Critical Week: Everybody wants to rule the world

While the television is covered with major sporting events at the moment, the gloomy weather is driving people into the cinemas. And there are plenty of things worth seeing. As usual, I'm a bit ahead of the pack on many of the films I saw this week. But I never heard about a press screening for Despicable Me 4, so I bought a ticket and was happy to find it the best in the franchise so far. It's still fast and blissfully nutty, but there's a smart edge to it this time. I also caught the British animated adventure Kensuke's Kingdom, based on the beloved Michael Morpugo novel about a young boy stranded on an almost deserted island. It's beautifully designed and well-written.

BEST OUT THIS WEEK:
Sisi & I • Problemista
Despicable Me 4
Fly Me to the Moon
ALL REVIEWS >

In live-action, there was Scarlett Johansson and Channing Tatum subtly falling for each other in the Apollo 11 comedy-drama Fly Me to the Moon, which is colourful and very charming. Jacques Audiard's new film Emilia Perez won multiple prizes at Cannes, notably for the staggering central performances in a bold, moving story about violence and transformation. Sandra Huller is as terrific as always in Sisi & I, as the handmaiden to the Austrian empress; the film is witty, inventive and involving. The Korean horror Sleep begins as a sharply well-made light drama about sleep-walking before turning genuinely freaky. And from Iran, My Favourite Cake is a warm and hugely involving late-in-life romance with a big emotional kick. On stage, I attended the opening cabaret of this month's London Clown Festival at Soho Theatre and Dorian: The Musical at Southwark Playhouse.

This coming week I'll be watching Glen Powell in Twisters, Saoirse Ronan in The Outrun, June Squibb in Thelma and the British drama Chuck Chuck Baby, plus two stage shows: National Youth Dance Company at Sadler's Wells and more of Jack Tucker at Soho Theatre.

Screen: October TV Roundup

I've watched quite a lot of TV over the summer, episode by episode in between the movies. I look for more escapist fare, although sometimes something serious can work perfectly. I certainly avoid police or medical procedural dramas. And finding a good comedy has been tricky lately...

T H I S   I S   T H E   E N D

Sex Education: series 4
Firing on all cylinders, this show powers into its final season by knowingly shifting the action to a touchy-feely politically correct school where our heroes' shenanigans aren't nearly as revolutionary. Even if plotlines sometimes hiccup, each of the central characters takes their own pointed journey through this new reality, and they bring complexity and engaging nuance to their interaction. Asa Butterfield, Ncuti Gatwa, Emma Mackey, Connor Swindells and Amy Lou Wood have deservedly boosted their stardom over these four seasons. And Gillian Anderson channels Margaret Thatcher from The Crown into her sexologist. There are also several sparky new characters who hint that this show shouldn't stop here. (Netflix)

Physical: series 3
Things continue to ramp up for Sheila (Rose Byrne) as she becomes a minor TV celebrity with her weekly workout segments, expanding her empire. Yet despite doing some work on herself, she has a new inner demon to contend with in the form of arch-rival Zooey Deschanel, whose actual character is miles away from Sheila's imagined version of her. This kind of writing seems a bit uneven, reusing old ideas rather than finding a fresh new direction, and her big revelation and ultimate grounding isn't particularly convincing. But Byrne is terrific in the central role, a complex character whose messiness makes her sympathetic. Her journey is still compelling to watch, even if we care less and less about the people who are in her orbit. (Apple)

A L L   N E W

Juice
Written by and starring bright young spark Mawaan Rizwan, this riotous comedy is made to a very high production standard, with often outrageously colourful sets and costumes and cleverly inventive transitions between scenes. It follows the antics of Jamma (Rizwan), who is described by his boyfriend (Russell Tovey) as a tornado of energy. Indeed, the show is sometimes so chaotic that it's a little exhausting, but it's infused with a huge amount of heart thanks to the endearing performances and writing that digs beneath the hyperactive surface. Terrific costars include Jeff Mirza (as Jamma's surly dad) and Rizwan's mother Shahnaz and brother Nabhaan as gloriously heightened versions of themselves. (BBC)

Ahsoka
When this series recaptures that sense of kinetic energy and snappy camaraderie that made the Star Wars universe hum to begin with, it's remarkably involving. But like other recent series, there's a tendency to turn ponderous and very dark (both thematically and visually) for no real reason other than to heighten the drama about the Jedi and Sith fighting over control of the galaxy. And there's now a second galaxy to worry about. Alongside Rosario Dawson, the solid cast brings scenes to life, especially the late Ray Stevenson and the voice of David Tenant. The show is very well-made, with lovely offhanded moments scattered all the way through, but the mythology is so dense and intrusive that it's difficult to care. (Disney)

