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
ALL REVIEWS >

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.

SXSW London: Free your mind

The inaugural SXSW London festival as been fascinating to explore, with so many spaces around Shoreditch being used for exhibitions, music gigs, conferences and films. Being the first year, there were the usual teething problems with crowds, confusing queuing systems, ticketing issues, transport problems and so on. But the sheer quantity of arts on display will leave people looking forward to more. The festival wrapped up tonight with the UK premiere of The Life of Chuck, based on the Stephen King story. And another King novel, The Institute, is the basis for a new TV series that held its world premiere at the festival this year. It was fun to attend that, and to get a chance to chat at the afterparty with actors Ben Barnes, Mary-Louise Parker, Joe Freeman (above), Fionn Laird and Simone Miller, plus director Joe Bender (Lost). The show is creepy and cleverly put together to pull the audience in tightly. Meanwhile, I've also been watching more movies...

The Life of Chuck

dir-scr Mike Flanagan; with Tom Hiddleston, Jacob Tremblay 24/US ***.

Based on Stephen King's novella, this ambitious drama takes its inspiration from Walt Whitman's line "I am large, I contain multitudes" as it explores identity and mortality. Writer-director Mike Flanagan amps up the sentiment, aided by a proscriptive Newton Brothers score. And deliberately artificial elements undermine the inventive storytelling. Even so, the film is packed with powerfully involving moments and terrific characters sharply played by a solid cast... FULL REVIEW >

Plainclothes
dir-scr Carmen Emmi; with Tom Blyth, Russell Tovey 25/US ****
Inventively shot and edited to give the viewer an internalised perspective, this intense but also warmly observational film explores a pivotal moment in a young man's life. Mixing romance, family drama and a coming out story, writer-director Carmen Emmi uses extreme closeups, kaleidoscopic editing and various film and video formats to add a tactile kick to an already pungent narrative. So it's both involving and very sexy.

The Old Woman With the Knife
dir Min Kyu-dong; with Lee Hye-yeong, Kim Sung-cheol 25/Kor ***
A messy swirl of revenge and regret, this Korean action thriller is packed with vivid characters and superb set-pieces. But the plot is a bit loose on connective tissue, leaving many questions unanswered. As a result, character motivation begins to feel somewhat blurry, which makes it tricky to fully invest in the story. That said, it's sharply well-directed by Min Kyu-dong and played with plenty of emotional spark.

Love & Rage: Munroe Bergdorf
dir Olivia Cappuccini; with Munroe Bergdorf, Reece King 25/UK ****
In recounting the life of the British model, author and activist, much of this documentary feels like the fairly standard journey of a trans woman. But Munroe Bergdorf's story has taken several unexpected turns. In this empowering film, she honestly speaks about her notoriously confrontational relationship with the media. While tracing dark situations unflinchingly, director Olivia Cappuccini adeptly captures this smart, articulate, fierce woman and her passion for justice.

Toro
dir-scr Rocco Di Mento; with Rocco Di Mento, Angelo Caruso 25/Ger ****
With this funny and warmly insightful autobiographical documentary, Italian filmmaker Rocco Di Mento takes a voyage of self-discovery relating to the picture of masculinity instilled in him as a child. The result is a complex, thought-provoking journey into manliness, unearthing some deeply personal issues that make the film universally resonant. Most intriguing is a depiction of machismo as something far more textured than we usually see on screen.

Full reviews are coming, and will be linked to Shadows' SXSW LONDON PAGE >

SXSW London: Lose yourself

The first SXSW London festival kicked off on Monday night with the world premiere of the Eminem fan doc Stans, and it runs through the week until Saturday with a rather blinding range of music gigs, panel discussions, talks, events and, yes, films. They've packed rather a lot into these six days, using venues scattered across East London, with Shoreditch as the epicentre. I also attended a panel this week, hosted by the Golden Globes, exploring the global nature of storytelling. Participants came from Britain, Turkey and Ukraine, and there was a strong interaction with the audience in attendance, talking about what kinds of stories resonate beyond cultural barriers. I'll also be attending a TV series premiere this week, and several more movies. Here are three film highlights so far...

