On the road: Take the plunge

Being away for the holidays, I've prioritised hanging out with family and friends over work - so I'm a bit behind with everything apart from food! But I've managed to watch a few films here and there. Just out in cinemas here in the US, The Plague stars Joel Edgerton as a boys' water polo coach who seems either unable or unwilling to tackle the horrific bullying on the team. It's strikingly well made, with a terrific central performance by young Everett Blunck. 

The gentle drama Rebuilding features yet another excellent role for Josh O'Connor as a Colorado rancher trying to start over after a wildfire. It's quietly powerful. Ron Howard's Eden tells the true story of Europeans trying to find paradise in the Galápagos in the 1930s, with a cast that includes Jude Law, Vanessa Kirby, Sydney Sweeney and Ana de Armas. The cast makes it watchable even when it gets rather soapy. The documentary The Perfect Neighbor is assembled from body-cam footage as Florida cops teal with a messy situation that escalates until someone dies. It's hard to watch, but important. I also caught up with a few pulpy movies from recent years, including the cat-and-mouse thriller Carry-On in which Jason Bateman terrorises security agent Taron Egerton in Los Angeles airport. It's seriously stupid, but fun. Mel Gibson plays an action-oriented Santa in Fatman, an uneven mix of comedy and violence that never comes together. Walton Goggins is seriously intense as the baddie; Marianne Jean-Baptiste (yes, really) shines as Mrs Claus.

Over this next week, I'll be watching a few more contenders before ballots are due in various awards. I'm also flying back to London, so will no doubt catch up with some gems (!) on the flights. Before that, I will be finalising year-end lists of my best and worst from 2025 - watch this space...

Critical Week: Phone home

Awards season is properly cranking up, with lots of screenings (and online links) for movies that are coming out in December and January - so we can see them ahead of voting deadlines, which are quickly approaching. It's great to see these films on a big screen when possible. Certainly, two unusually striking films I saw this week deserve that - both are very long movies based on true stories. Josh Safdie's Marty Supreme stars Timothee Chalamet (above) as an aspiring ping pong champ, and it's a singular visual odyssey, high energy and utterly riveting. It's also a little exhausting. And then there's Mona Fastvold's The Testament of Ann Lee, starring Amanda Seyfried as the founder of the Shakers in 18th century England and New England. It's a swirling, mesmerising journey that leaves us thinking. 

BEST OUT THIS WEEK:
Rental Family • Cactus Pears
Wicked: For Good
The Thing With Feathers
Zodiac Killer Project
PERHAPS AVOID:
The Ice Tower
ALL REVIEWS >

A bit more mainstream, Emma Mackey stars in filmmaking maestro James L Brooks' Ella McCay, a sparky and enjoyable comedy-drama about a family and political ambition. Bill Skarsgard leads the cast of Gus Van Sant's Dead Man's Wire, based on the true story of an unusual 1977 kidnapping. It's a gripping, strikingly well-made film. June Squibb stars in Scarlett Johansson's directing debut Eleanor the Great, a lively and likeable comedy-drama about memories and perception. Nicolas Cage leads The Carpenter's Son, an offbeat horror film based on an apocryphal gospel about the childhood of Jesus Christ (played by Noah Jupe). It's ambitious and creepy, and a little overwrought.

And then there was Park Chan-wook's overlong but sharply observant comedy No Other Choice starring Lee Byun-Hun as a guy who takes desperate measures to find a job. Sope Dirisu stars in the gorgeous British-Nigerian drama My Father's Shadow, as a man who takes his two cheeky sons on a day out in 1993 Lagos. The wonderful Iraqi drama The President's Cake centres on a young girl navigating her way through a restrictive system simply to bake a cake. The moving French drama Nino features yet another astonishingly transparent performance from Theodore Pellerin. And the Taiwanese drama Left-Handed Girl takes a snappy, fresh approach to connections between generations of women. I also attended the British premiere screening of Landman season 2 with Billy Bob Thornton, Demi Moore and Ali Larter in attendance.

