Critical Week: Tea, biscuits and a spot of murder

Cinemas are a bit busier, as a bunch of high-profile movies arrive in the weeks before the autumn festival season kicks off awards season. This time of year also signals the return of London's FrightFest, which plays out over this long weekend. I've been watching those scary movies all week, and have many more to see between now and Monday night. As the festival kicked off tonight in Leicester Square, I was across the way attending the UK premiere of the all-star British whodunit The Thursday Murder Club, starring Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie (above). Unsurprisingly, it's warm and funny, perfectly cosy entertainment.

BEST OUT THIS WEEK:
Sorry, Baby • Battleship Potemkin
Eddington • Dongji Rescue
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We finally got to see The Toxic Avenger, shot three years ago and now being released uncut. Peter Dinklage has a lot of fun as Toxie in this hilariously messy remake, which is packed with pointed satire and gleefully excessive gore. Danny Power gives a terrific debut performance in the intimate Irish drama Christy, the involving story of a teen discovering who he is. From China, Dongji Rescue is a thrilling true WWII action story told on a grand scale. Its set pieces are seriously heart-pounding, and the characters are great. And from Germany, the animated romp Grand Prix of Europe sends animals on a racing tour, punctuating every scene with nutty slapstick silliness.

This coming week I'll be watching several more FrightFest movies (quick reviews will be here over the weekend), plus Olivia Colman and Benedict Cumberbatch in The Roses, Austin Butler in Caught Stealing, the Japanese drama Happyend and the restored 1980 thriller Night of the Juggler.

Critical Week: Size matters

There were two rather underwhelming sequels to see this past week, neither of which came with very high expectations. Kickboxer: Retaliation is the middle part of a rebooted trilogy starring Alain Moussi and the original star Jean-Claude Van Damme, plus assorted massive meatheads. It looks great, so it's a shame so little attention was paid to characters or story. And then there's the Maze Runner trilogy finale, The Death Cure, with its somewhat messy mythology and bland characters. The film has its moments, but never quite comes to life.

Two small British films at least tried something original. Lies We Tell is a rather choppy crime thriller set in Yorkshire starring a mopey Gabriel Byrne. And Gholam is a riveting, slow-burning London thriller starring the excellent Iranian actor Shahab Hosseini. Even further afield, I enjoyed seeing a big-screen press preview of the restored version of Ingmar Bergman's witty film of Mozart's The Magic Flute. And I watched all of the episodes for the snappy, clever web series Dropping the Soap, which is out soon on dvd. As the title suggests, it's a backstage soap opera spoof. And I also greatly enjoyed this doc, which I needed to see for awards voting purposes...

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Bombshell
dir-scr Alexandra Dean; with Diane Kruger, Robert Osborne 17/US ****
Based around the discovery of a lost interview recorded on cassette tapes in 1990 when she was 76, this documentary traces the extraordinary journey of movie siren and brainy inventor Hedy Lamarr from her childhood in Austria to her reclusive old age in America. Along the way, she shared the screen with all of Hollywood's biggest stars as the most beautiful woman in movies. But she was always aware that no one took notice of her intelligence. "Any girl can look glamorous," she said famously. "All she has to do is stand still and look stupid." And now it emerges that Lamarr had a secret life of curiosity and scientific ambition, including a working friendship with Howard Hughes and conceiving the idea that would lead to modern communications systems like wifi and bluetooth (the US government never paid her for her patent, which the doc claims would amount to some $30bn today). She also built the first ski resort in Aspen, which was stolen from her by a vindictive ex-husband. Filmmaker Dean assembles this beautifully, using Lamarr's own voice and a wealth of footage and stills. It's a gripping film, packed with emotional kicks and an inspiring final message from Lamarr herself, reminding us that when the world treats us badly, we should give our best anyway.

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Much of my time has been spend working on the impending Critics' Circle Film Awards on Sunday night - I'm the chair, so haven't had much spare time to catch up with press screenings. Maybe next week. I've got the Bruce Lee biopic Birth of the Dragon in the diary, as well as the Helen Mirren ghost story Winchester.