LFF10: London loves...

Crowds braved the chilly weather for a second night on Friday to watch a series of short films on a big screen in Trafalgar Square, accompanied by pianist Neil Brand. The classic shorts, all set in London, spanned the first 50 years of film history. Meanwhile, on the red carpet in Leicester Square, Kelly Reichert presented her new film Wendy and Lucy, Daniel Mays and director Eran Creevy came for the world premiere of their London drama Shifty, Ari Folman brought his animated doc Waltz With Bashir, and Jean-Stephane Sauvaire brought his Liberia-shot war film Johnny Mad Dog.

A few highlights from the festival yesterday, today and tomorrow...

American Teen ***
Shot and edited like a reality TV show, but clearly partly fictionalised, this lively and very clever film follows a group of Indiana teens through their senior year in high school. It's a little too constructed to really believe (especially since cameras catch things that would be impossible in a true doc), but the characters are vivid and likeable. Their struggles and angst are nothing remotely new, but for them, of course, it's like the end of the world.

Frozen River ****
Melissa Leo gives a wonderfully moving performance in this extremely timely tale of a fractured family on the verge of financial oblivion. As she and her sons get creative about making money, we know trouble is looming, but filmmaker Courtney Hunt has some surprises for us, including an intriguing look at the tension between residents of upstate New York and the Mohawk reservation that sits on either side of the icy US-Canada border.

Telstar ****
The story of music pioneer Joe Meek is told in period style, as a madcap 1960s comedy-drama tracing his outrageous rollercoaster career as the guy who produced the first British record to go No 1 in America. The film, directed by actor Nick Moran, had so much energy that it's almost exhausting, but it also keeps us thoroughly entertained with the antics of Joe and his merry band of musicians. And when it all goes horribly wrong, Joe's descent into paranoia is truly terrifying.

The Baader Meinhof Complex *****
The late-60s and early 70s in Germany were extremely turbulent times, mainly due to the activities of activists like Andreas Baader (Moritz Bleibtreu) and Ulrike Meinhof (Martina Gedeck), and this film expertly follows their tense partnership and rise to prominence, and then the even more virulent group of terrorists who took on their name after they were arrested. The film pulsates with energy and authenticity, packed with gripping dialog and daring escapes while finding present-day parallels that are extremely chilling.

LFF9: Press the flesh

Josh Brolin braved the gloomy weather last night to attend the London premiere of W, taking time to sign autographs along with Oliver Stone, Elizabeth Banks, Toby Jones and Thandie Newton. Also out last night were Paul Bettany (again) with Sophie Okonedo and director Gina Prince-Blythewood for The Secret Life of Bees, and Anna Boden and Ryan Fleck with their new star Algenis Perez Soto for Sugar. Meanwhile, around the corner in Trafalgar Square, pianist Neil Band performed live accompaniment for the film High Treason on a large public screen.

Here are notes on films from yesterday and today...

W ***
Oliver Stone's biopic is thoroughly entertaining, but doesn't seem to go quite far enough as a portrait of the man who has shaped our world more than anyone else at the moment. Parts are played as an almost circus-like comedy, while the film's through-line is a fairly standard father-son movie dynamic. That said, the acting is first-rate - most notably from John Brolin, Richard Dreyfuss, James Cromwell and Toby Jones.

Waltz With Bashir ****
Israeli filmmaker Ari Folman has made perhaps the world's first animated documentary, using his and his friends' recollections of their military service in the 1980s to reconstruct a powerful and thoughful examination of the pointless of war. And the animation is utterly magical, allowing him to go much further that he would have be able to do with historical footage. A real achievement.

Sex Positive ***
This straightforward documentary is fascinating on two levels: as a chronicle of the early days of Aids/HIV in America and as an examination of a man who went against the system to face a serious issue head-on. This is a story that has rarely been told, and while there are still some holes in this account, it gets much further under the surface than anything we've seen before, especially in the way it looks at the notorious Richard Berkowitz's life and work.

The Other Man **
An odd misstep from filmmaker Richard Eyre, this slick drama stars Liam Neeson as a man obsessed with learning more about the man (Antonio Banderas) he has discovered was having an affair with his wife (Laura Linney) before she left him. The problem is that the film can't decide whether it's an obsessive thriller, a family melodrama or an ode to lost love. And the script manipulates us so badly by withholding key plot information (for no discernible reason) that it leaves us seriously annoyed.

LFF8: Homegrown talent

Paul Bettany turned up at the London Film Festival last night, laughing about the bald head he's sporting as part of the now-filming Darwin drama Creation. He was supporting a small British film he's in, Broken Lines, accompanied by his costar (and the film's cowriter) Doraly Rosa and director Salli Aprahamian. Their post-film Q&A (picture snapped with my phone) was lively and entertaining. As we left the cinema, the red carpet was in full swing for Michael Winterbottom's new film Genova, starring Colin Firth (pictured with Winterbottom), who was accompanied by his costars Willa Holland and Perla Haney-Jardine. Their film was introduced by London Mayor Boris Johnson. They had a big party last night, but as usual, mere journalists weren't in on the festivities.