It's another big week coming up, and I'll be watching Jodie Foster in A Private Life, Josh O'Connor in The Mastermind, Lav Diaz's epic biopic Magellan, the Spanish adventure Sirat and the animated films Scarlet and Little Amelie, plus festive live performances of Growled at the RVT and The Magic of Christmas at Brick Lane Music Hall.

On the Road: Like a rolling stone

I've just spent the last three weeks in Los Angeles where my priority was to spend time visiting friends and family around the Thanksgiving holiday. But of course I also couldn't help catching some films along the way, and I even got to attend a couple of terrific awards-season screenings. The nicest surprise was James Mangold's dazzling A Complete Unknown, starring an impressive Timothee Chalamet as Bob Dylan with terrific support from Edward Burns (as Pete Seger) and Monica Barbaro (as Joan Baez). I also really enjoyed the powerful biopic Unstoppable, starring Jharrel Jerome as Anthony Robles and Jennifer Lopez as his mother Judy (we even got to meet Jharrel, Anthony, Jennifer and Judy after the emotional screening). And Nicole Kidman and Harris Dickinson are excellent in the Halina Reijn's raw, complex drama Babygirl.

And then there was the animated sequel Moana 2, a crowd-pleaser that feels a bit simplistic compared to this year's much more innovative animated movies. That Christmas is another rather easy-going, unchallenging but enjoyable animated adventure. Further afield and far more ambitious, September 5 is a staggeringly well-made real-life thriller with Peter Sarsgaard and John Magaro set at the Munich 1972 Olympics. Jack Huston's impressive directing debut Day of the Fight is an unusually personal boxing drama starring Michael Pitt. And Iranian exile Mohammad Rasoulof's The Seed of the Sacred Fig is a riveting dramatic thriller about a family straining against official morality.

And then there were the films I watched on the long flights. Colman Domingo is fantastic in the bracingly authentic prison drama Sing Sing. Tig Notaro's comedy Am I OK is packed with knowing observations and hilarious dialog. Dev Patel is astonishing as writer, director and star of the Indian action thriller Monkey Man. Channing Tatum goes evil for the darkly creepy Blink Twice. Zac Efron and John Cena team up for the rude but entertaining comedy Ricky Stanicky. And the documentary Lil Nas X: Long Live Montero is refreshingly unfiltered as it explores the musician's explosion into the limelight.

This coming week I have more films to catch up with for awards voting, and also some that are coming to cinemas this month, including Jude Law in The Order, Tilda Swinton in The End, the animated epic The Lord of the Rings: The War of the Rohirrim, Kerry Washington in The Six Triple Eight, Ralph Fiennes in The Return, Jared Harris in Reawakening, the Hong Kong comedy Love Lies, the comedy sequel Heavier Trip and the French epic The Count of Monte Cristo ... as time allows.

Critical Week: Holding on...

I've been enjoying hanging out with family in Southern California, not worrying about the rather iffy weather, which turned downright nasty just in time for me to trek across town to see Dune: Part Two on the Warner Bros lot (which was cool - see Insta post below). It was quite surreal to be feeling so wet and soggy while watching such a dry and sandy movie. But of course I loved it; Denis Villeneuve's imagination and attention to detail being this dense story to life in constantly surprising ways. Each shot looks simply spectacular, and the powerhouse acting ensemble gets a lot to do as well.

I also caught Lisa Frankenstein in a cinema, directed by Zelda Williams (daughter of Robin) from a script by Diablo Cody. It's a bit of a messy concoction, but is packed with genuinely hilarious dialog and up-for-it performances from a strong cast that includes Kathryn Newton, Cole Sprouse, Liza Soberano and Carla Gugino. Its 1980s setting offers some strong gags as well.