Single, Out
From Australia, this comedy-drama traces the coming-of-age of young artist Adam (Will Hutchins), who has his first sexual experience with cute rugby-playing Josh (Adam Mountain), best friend of his brother Clayton (Steven Christou). So Adam decides to come out, then has to navigate this new reality. This includes going to bars, dating and working out who he is and what he wants. There are the usual sitcom elements, such as Adam's witty interaction with his boss and colleagues, and the show definitely has sex on its mind, but shoots anything sexy with a awkward prudishness (it's not about what's shown, but how). That said, the side roles are enjoyably sparky and the humour is wonderfully dry, and there are sharply pointed issues woven through each 20-minute episode. (Cinephobia)

B A C K   F O R   M O R E

Only Murders in the Building: series 3
Things ramp up once again, as our trio of sleuths (Steve Martin, Martin Short, Selena Gomez) investigate the messy murder of an actor (Paul Rudd) by someone in the company of his Broadway show, which includes a hilariously gung-ho Meryl Streep. The stakes feel higher this time around, perhaps because the murder happened (twice!) right within their midst, and all of the suspects are good friends and colleagues. This gives a charge of energy to the show, which is further heightened by fabulous guest stars like Andrea Martin and Matthew Broderick.  Where the plot goes is enjoyably twisty, packed with witty in-jokes about both the mystery genre and theatre culture. And some great songs too. (Hulu)

Star Trek - Strange New Worlds: series 2 
Maybe it's just me, but despite the solid cast and high production values, and writers willing to take on big topics, this show is struggling to hold my interest. This season seems designed to merely hit the usual action beats while making references to the original series, rather than allowing thoughtful drama to drive the episodes forward. And the ever-expanding cast means that no one gets enough screen time to become fully engaging. Even in their relatively short scenes, Anson Mount, Rebecca Romijn, Ethan Peck, Christina Chong, et al are riveting. The Lower Decks crossover episode is fabulous, striking the witty tone the whole series needs. And the musical episode was certainly ambitious. (Paramount)

And Just Like That: series 2 
More focussed than the first season, this sequel show carries on both reinventing its characters and refusing to allow them to grow in any meaningful way. It's an odd concoction in which Sarah Jessica Parker tries to play Carrie as if she's still 35, rather than almost 60, which might add a more meaningful kick to everything. Parker, Cynthia Nixon and Kristin Davis don't get a lot to do here, and most of the side roles remain oddly thankless. Cameos from the original series continue to pop up from episode to episode, adding enjoyable colours. So it's always watchable, even if it never quite feels like anything interesting is happening. And like the original series, it never feels remotely believable. (Sky) 

Lupin: part 3
Even more tightly written and directed than the first season, this heist thriller series gleefully plays with the narrative, flickering around in time to conceal plot secrets and then reveal them at just the right time to keep the audience on board.  Although the villain's motive remains obscure for far too long. The central plotline about Assanne being blackmailed into stealing things is a little tedious, but it plays out with pizzazz. This is hugely entertaining to watch, with a steady stream of satisfying payoffs. Omar Sy is terrific as the charming super-thief at the centre, with his bright smile and lanky swagger. And the supporting cast have had their roles deepened and textured to add even more interest. (Netflix)

Minx: series 2 
Leaning more intently into female power dynamics with the arrival of moneybags boss Elizabeth Perkins, this show continues the now-rising fortunes of a magazine editor (Ophelia Lovibond) who finds success with her publication centred around naked men. As before, the show is a mix of business struggles, personal challenges and flashy shenanigans. And most of the trouble is caused by scruffy publishing genius Doug (Jake Johnson), while more interesting characters played by Oscar Montoya, Jessica Lowe and Idara Victor take pointed side journeys of their own. Snappy pop culture references and an overall sense of narrative momentum keep us watching, even if characters and plotlines are somewhat underwhelming. (Starz)

The Afterparty: series 2 
And we're back with another murder that takes place during an afterparty, this time a wedding. Tiffany Haddish returns to the scene as the no-nonsense detective, and each partygoer's account of the fateful event is rendered in another genre style, including romcom, period drama, noir mystery and a Wes Anderson film. It's also just as messy and pointless as it was the first time around, with the frantic pace and scattershot approach making it difficult to care much about whodunit. That said, it's skilfully well-made, and the cast is always watchable, including returnees Sam Richardson and Zoe Chao, plus Elizabeth Perkins, Jon Cho, Jack Whitehall and Paul Walter Hauser. (Apple)