Stans 
dir-scr Steven Leckart; with Eminem, Dr Dre 25/US ****
Rather than tracing the artist's career or personal life, this documentary explores the interaction between Eminem and his most earnest fans, noting that the term "stan" was coined from his eponymous 2000 hit. This approach makes the film unusually intimate, highlighting how music connects into deeper issues. And because Eminem's music is so soul-baring, it has an unusual resonance that can silence critics who don't quite get it.

Cactus Pears
dir-scr Rohan Parashuram Kanawade; with Bhushaan Manoj, Suraaj Suman 25/Ind ****.

Hushed and observational, this beautifully shot Indian drama focusses on a 30-year-old gay man who has escaped his home culture but is now is forced to make peace with it. Packed with local traditions and interpersonal details, the film is powerfully involving as writer-director Rohan Parashuram Kanawade continually finds unexpected layers of resonance. And in a skilfully low-key way, the film offers a strong sense of hope.

Cielo
dir-scr Alberto Sciamma; with Fernanda Gutierrez Aranda, Fernando Arze Echalar 25/Bol ****

Gorgeously shot in spectacular mountain landscapes populated by lively characters, this Bolivian drama opens with a beautiful but darkly disturbing sequence that opens with a young girl swallowing a fish. With vibrant colours, writer-director Alberto Sciamma infuses this fable with offbeat magical realism, pulling us into an odyssey that is packed with moments that are touching, provocative and wonderfully funny.

Full reviews are coming, and will be linked to Shadows' SXSW LONDON PAGE >

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C R I T I C A L  W E E K

BEST OUT THIS WEEK:
The Life of Chuck 
Dangerous Animals • Mountainhead
ALL REVIEWS >

Alongside the festival, I also watched Ana de Armas in the John Wick spinoff Ballerina. It's slickly well-made and entertaining, but oddly unsurprising. Natalie Portman and John Krasinski make an engaging duo in the comical adventure Fountain of Youth. It's a lot of fun, but there's not much to it. Nick Kroll and Andrew Rannells star in the black comedy I Don't Understand You, which is enjoyable but never quite bridges the gap between silliness and nastiness.

This coming week I'll be watching the live-action(ish) remake of How to Train Your Dragon, Kerry Washington in Shadow Force, Jonathan Groff in A Nice Indian Boy, the reimagined pop musical Juliet & Romeo and the drama Franklin. I'll also attend the premiere of the third season of Squid Game and the dance show Inside Giovanni's Room.

Critical Week: I've got a bad feeling

It's been another unusually busy week for this time of year in the screening rooms, with a steady stream, of movies to watch. I'd been hoping to get a break after awards season, but we are powering forward at full speed. So any down time will have to wait. Big releases are screening late these days, with three that are coming out this week: Ayo Edebiri leads the cast of Opus, a blackly comical horror film that isn't very scary. But Edebiri makes it very watchable, as does a scene-chewing John Malkovich. Cate Blanchett and Michael Fassbender sizzle in the snaky, intelligent thriller Black Bag, which refreshingly isn't about what you think it's about. And Millie Bobby Brown and Chris Pratt lead an offbeat ensemble in The Electric State, a retro sci-fi adventure that's watchable but also forgettable.

BEST OUT THIS WEEK:
Last Breath
Black Bag • Throuple
PERHAPS AVOID:
The Day the Earth Blew Up
ALL REVIEWS >

Other films included the perhaps too-emotional drama The Life of Chuck, with a superb ensemble led by Tom Hiddleston, Chiwetel Ejiofor and Karen Gillan. The Parenting is an amusing meet-the-parents horror pastiche with Brian Cox, Edie Falco and Lisa Kudrow. It's funny and grisly, but never frightening. Infused with music, Throuple is an offbeat indie romance that knowingly bends the rules. And there were two Chinese films: the epic animated sequel Ne Zha 2 is visually dazzling, while the blackly comical thriller Brief History of a Family is riveting and surprising.