Ethan Coen's Drive-Away Dolls opens this weekend, so I plan to catch that in a local cinema. I am also asking around for contacts for a Kung Fu Panda 4 press screening here, as it opens the week I return to London. There may be some other things that pop up along the way, and I do have some screener links to watch, but am reluctant yo give up family time for that.

View this post on Instagram

A post shared by Rich Jack Cline (@ukcline)

Critical Week: Make a wish

Awards season is in peak flow, with multiple screenings and Q&As every day, forcing us to choose carefully. One easy choice was attending the world premiere of Wonka, attended by filmmaker Paul King and the entire cast. The party was astonishing (so much candy!), and the film is a lot of fun too. There was also the musical remake of The Color Purple, a finely made film even if the songs create an uneven tone. Eddie Murphy takes on Christmas in Candy Cane Lane, an enjoyably goofy comedy fantasy that's slight but watchable. That's pretty much the same way to describe Melissa McCarthy in Genie.

BEST OUT THIS WEEK:
May December • Femme
Fallen Leaves • Totem
We Dare to Dream
ALL REVIEWS >

A bit more high brow, there's Jeffrey Wright in the fiercely intelligent comedy American Fiction, taking on cancel culture with complexity and nuance. George MacKay and Nathan Stewart-Jarrett are excellent in the dark British drama Femme, a provocative exploration of masculinity. Isabelle Huppert is as good as always in The Sitting Duck (La Syndicaliste), an otherwise rather dry and talky drama. The slickly made Hong Kong crime thriller The Goldfinger reunites the great Tony Leung and Andy Lau, although the film gets bogged down in details. And there were two riveting docs: High and Low traces the life of disgraced fashion icon John Galliano, while We Dare to Dream is an intimate journey with members of the Olympic refugee team.

And as voting deadlines get closer, screenings are getting even busier. Movies this week include Pierce Brosnan in Fast Charlie, acclaimed foreign films The Taste of Things, The Peasants, Monica and Green Border, plus on-stage performances of Lunar Halo at Sadler's Wells, Tossed at Royal Vauxhall Tavern and Gary Starr at Southwark Playhouse.

LFF: Blow the roof off

I'm covering the 66th London Film Festival a little differently than usual. Opting out of purchasing accreditation this year (for several pointed reasons), I am watching films from the outside this time around, which means I'll be seeing fewer of the big blockbuster gala movies (which I'll see anyway) and focussing on smaller offbeat things. So it should be rather good fun. I'll be posting every other day here, so keep an eye out for little gems as well as a few heavy hitters. Here are some highlights for the first couple of days...

Klondike
dir-scr Maryna Er Gorbach; with Oksana Cherkashyna, Serhii Shadrin 22/Ukr ****
Set during Russia's invasion of Ukraine in 2014, this earthy and gorgeously shot drama is infused with pitch-black irony. The setting is reminiscent of the American West, with isolated farms and endless horizons, but writer-director Maryna Er Gorbach fills scene with present-day attitudes and feelings that are more timely than she could have imagined. Seen through a woman's eyes, it's a gripping mix of personal drama and punchy themes... FULL REVIEW >

Hidden Letters
dir Violet Du Feng; with Hu Xin, Wu Simu 22/Chn ****
Beautifully shot and edited, this fascinating documentary finds a sharply knowing perspective on a little-known way women learned to express themselves throughout China's history. Because she keeps things specific and personal, director Violet Du Feng finds enormously powerful echoes in the wider world. It's a riveting, moving film, assembled with a remarkable fluidity to make its important points almost subliminally. And the observations are unusually complex and nuanced.

These four films, which I saw at Venice Film Festival, are also playing in London...

