Critical Week: Never grow up

Even with cinemas back open, this has been an odd week for press screenings: I've had none in actual cinemas, only the links to watch at home, reminiscent of those lockdown months. It's an odd lull, but then nothing is quite back to normal yet. Release schedules are getting back on track, although options for moviegoers don't feel quite as varied as they should be. Still, there are some good ones out there.

BEST OUT THIS WEEK:
Coda • Free Guy • The Courier
Josee, the Tiger and the Fish
Misha and the Wolves
ALL REVIEWS >

The films I watched this week were the usual offbeat bunch. Wendy is a stylish, fantastical and oddly bleak spin on Peter Pan from Benh Zeitlin (Beasts of the Southern Wild). Charming the Hearts of Men is a warm Southern drama starring Anna Friel and Kelsey Grammer, touching political issues with a low-key charm. Crime Story stars Richard Dreyfuss and Mira Sorvino in a fascinating true story that refuses to fit the formula. From India, Shershaah is an epic true-life war movie that vilifies the enemy but also has a cute romantic subplot. From Denmark, Wildland is a dry, edgy drama about a family that values loyalty over morality. From Ecuador, The Legend of Tayos painstakingly documents the search for ancient treasure in a cave system shrouded in mystery. And there are five well-made European shorts in the collection Boys Feels: I Love Trouble, each of which explores the fallout from breaking the rules.

This coming week, I'll be watching Marion Cotillard in Annette, Henry Golding in Snake Eyes, Hugh Jackman in Reminiscence, horror thriller Jakob's Wife, friendship drama The Land of Owls and an animated remake of Around the World in 80 Days.

Critical Week: Ray of light

I took thinks a bit easier this week, recovering from last week's intense film festival screening programme. But it's been cinema weather in London, so I've watched films both at home and at press screenings anyway. Two films this week were animated, both far from Hollywood. The Japanese drama Josee, the Tiger and the Fish is actually a remake, but has a fresh visual approach that blends traditional anime with simply gorgeous digital artwork to tell a remarkably grown-up story about friendship and love. And from Germany, Moonbound is also beautifully animated with an eye-catching attention to detail in its wacky space adventure story. But an over-complicated script lets it down.

BEST OUT THIS WEEK:
Pray Away • Sabaya
Never Gonna Snow Again
Ema • The Fever
PERHAPS AVOID:
Playing God • Moonbound
ALL REVIEWS >

As for the blockbusters, Ryan Reynolds is as charming as ever in Free Guy, a wildly entertaining action comedy that packs a nice punch. James Gun reboots The Suicide Squad, bringing back Margot Robbie and Joel Kinnaman plus Idris Elba for a riotously busy, loud, overlong and gleefully grisly caper. The perhaps too hushed coming-of-age thriller John and the Hole stars Charlie Shotwell as a tween who locks his family in an unfinished bunker to get some peace. Michael McKean and Alan Tudyk liven up the far too serious con-artist caper Playing God. And from Brazil, The Fever is a gorgeous observational drama about an indigenous man in an Amazon city facing big changes in his life.

Films I'll be watching this coming week include Benh Zeitlin's riff on Peter Pan with Wendy, Richard Dreyfuss in Crime Story, Kelsey Grammer in Charming the Hearts of Men, the Canadian drama Underground, the Norwegian comedy-drama Ninjababy and the shorts collection Boy Feels: I Love Trouble.

Stage: Be yourself tonight

Tommy on Top
by Chris Woodley
dir Bryan Hodgson
with Alex Hulme, Lucas Livesey, Chris Lane, Megan Armstrong, Bridgett Amofah, Becky Sanneh
Above the Stag Theatre, Vauxhall • 28.Jul-29.Aug.21

With a blissfully silly sense of humour, this farcical comedy is nonstop entertainment that's guaranteed to put a smile firmly on our face. And along with a stream of raucous double entendre, amusingly foul-mouthed dialog and physical slapstick, there's a sharp underlying theme that leaves us with something to think about later. This is another first-rate production from the talented team at Above the Stag, a snappy play staged with colourful flair an attention to detail.