There were also two festival films. From South by Southwest, there was the sharply made teen comedy She's the He, and from WatchAUT, I enjoyed the offbeat drama of Peacock, starring the superb Albrecht Schuch. And I also caught two stage shows: Dear Martin at the Arcola Theatre and Drum Tao: The Dream at the Peacock Theatre.

This coming week I'll be watching two films with Pedro Pascal, the adventure Freaky Tales and the comedy-drama The Uninvited, plus Disney's live-action Snow White, Michel Hazanavicius' animated The Most Precious of Cargoes, Alain Guiraudie's Misericordia and the artificial intelligence doc The Thinking Game. In addition, the remake of The Wedding Banquet, starring Bowen Yang, opens BFI Flare film fest on Wednesday.

Screen: July TV Roundup

I've had a lot to watch over the past few months, as I've been voting in the Dorian TV Awards (winners announced next month). This of course encourages me to watch quite a few things I wouldn't have otherwise seen - then when the nominations came out I have other things to catch up on. Not that I always agree with fellow voters (I haven't included here the shows I gave up on after 1 or 2 episodes). There's been some great television lately, and as the lines continue to blur between cinema and TV there seems to be more than ever to watch... 

Genera+ion

Not quite as loose and honest as We Are Who We Are, this teen drama astutely digs into contemporary attitudes among a group of teens at a Los Angeles high school. The most inventive touch is to replay key moments through the eyes of different characters, revealing a bigger picture about, well, an entire generation. The young cast is so good (particularly Justice Smith, Chase Sui Wonders and Uly Schlesinger) that the scenes involving parents played by the always excellent Martha Plimpton and Sam Trammell feel a bit distracting. It also seems a stretch to try to explain away crippling adolescent angst with parental and societal issues. Teens have always been like this, and the vast majority of us have managed to grow up. (HBO)

The Underground Railroad

Barry Jenkins' ambitious adaptation of Colson Whitehead's novel is often painful to watch, but that's the entire point: it shouldn't be easy to explore US history. Using cleverly surreal elements, the series takes a deep dive into the lingering impact of slavery on American culture. At the centre is the story of Cora (Thuso Mbedu), an escaped slave pursued by the tenacious Ridgeway (Joel Edgerton) and his young sidekick Homer (Chase Dillon). It's often shot in deep shadows that make the imagery annoyingly impenetrable, but most of the show looks spectacular, and the themes are bold and urgent, cutting through our watered-down ideas about the nation's past to provoke some righteous emotion. (Prime)

Loki

By honing in on Tom Hiddleston's god of mischief, this series remains continually watchable, even if it essentially turns into yet another over-egged Marvel-style romp across the multiverse. As it continues, it gets indulgently bombastic and far too pleased with itself, which is rather annoying. But the performances are terrific, anchored by the hugely engaging Hiddleston as a deity forced to briefly consider the idea of mortality. Also terrific are Owen Wilson, Gugu Mbatha-Raw and Wunmi Mosaku, plus lively Loki variants played by Sophia Di Martino and the always-fabulous Richard E Grant. A more properly stand-alone show would have been even better, mischievously refusing to feed Marvel's ever-expanding franchise. (Disney)

Lisey's Story

Stephen King adapts his own novel into this limited series starring the always riveting Julianne Moore as the wife of a dead novelist (Clive Owen) who found inspiration, and healing from his awful past, in a fantasy underworld. The gimmicky wordplay and supernatural elements tend to steal focus from the much more intriguing story about grief, sibling bonds and menacing fans. But first-rate director Pablo Larrain never loses the character focus, drawing powerfully shaded performances from Moore and her on-screen sisters Jennifer Jason Leigh and Joan Allen. It's their collective story that brings everything to vivid life and makes this far more involving than we expect. (Apple)