Argentina, 1985
dir Santiago Mitre; with Ricardo Darin, Peter Lanzani 22/Arg ****
Including a heavy dose of sharp humour in the screenplay helps make this rather momentous true story unusually accessible. So while it hinges on a procedural investigation and historical courtroom trial, director-cowriter Santiago Mitre continually reveals the humanity of the characters, pulling us in deeper. And the case itself is harrowing, a landmark moment when a military dictatorship went on trial for its horrific crimes against the people... FULL REVIEW >

Bones and All
dir Luca Guadagnino; with Taylor Russell, Timothee Chalamet 22/US ****
Essentially a romantic horror road movie, this offbeat drama delights in provoking extreme reactions with its vampiric premise. But it's also almost jarringly grounded, with authentic situations and characters who may not be likeable but are strongly sympthetic. Director Luca Guadagnino is always terrific at cutting through surfaces to find human connections and deeper societal truths. So while this film gets very grisly indeed, it remains surprisingly sweet... FULL REVIEW >

Casa Susanna
dir-scr Sebastien Lifshitz; with Katherine Cummings, Diana Merry-Shapiro 22/Fr ****
Illustrated with a wonderful collection of home movies and snapshots, plus some terrific scene-setting newsreel footage, this quietly observational documentary offers a glimpse into a secret society from the early 1960s where cross-dressers could gather without fear. Director Sebastien Lifshitz gets out of the way and simply allows these people and their children tell the story with colourful anecdotes, big feelings and a lovely sense of nostalgia... FULL REVIEW >

Bardo: False Chronicle of a Handful of Truths
dir Alejandro G Inarritu; with Daniel Gimenez Cacho, Griselda Siciliani 22/Mex **.
It would be hard to imagine a more indulgent, rambling, throw-everything-at-the-screen kind of movie. But Alejandro G Inarritu isn't a filmmaker you can dismiss, as each sequence is skilfully laced with moments of visual brilliance, thematic provocations and darkly emotional honesty. Channelling Fellini at his most flamboyant, Inarritu pours personal and artistic energy into this epic Mexican odyssey. Although a leaner, earthier approach would have been more effective... FULL REVIEW >

All London Film Festival reviews, once they're uploaded, will be linked to SHADOWS' LFF PAGE >

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L   W E E K

Outside of the festival, I watched Christian Bale and Margot Robbie in Amsterdam, Sally Hawkins and Steve Coogan in The Lost King, Mila Kunis in Luckiest Girl Alive, the lively Bronte biopic Emily, BJ Novak's offbeat comedy Vengeance, the independent comedy All Sorts, the Chilean ghost rom-com Phantom Project and the Sadler's Wells dance/choreo comedy Nora the Many.

This coming week's films include Shawn Mendes as Lyle Lyle Crocodile, Eva Green in Nocebo, Noomi Rapace in You Won't Be Alone and Hero Fiennes Tiffin in The Loneliest Boy in the World. Plus of course rather a lot of festival movies.

Venezia79: Time to refuel

The 79th Venice Film Festival continues to build pace, as today was Timothee Chalamet day, with fans following his every move around the Lido then screaming raucously as he walked the red carpet. His film caught us all by surprise this morning, with its grisly cannibalistic theme and warm centre, We were even more caught off guard by a barnstorming French film, which is my pick of the festival so far. Here are today's highlights...

Bones and All
dir Luca Guadagnino; with Taylor Russell, Timothee Chalamet 22/US ****
Essentially a romantic horror road movie, this offbeat drama delights in provoking the audience to extreme reactions with its vampiric premise. But it's also almost jarringly realistic, with authentic situations and characters who may not be likeable but are easy to sympathise with. Director Luca Guadagnino is always terrific at cutting through surfaces to find human connections and deeper societal truths. So while this film gets very grisly indeed, it remains surprisingly sweet.

Athena
dir Romain Gavras; with Dali Benssalah, Sami Slimane 22/Fr *****
Blisteringly current, this feels like a story that is just about to happen in several places around the world, as social tensions erupt into all-out civil war. French filmmaker Romain Gavras is making an almost shockingly pointed political statement here, but the urgent and involving story centres on the much deeper emotional connections between three brothers at the epicentre of an epically violent standoff. The film is also skilfully directed with astonishing bravado, using long and exceptionally complex takes that are simply breathtaking.