The big gala tonight is the British premiere of Oliver Stone's W, which I'm seeing this morning. And here are some film highlights from yesterday and today...

Achilles and the Tortoise ***
Takeshi Kitano's latest look at art and commerce is another offbeat bit of nuttiness about the life of a painter who can never quite achieve fame, despite a prolific output. The title refers to an ancient story about how, in a footrace, the lightning fast Achilles can theoretically never catch up with a tortoise, and Kitano is clearly riffing on the elusiveness of fame and fortune. The film is thoroughly enjoyable, but never quite comes together

Broken Lines ***
This low-budget British drama examines one of the festival's recurring themes: how grief can create big changes in our lives. It's the story of two couples (cowriter Doraly Rosa and Paul Bettany, and cowriter Dan Fredenburgh and Olivia Williams) who are in the middle of crises that stir both journeys of self-discovery and relationship re-evaluation. It's a dark, moody, beautifully shot film with some very strong acting, but it's also a bit overlong and indulgent.

Sugar *****
Instead of using their first hit Half Nelson as a springboard into mainstream Hollywood, Anna Boden and Ryan Fleck go somewhere far more interesting, following a baseball player (Algenis Perez) from the Dominican Republic on his quest for fame and fortune in America. The film is lushly shot, but assembled like a documentary, which gives the filmmakers the flexibility to be truthful rather than formulaic. Audiences may want to standard plotline, but this is far more interesting. And a seriously lovely film.

The Secret Life of Bees ***
Speaking of warm and fuzzy, this honey-glowed drama from the American South stars Dakota Fanning as a teen who flees her indifferent father (Bettany again) and moves in with a houseful of wise women led by Queen Latifah. The strong cast features Jenifer Hudson, Sophie Okonedo and Alicia Keys, and while the film is over-designed and far too sweet, it also has a nicely raw underdurrent of painful emotion to keep us interested.

LFF7: On the carpet

It was Penelope Cruz's turn to bring some starry glitz to the London Film Festival red carpet last night for the gala screening of Woody Allen's Vicky Christina Barcelona. Although with the weather turning suddenly icy, she must have been freezing in that frock. Keanu Reeves was also at the LFF last night, out to see the music doc Anvil, along with the band's metal-legend members Lips Kudlow and Robb Reiner.

Here are a few highlights from yesterday and today...

Tokyo! ****
This triptych is made up of three 40-minute films that bring the Japanese monster movie into the 21st century. Directors Michel Gondry, Leos Carax and Bong Joon-ho supply first-rate production values and plenty of inventively surreal touches to their fables, and each one is witty, involving and ultimately resonant. And a lot of fun too.

Two Lovers ***
Joaquin Phoenix is excellent as a guy who's either obsessive-compulsive or bipolar or both, but he's also extremely likeable, even when he's drifting into stalker mode over an intriguing neighbour (Gwyneth Paltrow) or accidentally blundering into a sweet romance with a nice Jewish girl (Vinessa Shaw). While slick and efficient, the film is made with no discernible style, and even the plot gives in to easy solutions to complex problems.

Let's Talk About the Rain ***
Agnes Jaoui and Jean-Pierre Bacri (Look at Me) assemble this comedy-drama with sharp insights and some terrific characters, but it's all a bit rambling and loose as it follows a film school graduate (Jamel Debbouze) trying to make a documentary about a successful business woman. The film cleverly uses this set-up to examine issues of racism and sexism, but it never quite comes together.

Genova ****
Michael Winterbottom continues with the hand-held video approach from A Mighty Heart for this introspective drama about a widower (Colin Firth) who moves his two daughters (Willa Holland and Perla Haney-Jardine) to Italy to get a fresh start after his wife (Hope Davis) dies in a car accident. The two girls are especially good in this film, which inverts Roeg's Don't Look Now by having a child ominously seeing the ghost of her mother in the narrow Genovan streets. And if it feels a bit slight in the end, there's plenty of strong emotion too.

LFF6: The backlog

OK, I know it's only Day 6 of the London Film Festival, but the dreaded festival backlog has already set in. This is the point where you realise you're spending too much time watching films and not enough time writing about them - I have about 15 films that I've seen but haven't yet written reviews of. And I have four more films today - when will I be able to write? Of course, it'll only get worse over the next 10 days, but that's the point, eh?

Meanwhile, last night's red carpet glamourpusses included Anne Hathaway (Rachel Getting Married), Gwyneth Paltrow (Two Lovers) and Thandie Newton (W). Some festival highlights yesterday and today...