The Mosquito Coast

Only taking the title from Paul Theroux's novel, this series abandons the plot to launch an overegged roadtrip-from-hell thriller. Interesting ideas about consumerism and living off the grid are lost in a badly dragged-out story of a family making a life-threatening escape from shifty Feds and murderous criminals. But the superficial action makes it feel pointless. That said, the episodes are finely shot and edited, and the terrific ensemble (Justin Theroux, Melissa George, Gabriel Bateman and Logan Fox as a family on the run) adds nuance to characters who would have been far more interesting if the writers had stuck with the novel's more timely dramatic premise instead of creating yet another vapid action series. (Apple)

Star Wars: The Bad Batch

I haven't seen the other animated Star Wars series, but thought I'd give this one a shot. Even with its sometimes jarringly game-like imagery, it's finely made and has some snappy characters. The pace and tone slow drastically after the thumping first episode, indulging in a heist-of-the-week structure that clumsily attempts to deepen the characters. But as it continues, there are some over-arching relational elements that hold the attention, as this band of scrappy outsiders grapples with the nature of who they are and which side they're on. That makes it more intriguing than engaging. But I'm not sure how much longer I can wait for some meaningful revelations, or something to connect to. (Disney)

The Upshaws

There are some terrific issues woven into the fabric of this sitcom, and a great cast who would be able to bring them meaningfully to light. But the scripts take a lazy comical approach that goes for goofy gags rather than knowing humour, leaving it all feeling oddly simplistic. Anchoring the cast, Mike Epps, Kim Fields and the great Wanda Sykes are excellent as people grappling with a family structure that's far more traditional than the show can bring itself to acknowledge. And a disastrous canned laugh track roars at all of the very worst non-jokes. This could have been a superb comical exploration of a family dealing with its murky past, but it ends up as little more than silliness. (Netflix)

That Damn Michael Che

Saturday Night Live comic Michael Che finds a new way to blend stand-up and sketch comedy with this edgy series that tackles timely issues in an original way. Each episode centres on a theme, usually something that has strong political fallout, and a variety of scenes play out as pitch-black satire, witty spoof or thoughtfully amusing monolog. This approach keeps us ready to laugh, and there are quite a few hilariously barbed gags. And the show also constantly reminds us that these are urgent, knotty issues that require much more than light-hearted thoughts. Che's laconic presence is a very clever counterpoint, and his perspective avoids the usual cliches for something far more complex. (HBO)

BACK FOR MORE

Special: series 2

Ryan O'Connell is back for another series of comical antics as a young gay man with cerebral palsy simply trying to get on with his life like anyone else. But of course everyone else sees his disability before they see him. O'Connell is a terrific writer, never allowing sentimentality to creep in while finding comedy and warmth in a range of prickly interactions. And in the central relationship between Ryan and his mother (the fabulous Jessica Hecht), the show has a big, beating heart. Their warm, meaningful connection adds subtext to the much more challenging storylines involving other side characters. And it also provides even more spark to the show's distinctive and vitally important perspective. (Netflix)

Lupin: part 2

This show is so compulsively watchable that is seems cruel that producers only made five more shows to cap off this first season. Yes, each episode leaves us wanting more, including the final one. Gliding through it all, Omar Sy has an abundance of  charm and intelligence that carries us right past some rather shaky writing (plot holes ahoy!). The twisty narrative is thoroughly riveting, as it offers something much more layered than the usual crime series. Most impressive is that this isn't actually about heists or getting revenge, the two things that seem to be driving the action. It's actually a more human story about connection, justice and making peace with the past. All with a witty literary nod. (Netflix)