A Couple
dir Frederick Wiseman; with Nathalie Boutefeu 22/Fr **.
At 92, rightfully venerated documentarian Frederick Wiseman makes his first narrative feature, but his approach remains the same, filling the screen with tiny details that build up a larger picture. The problem is that, while the story itself has vitality, the film is too mannered and one-note to provide a needed emotional punch. Based on letters between Leo Tolstoy and his wife Sophia, this is a one-woman show as Nathalie Boutefeu strikes poses in various picturesque sites in nature, speaking Sophia’s letters and reading Leo’s in voiceover or to-camera. Her expression is unwaveringly pained, and she repeats the cycle of marital emotions between adoration and agony. The larger arc is fascinating, from naive, hopeful 18-year-old bride to an exhausted older woman who feels she had to work hard and remain invisible to make way for her husband’s genius. A more textured telling of this story would be devastating. This is a bit dull.

All the Beauty and the Bloodshed
dir Laura Poitras; with Nan Goldin, Megan Kapler 22/US ****
With this extraordinary film, gifted documentarian Laura Poitras takes a multifaceted look at a fascinating artist. As a biography of acclaimed photographer Nan Goldin, this is a clear-eyed look at her life, work and the decades she has survived, leading to related areas of activism. Which connects into her efforts to raise awareness of the Sackler family's direct responsibility in the deaths of half a million people from opioid addiction. All of this is skilfully woven together with a remarkably gentle hand.

Valeria Is Getting Married
dir-scr Michal Vinik; with Lena Fraifeld, Dasha Tvoronovich 22/Isr ****
A collision of cultures and clashes fuels this Israeli-Ukrainian drama, which opens with a lightly happy tone then steadily cranks up the deeper drama. It's sharply well-assembled by writer-director Michal Vinik to get under the skin of four central characters, and it makes some fascinating observations about the nature of power in relationships, especially transactional ones like these. The plot centres on a Ukrainian woman (Lena Fraifield) who has found a husband in Israel and now brings her sister Valeria (Dasha Tvoronovich) to marry her own man. The key elements here are emotions, which haven't factored into the arrangements and blow up over the course of a very stressful day. It's a fairly simple narrative, but ripples with deeper resonance.

Full reviews will be linked at Shadows VENICE FILM FESTIVAL page, eventually! 

Critical Week: Take my hand

As Venice Film Festival wrapped up and Toronto Film Festival kicked off, things are heating up here in London, with the 65th London Film Festival press screening schedule starting next Monday morning. I'm looking forward to catching up with the big titles from Sundance, Cannes and Venice over the next few weeks - both at in-person screenings and using online links. But more and more screenings are taking place in cinemas now, and the biggest one so far was Dune: Part One on Britain's largest Imax screen. Frankly, movies don't get much more momentous, or jaw-droppingly satisfying, than this. Essential to see on a huge screen.

BEST OUT THIS WEEK:
The Duke • Little Girl
Everybody's Talking About Jamie
ALL REVIEWS >

Other movies I watched this week included the filmed version of the hugely engaging, life-affirming stage musical Come From Away, the rather uneven but urgently pointed British drama A Brixton Tale, the remarkably thoughtful horror drama The Djinn, the loose and rather nutty social media comedy-thriller The Influencer. Even further afield, there was Bruce La Bruce's latest provocation, the superbly intriguing Saint-Narcisse; the stylised and remarkably involving Norwegian pregnancy comedy-drama Ninjababy; and the earthy, intensely provocative Hungarian war drama Natural Light.

In the coming week, I already have six screenings in the diary for London Film Festival (which starts on October 6th). In addition, I'll be watching the Sopranos prequel The Many Saints of Newark, Dev Patel in The Green Knight, Ben Whishaw in Surge, the horror thriller Gaia and the shorts collection Parental Guidance.