Sunshine Barry and the Disco Worms ***
Offbeat animation from Denmark, this lively and very silly film has pretty apallingly messy animation, even though the characters themselves are cute. What saves this story of a loser who forms a band with his pals is the music itself: all the classic tunes are here, and keep our toes tapping right through to the big finale.

Uprise [A Zona] ***
Portuguese director Sandro Aguilar's experimental examination of grief and tragedy is an extremely difficult piece of cinema - a virtually silent collection of swirling images that suggest moods and connections without ever making anything clear. This deliberate vagueness will alienate most viewers, although cinema fans will enjoy the ethereal quality of the film, plus the striking cinematography and clever editing.

Anvil: The Story of Anvil ****
Documenting the strange journey of Canada's heavy metal veterans, this film is like a true version of Spinal Tap as it follows two guys (Lips Kudlow and Robb Reiner) who have been hugely influential throughout their business but have never found the fame or fortune that their contemporaries have. It's also thoroughly hilarious, as Lips and Robb couldn't be better movie characters if someone had made them up.

Il Divo ***
This ambitious Italian drama traces government corruption on a grand scale, with a bewildering number of characters and complex interrelationships only a student of 1990s Italian politics could keep straight. But it's also a beautifully made film, with solid acting and some surprising emotional scenes along the way.

LFF5: Talking Italian

It was Italian day at the London Film Festival yesterday, with several filmmakers presenting their new work, including Ferzan Ozpetek (pictured with his lead actress Isabelle Ferrari from A Perfect Day, see below, and their translator, left); Antonello Grimaldi and Nanni Moretti (for Quiet Chaos); and Dino and Filippo Gentili with actors Giovanna Mezzogiorno and Massimo de Sanits (for I Am Alive). Also at the festival wereFrance's Arnaud Desplechin (A Christmas Tale), Mexico's Fernando Eimbcke (Lake Tahoe), and the cast and crew of Steve McQueen's award-winning Hunger.

Here are some highlights from yesterday and today...

A Perfect Day ****
Italian filmmaker Ferzan Ozpetek is back with his seventh film at the LFF, and this is a shift in tone for him: a darkly emotional drama that centres on an unthinkable tragedy as it examines several strained relationships. Lyrically filmed and acted with boldness and skill, this is a haunting, moving film.

The Warlords ****
This epic retelling of a true story from the Qing dynasty has serious star power in its three lead actors (Jet Li, Andy Lau and Takeshi Kaneshiro), who play three waring leaders who form an uneasy alliance. This is then tested to the breaking point by a series of events, and this moral struggle is the best thing about the film. This is big, raw moviemaking, and also slightly rambling.

Adoration ****
Canadian filmmaker Atom Egoyan continues his ongoing examination of human communication and community with this internalised drama about a teen who writes a harrowing story about his parents, touching a nerve in everyone around him. Strong acting from Scott Speedman (as his guardian uncle) and Arsinee Khanjian (as his teacher) add to the film's dramatic kick.

Rachel Getting Married ****
Jonathan Demme takes a down-to-earth look at a dysfunctional family by returning the straight-talking black sheep (Anne Hathaway) for her sister's wedding. Hathaway is excellent as a woman fighting against her family's perceptions of her, and Debra Winger is absolutely radiant as her distant mother. And the film's tough, raw honesty make it well worth a look.

LFF4: Pure class

French filmmaker Laurent Cantet faced the media last night at the gala premiere of his acclaimed film The Class, which has already won acres of awards - with more to come. I'm sure there were a few parties on the festival's first Saturday night, but the London Film Festival doesn't invite mere journalists to these things. Frankly, a few parties would make the festival feel a lot more festive - and it would be nice to stop working for an hour or two. I'm already shattered and it's only day 4.

Anyway, here are some highlights from today's line-up...

Lake Tahoe ****
This quirky and charming Mexican film blends the simplicity of Italian neorealism with the wit and emotion of new Mexican cinema as it follows a young guy on an odyssey to fix his car. And his soul. Beautifully understated, very funny and ultimately very moving.

Nick & Norah's Infinite Playlist ***
This wilfully offbeat rom-com tries far too hard to be this year's Juno, right up to borrowing that film's leading man, the engaging Michael Cera, for this all-night romp through the back streets of New York. There are some genuinely hilarious characters and extremely well-written dialog, but it's so constructed that it never feels remotely real.

Hunger *****
Easily my best film of the festival (and of the year so far), this harrowing drama about the 1981 Belfast hunger strike is directed by Turner Prize-winner Steve McQueen with a distinct cinematic language that constantly surprises us with its astute observations. And at the centre, the performance by Michael Fassbender (as Bobby Sands) is truly unforgettable.

I Am Alive ****
From Italy, this riveting and wrenchingly black comedy is another all-night odyssey, this time following a guy who's been hired to watch over a dead woman in her father's house, but is distracted beyond reason. As it progresses, the filmmakers create an intriguing relationship between our hero and the corpse - and let him discover his own inner strength. A gem of a film.