Good Omens: series 2
Even more bonkers than the first season, this show is infused with a hilariously quirky sense of humour as our best pal outcasts, angel Aziraphale (Michael Sheen) and demon Crowley (David Tenant), find themselves in the middle of a supernatural battle when the amnesiac archangel Gabriel (Jon Hamm) turns up. Wacky antics ensue, augmented by an amusing collection of nutty flashbacks scattered throughout eternity. Plus the tremendous chemistry Sheen and Tenant have developed here and elsewhere (see Staged). So even if it all feels faintly pointless, it's a lot of fun to watch inept angels and demons trying to force order into the universe, while Sheen and Tenant remain outside the fray. (BBC)

The Wheel of Time: series 2
Making most of the worst mistakes of fantasy TV series (and movies), the dialog in this show has far too much mythology in it, including endless people, place and thing names that are impossible to understand or remember if you haven't read the books. But the production quality is much stronger this season, including more eye-catching special effects, even if many action sequences take place murkily in the night. It remains watchable because the ensemble cast members deliver nicely offhanded performances, let by the reliable Rosamund Pike. So when the show concentrates on their interrelationships, we can get involved in the story and ignore the gibberish. (Prime)

What We Do in the Shadows: series 5 
Twisting the story further, these endearingly ridiculous characters enter a new dynamic when Guillermo (Harvey Guillen) breaks the rules to realise his dream of becoming a vampire. This adds an intriguing new mix of tension and emotion to the usual silliness. The storylines are expertly crafted to build amusingly on threads from previous seasons as Guillermo's secret spirals increasingly out of control, although where it ends up feels like a cop-out. Still, these characters seem to have no end of hilarity built into them, as they continually misunderstand even the most basic things while assuming their centuries of existence make them the smartest people in the room. (FX) 

P L A Y I N G   C A T C H - U P

Starstruck: series 1-3
Rose Matafeo created and stars in this comedy as Jessie, a seriously disastrous 30-ish woman trying to make sense of her aimless life in London when she falls in love with famous movie star Tom (Nikesh Patel). Their on-off relationship is the spine of this series, and they spend most of the episodes at an awkward distance, grappling with lingering feelings that make it difficult to move on. Jessie is such a relentless self-saboteur that she's not easy to like, but then she only has one proper friend (the fabulous Emma Sidi). She continually stirs up drama and wrecks her connections with friends, then blames them for it, which is exaggerated and not remotely funny. But the dialog crackles with wit and honest emotion. (BBC) 

Young Royals:
series 1-2
Essentially a more grounded Swedish variation on the sexy Spanish teen soap Elite, this show is also set at a posh private school. Here, 16-year-old Crown Prince Wilhelm (Edvin Ryding) causes all kinds of drama simply by being present. These spotty teens are realistically messy in their romantic entanglements, and there's meaningful commentary about race, class, politics and economics along the way. But of course the most engaging thing here is the romance between Wilhelm and townie Simon (Omar Rudberg), a cutie with the voice of an angel. And Malte Gardinger is particularly good as conflicted villainous senior August. The question is whether they can keep this going as the actors begin to look 30. (Netflix)

Glow: series 1-3
I'm not sure why I missed this show, but the presence of Betty Gilpin and Alison Brie made me want to take a look, plus a starry lineup of directors. Strong characters kept me watching over the 30 episodes, even with some rather annoying plot lines (such as the unlikely romance between Brie and her boss Marc Maron). And there's a sense that after the sparky opening set-up season, the writers attempted to drastically slow things down, moving from the creation of a ladies wrestling TV show to a Vegas extravaganza that isn't nearly as interesting. There actually could have been more wrestling on-screen, as it's hilariously choreographed and staged. Getting back to basics might have saved this show. (Netflix)

I   G I V E   U P

One Piece
While this has been a big hit, it's difficult to know who it's made for. The humour seems aimed at an audience around the same age as the teen protagonists. But it's also relentlessly dark and violent. This might have worked with half-hour episodes, but at an hour this is simply too much, especially since everything is so hammy. I only made it through two episodes. (Netflix)

The Full Monty 
Catching up with the characters from the 1997 movie 25 years later, this show isn't easy to get into. It feels like the first season of a Sheffield-set soap opera about people struggling to survive due to societal issues and bad decisions. The cast is good, but their connections feel contrived, which gives the show no sense of direction. I stuck it out for four episodes. (Hulu)

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GUILTY PLEASURES: Drag Race (UK/Down Under), The Great British Bake Off, Strictly Come Dancing, Selling the OC.