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: Great American hero

This week's screenings featured rather a lot of strong women, starting with Harriet, in which Cynthia Erivo plays the tough-minded slave rescuer Harriet Tubman. The film's a bit too reverent for its own good, but Erivo is terrific. Frozen II reunites sisters Elsa and Anna for an even more thrilling adventure that has huge action beats and some properly developed emotion too. Greta Gerwig offers a new adaptation of Little Women, with a strikingly good cast (Saoirse Ronan, Florence Pugh, Timothee Chalamet, Meryl Streep) and a refreshingly sharp tone, although the structure is a bit problematic. And then there was the haunting Appalachian drama Them That Follow, starring Alice Englert and Olivia Colman as members of a freaky snake-handling church.

Further afield, there was the offbeat British comedy-thriller Kill Ben Lyk, which amusingly combines a whodunit with a slasher horror romp. The dark British drama Into the Mirror is an involving, internalised exploration of identity and gender. From Hong Kong, Adonis is a fascinating and somewhat over-sexed exploration of fate and art. And Romeo and Juliet: Beyond Words creates a strikingly inventive new genre, moving the ballet into real-world sets to recount Shakespeare's timeless story with physicality and music rather than dialog. It's beautiful.

Coming up this next week, we have Chadwick Boseman in 21 Bridges, Aaron Eckhart in Line of Duty, Edward Norton in Motherless Brooklyn, Patrick Schwarzenegger in Daniel Isn't Real, and The Amazing Johnathan Documentary. I'm also chasing several year-end awards-worthy titles before voting deadlines, which are looming less than a month away now...

London Film Fest: Heavy is the head

As the 63rd BFI London Film Festival heads into its first weekend, the range of films continues to be astonishing - from children's adventures to freak-out horror, experimental art films, indie comedies and even a blockbuster or two. This doesn't actually feel so much like a festival as a particularly condensed film season at the British Film Institute. Basically, it's the greatest hits from Sundance, Berlin, Cannes, Venice and Toronto, with a number of world premieres thrown in for fun. Critics are already run ragged by Day 2, with so many movies that it's impossible to even see half of our wish lists. But we'll give it a go. Here are Friday highlights...

The King
dir David Michod; with Timothee Chalamet, Joel Edgerton 19/UK ****
The gloomy intensity that floods through this British historical drama very nearly swamps the screen, leaving it rather murky and brooding. But the script is so sharp, and the actors so good at finding the textures of their characters, that the story comes to life with some surprising moments of modern-day resonance. And filmmaker David Michod stages both the tense conversations and muddy battles with gusto.

Luce
dir Julius Onah; with Kelvin Harrison Jr, Naomi Watts 19/US ****
Strikingly well written and directed, this drama has a powerhouse cast that brings huge themes strongly to life. Based on JC Lee's play, the film uses barbed dialog to grapple with a powerful issue, which makes it intimate and deeply unsettling. Director Julius Onah skilfully cuts through the heavily weighted story to focus on personal reactions and relationships, which helps the film deliver a number of pungent kicks... FULL REVIEW >

Little Joe
dir Jessica Hausner; with Emily Beecham, Ben Whishaw 19/Aut ***
There's a cleverly unnerving tone to this subtly artful thriller, which combines science-fiction elements with the undercurrents of an old-fashioned monster movie. Austrian filmmaker Jessica Hausner keeps the lights bright and the colours garish all the way through, yet still creates a relentless sense of tension as characters try to work out if something truly horrible is afoot.

Wounds
dir-scr Babak Anvari; with Armie Hammer, Dakota Johnson 19/UK ****
Following on from his inventive Iranian horror Under the Shadow, filmmaker Babak Anvari breathes fresh life into an American-set scary movie. There's a energising, realistic scruffiness to this bonkers story of an everyman who discovers the hard way that there's nothing of depth in his life. This attention to darker themes marks this as much more than a gonzo freakout. But it's that too.