The mayhem centres around Tommy (Hulme), an actor nominated for an Oscar for his lead role in the independent film Splash Mountain. In his Hollywood hotel room, he's preparing for the onslaught of red carpet media attention while also planning something special for the birthday of his stylist boyfriend George (Livesey). Then his hard-partying sister Molly (Armstrong) arrives, as does Tommy's attention-seeking agent Eddie (Lane), who wants him to remain closeted for the sake of both the Oscars and his future career. So Tommy decides to court high-profile agent Judy (Amofah) instead. But gossip blogger Kiki (Sanneh) is digging into rumours that Tommy might not be as straight as he claims to be.

Armstrong and Amofah

Jokes come at a furious pace throughout the show, with goofy punchlines, lacerating satire, asides to the audience, outrageous physicality and some hilarious technical gags. All of the cast members dive fully into the melee, with scene-chomping roles for both Lane and Armstrong. Eddie is a predatory slimeball, constantly ranting about everything to a room full of people who loathe him. That Lane makes him loveable is no mean feat. And Armstrong has the most crazed role, as Molly exuberantly makes everything better and worse at the same time.

At the centre, Hulme's Tommy is sympathetically hapless, keeping the show grounded with his hangdog expression and on/off costumes. His scenes with Livesey are perfectly pitched to provide soulful romance with a witty bite. And both Amofah and Sanneh add some razor-sharp edges. Another star of the show is the lighting (by Joseph Ed Thomas) and sound (by Paul Gavin), cleverly deployed by director Hodgson to inventively punch the comedy to even higher levels.

Hulme

While the general chaos on-stage makes the story feel a bit rushed, it also means there's never a dull moment. The cast and crew pack an astonishing amount of wordplay, sight gags, full-bodied farce, theatre references and rude surprises into the relatively brisk run-time. And it ends with a heartfelt plea for honesty and acceptance that feels urgent at a time when so many major movie stars are unable to be truthful about themselves in public.

29.Jul.21 • Photos by PBG Studios

Sundance London: Best friends forever

The Sundance Film Festival London is always a short, sharp shock, as it only lasts four days but features a flurry of acclaimed films. On the final day, I caught up with the short film programme and also attended the surprise film screening...

Zola 
dir Janicza Bravo; with Taylour Paige, Riley Keough 20/US ***
Based on a "true" story from a Twitter thread, this arthouse movie is loose and deliberately cartoonish. Director-cowriter Janicza Bravo keeps the story moving with chattering dialog that feels like a joke the audience can't possibly get. Meanwhile, the selective sound mix and swirling camerawork echo a leery male gaze. And as characters hit the road over a long weekend, what the story reveals about youth culture is chilling... FULL REVIEW >

Misha and the Wolves 
dir-scr Sam Hobkinson; with Misha Defonseca, Jane Daniel 21/Bel ****
This may be a documentary, but it has more outrageous twists than most mystery thrillers. Filmmaker Sam Hobkinson tells the story with range of inventive techniques, including firsthand interviews, archival photos and clips, dramatic recreations, animation and some movie-style trickery. And the people interviewed on-screen have a wonderfully earthy charm. What emerges is a riveting exploration of the power of storytelling itself, especially when sympathy is brought into play.

After last year's virtual festival, Sundance London's surprise film screening returned this year, only revealing the title once everyone was ready for it to begin. The film itself was a disappointing choice, as it comes from Sundance 2020 (all others were from Sundance 2021), and it also previously screened in the main programme for the London Film Festival 2020, where I first saw it. But it's a good film, and the awesome Harriet Walter was there to introduce it in person...

Herself
dir Phyllida Lloyd; with Clare Dunne, Harriet Walter 20/Ire ***.
Intensely personal, this Irish drama quickly gets under the skin as it centres on a woman who has been a victim of horrific domestic violence finds an inventive solution to her precarious situation. It's an intriguing mix of the happy and bittersweet, plus a few downright awful moments, beautifully directed by Phyllida Lloyd to catch internal feelings and earthy realism. And actor-cowriter Clare Dunne is terrific in the central role... FULL REVIEW >

Sundance Shorts
Sundance London brought seven short films from its January festival, a fascinating range of mini-epics. Each of these shorts has a singular perspective, exploring situations that centre on nationality, ethnicity and religion while inventively using drama, archival documentary and animation. Six were from the USA, often with international angles, while my favourite, Les Criminels, is a terrific drama set in Turkey. It's about as a two amorous young university students who are threatened with arrest and worse as they seek somewhere they can have a bit of privacy.