NOW WATCHING: The Continental, Still Up, Gen V, Our Flag Means Death (2), The Morning Show (3), Black Mirror (6).

COMING SOON: Frasier, Lessons in Chemistry, All the Light We Cannot See, Loki (2), Invincible (2), Upload (3), Elite (7).

Previous roundup AUGUST 2023 >

Screen: December TV Roundup

There's been a lot on television to distract me from work over the past few months, and as always I particularly enjoy mindless fun to reset my brain in between serious movies. Obviously, I can't watch everything, and I do tend to avoid gritty police/hospital dramas in lieu of shows that keep me smiling. Although occasionally I like to be challenged on the small screen, I usually leave that for the big one...

Only Murders in the Building
Smart and witty, this comedy-mystery series reteams dynamic duo Steve Martin and Martin Short, plus Selena Gomez, as murder podcast obsessed neighbours who team up for some amateur sleuthing when someone is killed in their apartment block. While the pacing is quaint and silly, there are deranged twists galore. Martin and Gomez play their characters with a straight face, leaving Short to expertly steal every scene. While starry guests (Nathan Lane, Jane Lynch, Amy Ryan, Sting) provide plenty of pizzazz as the mystery unfolds. And the final moments are either a massive cliffhanger or a teaser for the second season. (Hulu)

Nine Perfect Strangers

Timing wasn't kind to this series, which came out too close to The White Lotus, a more astute, grounded drama set in a resort. But this show is worth a look, with its adept cast including Nicole Kidman, Melissa McCarthy, Michael Shannon, Manny Jacinto. It's set at a wellness retreat with guests who have been mysteriously curated by the owner (Kidman), who experiments with microdosing acid to push psychological buttons. It's slightly over-constructed, which makes things far less surprising than they should be, but the general nuttiness of the story holds the interest, as the actors bring offbeat layers to each character. (Prime)

Acapulco

Drawing on the nostalgic comedy traditions of shows like The Wonder Years or Young Rock, this lively comedy-drama features Eugenio Derbez reminiscing about his time as a chirpy teen (Enrique Arrizon) working in a fancy resort in the Mexican seaside town. Each of his adventures has a little moral message, which feels a bit pushy, as does the way the script somewhat simplistically depicts rich people exploiting locals who in turn are conning them. But the show's flamingo-coloured approach is thoroughly charming, and the cast is fresh and likeable, hinting at all kinds of secrets and revelations that are still to come. The bilingual approach is also superb. (Apple)

The Big Leap

A lively drama set around a dance-based reality show, this series features terrific characters in a tangled mess of over-egged soap-style storylines as a group of wannabe dancers try to stage a new production of Swan Lake. It's concocted and safe, including the romances, dark dramas and sassy challenges involving both the dancers and the crew members. But the actors are solid, anchored by Scott Foley as the semi-ruthless show-runner. Each of the interlinked plot threads is deeply silly, the kind of mindless nonsense that's perfect for escapist television, which the script knowingly acknowledges. And the dancing is strikingly good, especially Raymond Cham Jr's spinning, popping Justin. (Fox) 

Invasion

Yet another series that kicks off with a bunch of random, disconnected scenes, characters who mean nothing to the audience and forced suspense based only on the musical score. It looks great, and the excellent international cast manages to draw out some interest in a wide range of people facing a mysterious worldwide alien invasion. But the lazy, indulgent writing and directing make no attempt to pull a viewer in, allowing the story to unfold in out-of-sequence flashbacks that are both repetitive and inadequate. Even the random moments of insight are simplistic. I only barely resisted giving up. Set up for season 2, I doubt I'll return for more. (Apple) 

Mr Corman 

An inventive mix of comedy, drama and satire, this show centres on the terrific Joseph Gordon-Levitt as a fifth grade teacher who is feeling squeezed in by his day-to-day life, something very easy to identify with. Gordon-Levitt (who also writes and directs) is so likeable that he makes the title character deeply sympathetic even when he makes terrible decisions. The episodes are hugely uneven, spinning off into unexpected and sometimes indulgent directions that include long sideroads, fantasies and some darkly provocative twists. It's tricky to engage with it as a series, but it maintains a nicely provocative tone. I almost gave up, but stuck with it to the end. (Apple)