I Lost My Body [J'ai Perdu Mon Corps]
dir Jeremy Clapin; voices Hakim Faris, Victoire Du Bois 19/Fr *****
With a spectacular visual sensibility, this animated French thriller tells a strikingly original tale that inventively sparks the viewer's imagination. Offbeat and fiendishly clever, the film has been designed in a way that looks fully cinematic, offering vivid perspectives and a fully formed experience that appeals to all the senses. It's also a refreshingly grown up movie that will connect with the childish dreamer inside... FULL REVIEW >

Bacurau
dir-scr Kleber Mendonca Filho, Juliano Dornelles; with Barbara Colen, Thomas Aquino 19/Br ****
A staggering exploration of Brazil's past and present, this darkly satirical fable is witty, engaging and deeply disturbing. Filmmakers Kleber Mendonca Filho and Juliano Dornelles capture the matter-of-fact rhythms of a close community while also unflinchingly tapping into the violent impulses that come both within and from outside. And while there is a continual stream of humour, it's the violence that lingers. Mainly because of what it means.

Links:

Shadows LONDON FILM FEST homepage (full reviews will be linked here) 

Official LONDON FILM FEST site 

Critical Week: You're the one

The film festival wrapped up on Sunday night, and I have two weeks now before I head to another one. This week's screenings included the involving, beautifully written and played true-life addiction drama Beautiful Boy, starring Steve Carell and Timothee Chalamet (above) as father and son. Bohemian Rhapsody is a somewhat toned-down biopic of Freddie Mercury and Queen that's still watchable thanks to both a thunderous performance by Rami Malek and a line-up of fabulous songs.

Lower-profile films included the sensitive, low-key drama 1985, starring Cory Michael Smith as a young man trying to tell his conservative family the truth about himself. The Guilty is a riveting real-time Danish thriller about a cop working in an emergency services call centre dealing with a scary crisis while personal issues gurgle in the background. M/M is an offbeat German drama about a young man who becomes fixated with a man whose life he tries to take over, with unexpected results. And Adrift in Soho is the micro-budget British experimental drama looking at the iconic London neighbourhood in the 1950s.

Screenings are a little thin at the moment, mainly because the big studios simply aren't showing their films to most critics, and also because I've seen many current releases at film festivals. This coming week I'm seeing Rose Byrne in Juliet Naked, Lars Von Trier's The House That Jack Built, the American drama Monsters and Men, and the Halloween treat Hell Fest.

Critical Week: Fooling no one

It's been a busy week in the press screening rooms this week, and I saw a few films that have been among my favourites of the year so far. Sundance award winner American Animals (above) is a stunner, a true heist thriller that happily breaks genre rules. Performances are terrific, and Bart Layton's direction is masterful. And Mission: Impossible - Fallout was a very pleasant surprise, easily the best in this six-film series, and the most satisfying action blockbuster of the summer. Tom Cruise even manages to deepen the iconic character he first played 22 years ago.

Playing on our social media culture, Searching is an inventive thriller that is viewed on various screens, yet is also taut, moving and packed with superb performances. Jon Hamm is excellent in The Negotiator (aka Beirut), a gritty and very well-made thriller set in the chaos of early-80s Lebanon. Hot Summer Nights features another solid turn from Timothee Chalamet, but the film itself is too hyperactive and grim to be the pastiche it seems to want to be. And the documentary King Cohen is a joy for movie fans, especially lovers of cult movie guru Larry Cohen.

There were also three small British films: Apostasy is simply excellent, a fair-minded depiction of a crisis within a family of Jehovah's Witnesses that makes us think about our own belief systems. Strangeways Here We Come is an uneven black comedy about a group of neighbours who concoct a murderous plan. And Possum is a somewhat pretentious arthouse thriller about a man with the creepiest ventriloquist dummy in movie history. Finally, the American web-series Paper Boys has been compiled into an involving, nicely flowing little feature about young people trying to start their lives in San Francisco.