Love, Victor: series 2

If anything, the second season of this soapy teen drama is even more simplistic than the first. It's a great show for pre-teens who need to be encouraged that they will one day find a way through difficulties that feel insurmountable. And the writers do take on some topics that other shows shy away from completely, representing a superb range of experiences that relate to sexuality. But it's far too cute and obvious for viewers who are the age of the characters or older. That said, the cast led by Michael Cimino is excellent, and the actors find some nice nuance even in the most obvious plot threads. But frankly, each of them is good enough to take on something more complex and less prudish than this show. (Hulu) 

The Handmaid's Tale: series 4

Feeling a bit truer to the show's original promise, this season both escalates the events and deepens the drama as things take several jaw-dropping twists. Elisabeth Moss is of course excellent as June navigates a terrifying escape and becomes a leader in exile, now fighting the violently misogynist government of Gilead from relative safety in Canada. Plot threads around Yvonne Stahovski, Joseph Fiennes and Ann Dowd feel off-topic, but develop nicely alongside June's much more internalised and emotionally powerful journey, even if vengeance doesn't really suit her. And in June's more righteous rebellion, the show still has some strong bite, offering remarkably strong scenes for Max Minghella and O-T Fagbenle. (Hulu)

Elite: series 4

This outrageously trashy Spanish teen soap returns with another riotously over-the-top season set in a posh private school where there's a massive party every night and a range of serious crimes take place each term. The collision of classes is what makes the show addictive, this time centring on the arrival of a new insanely wealthy family with three trouble-stirring siblings. And there's also a slumming prince to stir up an enjoyable but superfluous romantic sideroad. The writers seemed far more interested in throwing the characters into a wild series of encounters, jealousies and pranks than the overriding mystery, which never quite comes together. But it's shameless, mindless fun. (Netflix)

THIS IS THE END

Pose: series 3

The quality of writing has been uneven ever since the first season, indulging in some simplistic moralising and cliched plot points, plus a lot of rather pushy melodrama. But the hit rate increases with these final episodes, which tackle some big themes with raw emotions. The characters are more robust than ever, played by a top-notch, groundbreaking ensemble with a resonance so intense that they're utterly iconic. Each one feels like a family member, so the issues they face carry a powerful kick. And there are some awesome episodes along the way to the series finale's spectrum of emotions, from political rage to the exhilaration of performing to the pain and guilt of loss. It'll be great to see what Mj Rodriguez, Indya Moore and Dominique Jackson do next. It'll be hard to top this, but here's hoping. (FX)

The Kominsky Method: series 3

After sending off Alan Arkin's Norman in the first episode, Michael Douglas is joined by his old partner in crime Kathleen Turner for a superb final collection of episodes that grapple with family connections, money issues and a range of themes circling around the central idea of growing older and older. Some of the storylines feel a bit superfluous, such as Norman's kids wrangling to get their hands on their inheritance cash. But Paul Reiser is hilarious as the prospective son-in-law who seems like he's all wrong for daughter Mindy (Sarah Baker), but might be just right. And Morgan Freeman makes a hilarious appearance as himself, as does Barry Levinson, who brings a terrific final plot point with him. (Netflix)

NOW WATCHING: Schmigadoon, Physical, Kevin Can F**k Himself, The White Lotus, Dave (2), Never Have I Ever (2), I Think You Should Leave (2).

COMING SOON: Mr Corman, Nine Perfect Strangers, Ted Lasso (2).

Critical Week: Somebody's watching

There were three high-profile British films screened to the press in London this week. Ghost Stories is Andy Nyman's clever adaptation of a stage pay that merges three horror subplots into a twisty, nasty comedy-thriller. Early Man is the latest claymation romp from Aardman, a hilariously silly adventure set where the stone and bronze ages meet. And Finding Your Feet is a warm and easy-going romantic drama livened up by excellent performances from Imelda Staunton, Timothy Spall and Celia Imrie.