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

Sundance London: See the world

The Sundance Film Festival London continues today with an event about the ethics of documentary filmmaking and a special screening of Visconti's classic Death in Venice, which is of course the subject of the festival doc The Most Beautiful Boy in the World. This is a busy, short blast of a festival, and many of these films will never see a big screen in Britain again, so it's worth the effort to get down to Picturehouse Central or some of the other venues that are hosting screenings and events. 

Cryptozoo
dir-scr Dash Shaw; voices Lake Bell, Michael Cera 21/US ***
Essentially Jurassic Park with fantastical creatures, this energetic animated romp is made by various artists in their distinct styles, then inventively stitched together on-screen. There's a wildly original mix of imagery, all beautifully hand-drawn from sketches and line art to vividly detailed colour illustrations. Writer-director Dash Shaw's story may not be terribly complex, but it's loaded with deeper themes and properly grown-up touches that will win it a following.

The Nest 
dir-scr Sean Durkin; with Jude Law, Carrie Coon 20/UK ***.
Earthy and intriguing, this intensely personal drama has a terrific balance of humour and darkness, keeping the audience on edge with a subtle sense of foreboding. Writer-director Sean Durkin is determined to subvert expectations, carefully guiding the point of view to deepen the characters in unexpected directions, mirroring the misdirection that fills each person's life. And even if the film meanders a bit, the cast relishes the sharp dialog... FULL REVIEW >

Human Factors 
dir-scr Ronny Trocker; with Mark Waschke, Sabine Timoteo 21/Ger **.
There's an intentionality to this dark German drama that holds the interest, even if writer-director Ronny Trocker keeps everything far too enigmatic to properly connect with the audience. But then this is a film about disconnection, as a family is quietly pulled apart by a series of misunderstandings, clashing personalities and unnervingly insidious betrayals, some of which are unconscious. Still, letting the viewer in would have helped a lot.

Pleasure 
dir-scr Ninja Thyberg; with Sofia Kappel, Revika Anne Reustle 21/Swe ***
There's a bold point at the centre of this Swedish drama set in the Los Angeles porn industry: that even women who are intentional about becoming adult movie stars are still being exploited and often abused by men. Filmmaker Ninja Thyberg says this through virtually each scene in this compelling but repetitive story. It's finely acted and shot with a riveting point of view. But it never feels personal.

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

Sundance London: You do you

It's suddenly rainy and cool in London, which is the perfect weather for a film festival. Sundance London brings a collection of 16 films from its Utah festival, along with shorts and special events, all hosted at Picturehouse Central. And many filmmakers are in attendance this year to provide Q&As and masterclasses. I haven't seen everything, as it was impossible to get to every single press screening (there were five per day Monday to Wednesday). But I didn't do too badly, and there are some terrific films this year. Here are some highlights for Friday...

The Sparks Brothers
dir Edgar Wright; with Ron Mael, Russell Mael 21/UK ****
Filmmaker Edgar Wright takes on the documentary form with his usual visual panache, finding witty and inventive ways to explore the career of Ron and Russell Mael. Sparks is a hugely influential but under-appreciated band, and the film highlights how the Maels' refusal to bow to commercial pressure is the real measure of their success. The film is too long, but it's wonderfully engaging, and packed with clever touches... FULL REVIEW >http://www.shadowsonthewall.co.uk/21/7d.htm#spar

Together Together 
dir-scr Nikole Beckwith; with Patti Harrison, Ed Helms 21/US ****
It's remarkable how this comedy finds moments of laugh-out-loud humour alongside warm emotion without ever dipping into sentimentality. With a tightly contained story, writer-director Nikole Beckwith explores parenthood from two distinct perspectives that raise a whole new set of thoughtful questions. And among the way, the film reveals some knowing truths about human connections as two very different people begin to find common ground in their shared purpose.

First Date 
dir-scr Manuel Crosby, Darren Knapp; with Tyson Brown, Shelby Duclos 21/US **.
High energy levels and a couple of engaging characters help to hold interest even as this action comedy becomes too messy for its own good. Set over one hyper-eventful night, the ramshackle scenes are packed with people who are over-the-top nuts, but many of them have sharply funny things to say. Perhaps if there was a point to the insanity, this goofy movie might have become a cult hit.