B A C K   F O R   M O R E

Ted Lasso: series 2 
Instead of repeating the breezy comedy of the first season, Jason Sudeikis goes deeper with his now-iconic American football coach in London, pushing him with a team psychologist (Sarah Niles), unexpected conflicts and corporate issues, plus the slow transformation of his protege (the brilliant Nick Mohammed) into a supervillain. And in most of these areas, his down-home aphorisms don't quite have the intended effect. This season has featured a few inventively themed episodes, but instead of being gimmicky they've maintained the same open-handed but earthy emotionality that pushes the story and characters further and further. It's a rare show that manages to balance realism and optimism. (Apple)

The Morning Show: series 2 

Going even darker, this drama starts exactly where the first season ended, with everyone in chaos following the revelations of harassment at a big network. Then it cuts to January 2020, as the breakfast TV show's cast and crew are blithely unaware of what sporadic reports about a virus in China might mean. This adds an underlying tension to everything, as do the chaotic US presidential primaries and the increasing melodrama between characters finely played by Reese Witherspoon, Jennifer Aniston and Billy Crudup, with added Steve Coogan who's in hiding with Valeria Golino in Italy. Where it all goes is perhaps a bit too shocking. (Apple)

The Other Two: series 2

It's been two and a half years, but this superbly written and played comedy is finally back for a second season, and this time siblings Brooke and Cary (Helene Yorke and Drew Tarver) find themselves in the shadow of their talkshow host mum (Molly Shannon), in addition to their popstar little brother Chase (Case Walker). The comedy feels a lot broader this time around, which makes it sillier and perhaps less endearing. But the central theme is still strong, playing on how frustrating it can be to watch seemingly untalented people succeed while you struggle. And once again, the pop culture gags are continual and skilfully right on the nose. (HBO)

Love Life: series 2

William Jackson Harper takes over the central role as this gently comical drama returns to follow another person's romantic rollercoaster journey. Opening with some bad decision-making that quickly leads to a divorce, Harper's Marcus is a likeable guy who struggles to get his life back on track. This includes some painfully awkward encounters, stressing out his friends and family and launching himself into a series of relationships. All of this happens while he's circling around the hugely likeable Mia (Jessica Williams), who is clearly too good for him, but we can't help but hope they work out their messiness. Harper is particularly terrific in a demanding role. (HBO)

Succession: series 3

Continuing without taking a breath from the last episode, this intense media family drama never gives the audience break from these intense people who circle around each other like sharks. Patriarch Logan (Brian Cox) is now in all-out war with his son Kendall (Jeremy Strong), with siblings Roman and Shiv (Kieran Culkin and Sarah Snook) vying for control and everyone else trying to cling to what little influence they may have. It's absolutely brutal, and riveting, to watch this family so aggressively engage in vicious power games. And the complexity of the roles gives each actor a lot to chew on along the way. Once again, the ending is a stunner. (HBO)

Sex Education: series 3 

This show continues to broaden its scope by bringing more characters into the focal zone, and it works because all of them are fierce, strikingly well written and played individuals. The spiralling relationships between family, friends and lovers are thoroughly entertaining, even if the careful plotting makes it fairly clear where things are heading. And the sparky cast, led by Asa Butterfield and Gillian Anderson, is hugely engaging. With added Lola Kirke as the villainous new headmistress of the season. Even she is given a bit of perhaps uncharacteristic shading under her relentless nastiness. (Netflix)

What We Do in the Shadows: series 3 

Things continue to ramp up in this season, as this household of four clueless vampires take the place of the council that was taken out by their vampire-hunting familiar Guillermo (Harvey Guillem), who continues to take care of them without them noticing. This adds a whole new angle to their relentless obliviousness, and each episode mines ridiculous situations for genuinely hilarious laughs. But even more important is how the writing and acting make us care about these idiots, especially as the final few episodes of this season change things so drastically. Any future episodes will feel very different indeed. (FX)

Brooklyn Nine-Nine: series 8

I was very late to this show, catching up with the first seven seasons during lockdown, and I enjoyed these final 10 shows as they appeared two per week. This is the kind of comedy I love, with nutty character-based humour that simply never pauses to let the audience catch their breath. It's silly, sharp and even has some political resonance, and the jagged relationships between these police precinct colleagues add engaging angles to the jokes. A few characters feel a little muted by time, but each of them has the power to surprise us. And the show's anchors Andy Samberg, Andre Braugher and Terry Crews are fabulous. (CBS)

GUILTY PLEASURES: The Great British Bake-Off (C4), Strictly Come Dancing (BBC), RuPaul's Drag Race UK (BBC), We're Here (WoW), I Like the Way U Move (BBC).