This coming week I'll finally catch up with Ant-Man and the Wasp, plus the comedy The Spy Who Dumped Me, offbeat WWII adventure The Captain, coming-of-age drama Brotherly Love, horror comedy Fanged Up, French WWI epic The Guardians, Italian mystery A Sicilian Ghost Story, Portuguese horror The Forest of the Lost Souls, anime fantasy Mirai, and the doc The Eyes of Orson Welles.

38th Critics' Circle Film Awards: words and pics...

As chair of the London Critics' Circle Film Awards, I get to be right on the frontline putting this event together. It's a lot of work, over about six months with especially intense days when voting starts in early December until the big night. Our 38th awards were handed out on Sunday 28th January at The May Fair Hotel, presented by Dover Street Entertainment. And since I have to get up at the start to thank our sponsors, I usually hand out the first award. This year's first honour went to Hugh Grant (above), named Supporting Actor of the Year for Paddington 2. He joked, "Well that's ludicrous. Trump, Brexit, and now me winning this. It's the end of days!"

The ceremony ended on a highlight, as Kate Winslet was presented the Dilys Powell Award for Excellence in Film by her friend Jude Law. She gave an electric speech referencing the Time's Up movement from her own personal perspective. Kate started with, "It almost feels uncomfortable to receive an award at such a time." And she went on to reference the #MeToo issue: "I realised that I wouldn't be able to stand here this evening and keep to myself some bitter regrets that I have about poor decisions to work with individuals with whom I wish I had not."

These three men from Call Me By Your Name were in the house - Armie Hammer came along with his friends, nominees Luca Guadagnino (up for film and director) and Timothee Chalamet, who won Actor of the Year. Timothee thanked Luca ("Who basically gave me my career at this point") and his "tongue-wrestling partner" Armie.

Here's the team running the show: host Steve Oram, Critics' Circle President Anna Smith, host Alice Lowe and Critics' Circle Awards Chair Rich Cline. This was Steve and Alice's third year hosting the show - they're an awesome double act.

Winners for Breakthrough Filmmaker and Young Performer: Francis Lee for God's Own Country and Harris Dickinson for Beach Rats.

Lesley Manville was named Supporting Actress of the Year for Phantom Thread, while producer Daniel Battsek collected awards on behalf of Three Billboards Outside Ebbing, Missouri: for best film, screenwriter Martin McDonagh and actress Frances McDormand.

Writer-director Paul King and writer Simon Farnaby, both nominees for their work on Paddington 2, were in the house. Writer-director Dionne Edwards and producer Georgia Goggin won British/Irish Short Film of the Year for We Love Moses.

Supervising Art Director Paul Inglis accepted production designer Dennis Gassner's Technical Achievement Award for Blade Runner 2049. Noah Jupe (Suburbicon) and Dafne Keen (Logan) were nominees for Young Performer.

More nominees in the house: Fionn Whitehead (Dunkirk), Florence Pugh (Lady Macbeth), Josh O'Connor (God's Own Country) and Emily Beecham (Daphne).

Emma Willis was a nominee for her amazing hair and makeup in The Love Witch. Other guests included Alec Secareanu (God's Own Country), Jessica Barden and Jack Johns.

Four of our winners sent thank you videos. Clockwise from top-left: Martin McDonagh won Film and Screenwriter of the Year for Three Billboards Outside Ebbing, Missouri; Daniel Kaluuya was named British/Irish Actor of the Year for Get Out; Paul Verhoeven won Foreign-Language Film of the Year for Elle; Sean Baker took Director of the Year for The Florida Project.

And finally, our former chair Jason Solomons presented a lovely In Memoriam segment for Barry Norman, one of Britain's best-loved film critics.

The awards were presented this year by Dover Street Entertainment. Our main sponsor was The May Fair Hotel. Award sponsors were Heaven Skincare, Cameo Productions and Millbank and CooperSearle Management. In-kind sponsors were Sacred Gin, Remy Martin, Voss Water and Audi.