From America, we had more horror comedy in the shape of Mom & Dad, a gonzo twist on several genres, featuring terrifically unhinged performances from Selma Blair and Nicolas Cage in the title roles. Dance Baby Dance is an extremely low-budget comedy about an aspiring tap dancer, charming but amateurish. And from France, the short film collection French Kisses is the usual mixed bag, and features some very strong clips.

There were also two documentaries: The Final Year is an oddly overslick look at Obama's last 12 months in office, fascinating but scrubbed clean. And 100 Men centres on a Kiwi filmmaker who takes an offbeat angle to explores gay culture over the past few decades.

Films this coming week include the trilogy finale Maze Runner: The Death Cure, the British thriller Lies We Tell, the musical biopic Thirsty and a restoration of the Bergman classic The Magic Flute.

Critical Week: Sister act

It's been nice to only see three films in the three days after the film festival ended (rather than three or four a day). The main event was an epic press screening of Thor: Ragnarok, which is surprisingly funny all the way through while also being packed with eye-catching energy (especially the scene-stealing Cate Blanchett, above), even if the whole Marvel thing is feeling oddly stale, perhaps because there is no suspense left in the formula. But it's a lot of fun. I also caught up with The Snowman, Michael Fassbender's serial killer thriller based on the Jo Nesbo novel, which has deservedly had terrible reviews across the board. There is a huge range of talent on both side of the cameras, yet the script is a mess. And on the smaller side, I caught the British thriller B&B, which touches on some big topics (mainly bigotry) with strong characters and a genuinely unsettling plot. I also had some time for the theatre...

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Young Frankenstein
at the Garrick Theatre
Mel Brooks adapts his own classic film (one of my all-time favourites) into this rather nutty musical, which opened in the West End last week. It's basically the movie with added songs that stretch out some of the more iconic moments, and the characters are all played by a skilled singing-dancing cast exactly like their big screen counterparts. Perhaps the film is so indelible that there's no other way to play these roles - they wouldn't be as funny it they didn't hark back to the great Gene Wilder, Madeleine Kahn, Teri Garr, Cloris Leachman, Marty Feldman, Peter Boyle, Kenneth Mars, Gene Hackman. The material is robust enough to handle this transition - the film's best jokes are still funny on stage. And the emotional kick is here too, even if it's somewhat diluted by the extra razzle dazzle. I'll probably go see it again.

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Graeme of Thrones
at the Charing Cross Theatre
The subject up for satire is obvious, but this fringe show takes an amusingly fresh approach that is actually poking fun at fringe shows themselves. The three-person cast is up for quite a lot of riotous silliness, with physical slapstick, wordplay and lots of sight gags. Their rendition of the series' opening titles is impeccably ridiculous. Fans of the TV show will get all of the jokes, which include spoilers right up to the latest season. And there are plenty of gems thrown in all the way through for a wider audience, especially the performance art pieces that come out of nowhere with their delirious absurdity. Some of the humour strains a bit, but most gags hit the target astutely. And by the end, the sloppy "let's put on a show" vibe means that we're rooting for all three of these scruffy actors (plus one game audience member) to claim the Iron Throne.

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Coming up this next week, we have Nicolaj Coster-Waldau in Shot Caller, Domhnall Gleeson in Crash Pad, British thriller Palace of Fun and Aussie coming-of-age drama Teenage Kicks.

Critical Week: Bump in the night

Back into screening mode after returning to London, my first was to finally catch up with Personal Shopper, which reunites a superb Kristen Stewart with French filmmaker Olivier Assayas. It's an endlessly fascinating mix of personal drama and ghostly horror that leaves the audience wondering. Kong: Skull Island is a big, enjoyably 1970s-style take on the monster movie that's entertaining and very cool, even if the characters are rather thin. My comments on two British comedies are embargoed until closer to the release dates: Roger Allam, Matthew Modine and Fiona Shaw in The Hippopotamus, and Diane Keaton, Brendan Gleeson and Lesley Manville in Hampstead.