I GAVE UP: Foundation (Apple) was just too dense and choppy for me.

NOW WATCHING: Hawkeye, Landscapers, The Great (2), The Witcher (2), Star Trek: Discovery (4), The Conners (4), And Just Like That (7), Dexter: New Blood (9).

COMING SOON: The Woman in the House Across the Street From the Girl in the Window, The Book of Boba Fett, Pam & Tommy, Euphoria (2), Killing Eve (4).

Critical Week: Stay alert

I've now passed eight weeks of lockdown (the first 10 days were in California), and while watching streaming movies is keeping me busy, I'm getting increasingly bored being stuck at home, staying safe and well even as I'm increasingly suspicious of my hay fever symptoms. Like everyone, I've filled time by going out for the occasional walk, taking on some cooking challenges and binge-watching TV shows. But we're here to talk about the films, and some of these felt like work...

BEST OUT THIS WEEK:
Never Rarely Sometimes Always
Socrates • Empathy, Inc.
PERHAPS AVOID:
The Wrong Missy • Redcon-1

David Spade and Lauren Lapkus (above) star in the stupid comedy The Wrong Missy, which has some amusing moments but no actual laughs. Woody Allen's likeable but uneven new comedy-drama A Rainy Day in New York stars Timothee Chalamet and Elle Fanning as a young couple who take separate odysseys leading to superficial self-discovery. Tom Hardy gives a fearsome performance in Capone, as the iconic gangster loses his mind in the last year of his life.

Issa Rae and LaKeith Stanfield star in the slow and rather thin, but beautifully shot romance The Photograph. Simon Bird's British comedy Days of the Bagnold Summer is wry and endearing, anchored by the superb Monica Dolan and Earl Cave, plus some starry scene-stealing cameos. And Imogen Poots and Alex Wolff lead the mopey, moody drug-addiction drama Castle in the Ground.

The powerful drama Never Rarely Sometimes Always takes on big issues with earthy, provocative honesty. From Italy, Fairytale is a pastiche candy-coloured comedy with a dark kick to it. And New French Shorts 2020 is a strong collection of seven mini-dramas that won acclaim at festivals over the past year.

There's another random collection of streaming movies to watch this coming week, including Nicholas Hoult in Rebel in the Rye, the animated comedy Scoob!, the apocalyptic thriller Edge of Extinction, the Spanish comedy I Love You Stupid, the Mexican drama I'm No Longer Here, the Icelandic comedy The County and the narrative doc The Painter and the Thief.

See the website for FULL REVIEWS

Critical Week: 88 miles per hour

The big event this past week was the opening night of Secret Cinema presents Back to the Future, a fabulously immersive event being held in London until 31st August. Audience gets to experience life in 1955 Hill Valley including the events of the classic 1985 film as it's projected in a vast outdoor cinema. My review is HERE.

As for regular releases, our biggest screening was for The Expendables 3, the latest in Sylvester Stallone's meathead action franchise. Sly was also in town with costars Jason Statham, Antonio Banderas, Kellan Lutz and Wesley Snipes to chat with the press before the film's premiere. We also caught up with Guy Pearce and Robert Pattinson in the gritty but sometimes too-slow burning Aussie thriller The Rover, Chris Evans and Jamie Bell in Bong Joon-ho's ambitious and inventively bonkers post-apocalyptic action thriller Snowpiercer (still without a UK release date), and the not-too-long awaited spoof disaster sequel Sharknado 2: The Second One, which is livened up by a string of cameos as the freak weather system arrives in New York (hopefully the next stop will be London).

We also had the strained, not-so-rude comedy Behaving Badly starring Nat Wolff and Selena Gomez; the involving and nicely acted inspirational drama 4 Minute Mile starring Richard Jenkins and gifted newcomer Kelly Blatz; the astonishingly bold French drama My Name is Hmmm...; and the fascinating epic architectural documentary Cathedrals of Culture.

This coming week there are screenings of the Brit-com sequel The Inbetweeners 2 (the day it opens), Scarlett Johansson in the action romp Lucy, Simon Pegg in Hector and the Search for Happiness, Clive Owen in Blood Ties, horror movie Found, dance doc Ballet Boys and British miners' strike documentary Still the Enemy Within.

Requisite Blog Photo: One of the undead

It was perhaps a bit early on Sunday morning to face a cinema packed out with hysterical, sugar-overloaded children. So I fit right in with the movie's cast...