New Legends of Monkey (2), Eastsiders (1-4).

LOOKING FORWARD: I Hate Suzie, Ratched, The Third Day, Away, The Boys (2).

Critical Week: Fun for the family?

It's been frustrating that the biggest releases of the week are simply not being screened to the press (favourite critics see them, but no one else), so I never got to review the top two films on both the US and UK box office charts, namely The Predator and The Nun. With these titles I'm not that bothered, but others are coming up very soon that I can't really skip, like the Bradley Cooper/Lady Gaga remake of A Star Is Born or Tom Hardy in Venom, neither of which have announced London screenings yet. It seems to be becoming a strategy for bigger studios to withhold films from the majority of reviewers, which is putting our jobs in jeopardy.

So this week I didn't see any big movies, just smaller ones. Support the Girls (above), starring Regina Hall, is being oddly billed as a comedy when it's actually a wry drama. It's not a bad one at that, as it gently takes on America's sports-bar culture. Sam Rockwell stars in Blue Iguana, a scruffy British heist comedy that has its moments but never quite becomes notable.

Smaller than those, The Song of Sway Lake stars Rory Culkin and Robert Sheehan as young men caught in a swirl of nostalgia in old-money America. It's dreamy and intriguing, but not very satisfying. Summer '03 is an oddly abrasive coming-of-age story that boldly takes on some big issues without really saying much. Never Here is a noir mystery that's moody and evocative, even if it never goes anywhere. And Padre is an offbeat Italian film starring writer-director Giada Colagrande and her husband Willem Dafoe. The acting is great even if the central exploration of grief feels underwhelming.

More satisfying were the three documentaries: Won't You Be My Neighbour is a gorgeous trip through the life of American TV Icon Fred Rogers, beautifully capturing just why he was so magical for several generations of children (including me!). Tea With the Dames (original UK title: Nothing Like a Dame) is an extended conversation between old friends Maggie Smith, Judi Dench, Joan Plowright and Eileen Atkins, with wonderful observations on life and work over the past 60 years. And Science Fair is the hugely entertaining look into the world's biggest teen science competition through the eyes of these lively aspiring scientists.

This coming week's films include Ryan Gosling in First Man, Keira Knightley in Colette, Kevin Hart and Tiffany Haddish in Night School, Rachel Weisz in Disobedience, the Joan Jett doc Bad Reputation, and a pair of Supreme Court docs: RBG about Ruth Bader Ginsberg and Reversing Roe. Press screenings also start for the London Film Festival, so I'll be banking reviews to run when the festival is on 10-21 October.

Critical Week: Old friends

As the weather finally broke, giving us relief from this relentless heatwave, screenings this week for London-based critics were led by Christopher Robin, which was a nice surprise: a sensitive live-action Winnie-the-Pooh sequel starring Ewan McGregor. Although it might be a little slow for children. Much livelier but not nearly as engaging, The Festival has a bright young cast and superb real-world setting, but the story is thin and the jokes simply aren't funny. Featuring an even starrier young cast, including Ansel Elgort, Taron Egerton and Jeremy Irvine, Billionaire Boys Club is a slick money-based thriller that feels eerily over-familiar.

A little further afield, there was the superb Irish thriller Black '47, set during the devastating 19th century potato famine and featuring terrific characters in a riveting story. David Tennant chomps on the scenery as a killer in Bad Samaritan, a nasty little thriller with very little in the way of subtext. We the Animals is a simply stunning coming-of-age drama, gorgeously shot and played on every level. And Memoirs of War is a wrenching, slow-burn WWII epic starring Melanie Thierry as author-filmmaker Marguerite Duras.

Still further off the beaten path, Redcon-1 is a crazed British zombie apocalypse adventure that makes very little sense on any level. From Norway, Revenge is a, well, revenge thriller that's insinuating and involving as its story twists and turns. The sensitive German drama Paths traces the dissolution of a long-term relationship in a quietly meaningful way. And the documentary Nureyev is perhaps a little too ambitious for its own good, with a lot going on with the imagery, sound and voiceovers, but a too-"official" narrative.

This coming week we have Idris Elba's directing debut Yardie, Australian thriller I Am Vengeance, acclaimed Italian drama Dogman, the German thriller The Year I Lost My Mind and three documentaries: Hot to Trot about ballroom dancing, Gun No 6 tracing the life of a firearm and the, ahem, self-explanatory American Circumcision.

Critical Week: Tell no one

There are a handful of films screened to London critics this past week that we're not allowed to review yet. Insidious: Chapter 2 reunites Patrick Wilson, Rose Byrne and director James Wan for more ghostly/demonic horror. Riddick reunites Vin Diesel with director David Twohy for a third instalment in the series, 13 years after Pitch Black. And The Mortal Instruments: City of Bones brings a new young-adult franchise about vampires, werewolves and demons to the big screen. That last embargo ends today, and I also attended a press conference yesterday that was much more entertaining than the film, thanks to lively stars Lily Collins, Jamie Campbell Bower, Robert Sheehan and director Harald Zwart.

There was no embargo needed for the late-in-the-day screening of the entertaining but disappointing sequel Kick-Ass 2, which features original cast members Aaron Taylor-Johnson, Chloe Grace Moretz and Christopher Mintz-Plasse with a new writer-director. Luke Evans plays a shady unnamed guy in No One Lives, a high-energy horror film that gleefully entertains fans with a series of grisly deaths.

After all of that, it was nice to have a few grown-up films: Le Week-end is a marvellously written and played drama starring Jim Broadbent, Lindsay Duncan and Jeff Goldblum. Gloria is a strongly engaging Chilean drama about a middle-aged single woman trying to find love. Call Girl is a strikingly well-made Swedish drama about political corruption and a prostitution ring. And Clio Barnard's The Selfish Giant cleverly re-interprets Oscar Wilde's story as a gritty tale of hapless tearaway kids in Yorkshire. I also revisited Rene Clement's gorgeously restored 1960 thriller Plein Soleil and Gregg Araki's rather nutty teen sci-fi comedy-drama Nowhere. Both still feel eerily contemporary.

This coming week we have Richard Curtis' About Time, Jennifer Aniston in the comedy We're the Millers, Aubrey Plaza in The To Do List, the British internet thriller Uwantme2killhim?, the Cuban adventure Una Noche and a chance to revisit Terry Gilliam's fantastic Time Bandits, restored for a re-release.