There were two micro-budget underwater thrillers: The Dark Below is a wordless cat-and-mouse chase on a frozen-over lake, while The Chamber is a claustrophobic stranded-sub adventure. Both have solid production values but little in the way of story or characters. Fair Haven is a sensitive American indie drama that grapples with issues of expectations and sexuality with warmth and honesty. And from Argentina, Bromance is a provocative drama that raises some big themes and almost deals with them. I also caught up with this gem...

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Fifty Shades Darker
dir James Foley
scr Niall Leonard
with Dakota Johnson, Jamie Dornan, Marcia Gay Harden, Kim Basinger, Eric Johnson, Eloise Mumford, Bella Heathcote, Rita Ora, Luke Grimes 17/Can *.
This sequel, based on the second novel in EL James' trilogy, is noticeably dumbed down from the first movie, with empty slick direction (by safe pair of hands Foley) and an embarrassingly simplistic script (by James' husband Leonard). But the biggest problem is that it abandons the premise, as billionaire Christian (a sleepy Dornan) goes all mushy in the presence of his young lover Ana (a feisty Johnson) this time. Instead of punishing her as before, he gives her pleasure and begs her to move in and then marry him. This never remotely rings true, as there is only a slight spark of chemistry between them and no sign of love at all. Conflict arises simplistically from outside in the form of two of Christians exes (glowering Basinger and psycho Heathcote), plus a near rape and a random helicopter crash that both like a pointless asides. But then, there is nothing about this movie that even remotely grabs hold. Every scene feels rushed and superficial, with dialog that's painfully cheesy, completely missing the central themes of control and dominance. So by the time Basinger takes a drink and slap to the face, the audience reaction is laughter. Badly in need of a sense of humour about itself, as well as an awareness of its own misogyny (Dakota is often naked while Dornan takes off his shirt a few times), the film is hardly whetting appetites for next year's sequel.

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As for films this coming week, I have the Disney revamp of Beauty and the Beast, the indie drama Bwoy, the British drama The Levelling, the Korean thriller The Age of Shadows, the award-winning Brazilian drama Aquarius, the Finnish comedy-drama The Happiest Day in the Life of Olli Maki and the Oscar-nominated doc I Am Not Your Negro. There's also a film festival starting next week, the 31st edition of BFI Flare - expect my usual coverage....

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.

Critical Week: Pandaemonium

Surprisingly, one of the best films screened to London press in the past week is the animated sequel Kung Fu Panda 3, which takes the saga of reluctant hero Po to a satisfying climax with wit, action and real emotion. Other sequels this week include the visually impressive third Divergent adventure Allegiant, which reverts to explanatory dialog and essentially pointless action. And Gerard Butler's lively follow-up action romp London Has Fallen is absolutely preposterous but thinks it's edgy and real.

It was also a mixed bag for prestige dramas this week. Tom Hiddleston is superb as Hank Williams in the choppy biopic I Saw the Light. Michael Shannon reunites with Jeff Nichols for Midnight Special, a blockbuster story cleverly told as an arthouse drama. Reese Ritchie and Freida Pinto are solid in the uneven Iran-set British drama Desert Dancer. And the ambitious Italian mob drama Suburra beautifully brings its complex plot strands together.

Documentaries included a fascinating look at a corner of cinema history in Peter de Rome: Grandfather of Gay Porn and the perhaps slightly too academic but harrowingly important The Brainwashing of My Dad. And I also caught up with Mexican Men, a collection of five visceral short films by Julian Hernandez and Roberto Fiesco.


Coming up this week, we have Meryl Streep in Florence Foster Jenkins, JJ Abrams' alien-attack spin-off 10 Cloverfield Lane, Russell Tovey in The Pass, Tom Sturridge in Remainder, the British gaming action thriller The Call Up, Laurie Anderson's Heart of a Dog and the photographer doc Mapplethorpe: Look at the Pictures.