The Blazing World
dir Carlson Young; with Carlson Young, Udo Kier 21/US ***
Deliberately heightened and utterly bonkers, this fantastical arthouse horror tackles a very serious theme in a lurid, symbolic style. Actor-filmmaker Carson Young is taking the audience on a wildly arch odyssey into the nature of grief, so there are resonant emotions boiling over at every step. It's a slight problem that everything is so relentlessly full-on. But the outrageous flourishes effectively generate some darkly powerful emotions.

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

Sundance London: Feel the Love

The ninth Sundance Film Festival London kicked off tonight, bring a selection of top movies from the January festival to Picturehouse Central for four days of screenings and special events. Press screenings were packed into three days earlier this week, and I'm also planning to attend a couple of screenings on Sunday to watch some shorts and see what the Surprise Film turns out to be. This is always an enjoyable micro-festival, with lots of filmmakers present and a nicely relaxed atmosphere. I'll be back with daily blog entries, starting with three of my favourite films. The first won the top awards at Sundance in January.

Coda 
dir-scr Sian Heder; with Emilia Jones, Troy Kotsur 21/US ****
Beautifully written and directed by Sian Heder, this enormously engaging story digs deep into its themes, challenging us to look at deafness through a new perspective. Even if the open-hearted story is familiar structurally, there's an edge to the character interaction that resonates strongly through joy, pain and a steady stream of sharp humour. This allows the strong cast to create people who resonate deeply, and perhaps even inspire us.

Censor
dir Prano Bailey-Bond; with Niamh Algar, Michael Smiley 21/UK ****
Set in the late 1980s, this horror thriller is infused with political issues of the era that are equally fresh today. It's strikingly directed by Prano Bailey-Bond in genre period style, taking a dreamy dive into the mind of the central character, who is played with thoughtful intensity by Niamh Algar. Knowingly subverting the genre, this unusually witty, challenging freak-out also has an appropriately emotional gore-filled payoff.

The Most Beautiful Boy in the World
dir-scr Kristina Lindstrom, Kristian Petri; with Bjorn Andresen, Robine Roman 21/Swe ****
Combining artful new footage with astonishing archival clips, this documentary works on various levels to explore the nature and impact of beauty. It's a profile of Bjorn Andresen, cast as the representation of beauty by iconic filmmaker Luchino Visconti in his 1971 classic Death in Venice. Half a century later, Bjorn remains haunted by this. And the film reveals him as a man making peace with some powerful ghosts... FULL REVIEW >

• For more festival information: PICTUREHOUSE: SUNDANCE
• Visit Shadows on the Wall's anchor page for SUNDANCE LONDON for links to all reviews.

~~~~~~~ ~~ ~~~ ~~~~
CRITICAL WEEK

BEST OUT THIS WEEK:
Limbo • The Sparks Brothers
The Boy Behind the Door • Ailey
The Most Beautiful Boy in the World
ALL REVIEWS >

There were also a few non-festival films this week. Dwayne Johnson, Emily Blunt and Jack Whitehall are hugely entertaining in the Disney adventure Jungle Cruise, which might be overblown, bit it's also a lot of fun. The well-made Spanish dramatic thriller The Offering is dark and sinister, and hides its secrets too long. The beautifully assembled doc Ailey traces the life and legacy of the iconic Alvin Ailey with terrific archive footage. And I also caught up with this one on a big screen...

Nowhere Special
dir-scr Uberto Pasolini; with James Norton, Daniel Lamont 20/UK ****
Beautifully written and directed, and inspired by a powerfully emotional true story, this film follows a single dad (James Norton) seeking a home for his young son (Daniel Lamont) before cancer takes him. While the premise is wrenching, scenes are packed with buoyant life, revealing the terrific connection between a wryly funny working-class father and his wide-eyed son. Both Norton and the bright little Lamont are first-rate, avoiding sympathy to create a vivid, life-affirming exploration of the impact of mortality. Definitely worth a look.

Coming up this next week, I'll be watching James Gunn's sequel/reboot The Suicide Squad, coming-of-age thriller John and the Hole, the caper thriller Playing God, the Scandi-thriller Wildland, Brazilian drama The Fever, animated adventure Moonbound.