Tag Archives: BBC

DETECTORISTS  (2014 –      ) –SEASONS 1 and 2 – BBC TV SHOW REVIEW

DETECTORISTS  (2014 –      ) – SEASONS 1 and 2 – TV COMEDY REVIEW

Written by: Mackenzie Crook

Directed by: Mackenzie Crook

Cast: Mackenzie Crook, Toby Jones, Rachael Stirling, Aimee-Ffion Edwards, Gerard Horan, Sophie Thompson, Pearce Quigley, Divian Ladwa

Opening theme: “Detectorists” by Johnny Flynn

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Picture the scene: a bird’s eye view of two men pacing slowly across a lush, rural landscape. The green grass shines and ploughed dirt sits proud flanked by golden wheat fields. As an acoustic guitar chimes and lilting mellifluous vocals of Johnny Flynn drift across the countryside vista, we are serenely introduced to our “heroes”, Andy and Lance, the Detectorists. Serene is probably the perfect word to describe this character comedy. Gentle too. It moves at its own perfect pace and gives us something of a break from faster-paced, heightened, rude and farcical nature of other more urban-based comedies. There are obviously jokes but never at the expense of well developed character moments and empathy.

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Set in the fictitious town of Danebury, in the county of Essex, this wonderfully dry comedic delight was created by Mackenzie Crook. Probably best known for playing David Brent’s bowl-haired “yes-man” Gareth, from seminal sitcom The Office, plus many other film and television roles, Crook has fashioned a brilliant show that exudes a quiet confidence in both writing and direction. He himself plays a budding archaeologist Andy, a non-careerist beta male who pays the rent via a series of agency jobs; while his school teacher partner, Becky, (Rachael Stirling) provides the ambition and drive in the relationship. His best mate, Lance, is portrayed with nuanced comedic timing by character actor, Toby Jones. Lance drives a forklift and hankers after his ex-wife who runs a local holistic shop. Plus, these two ordinary blokes happen to be part of the DMDC – ‘Danebury Metal Detecting Club.’

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One may think that the whole premise of a rural metal detecting club is slightly underwhelming and parochial; and to be honest you would be right. But herein lays the strength of the show because the peace and quiet between the narrative and comedy is very hypnotic. The plot in Season 1 finds the DMDC in direct competition with stupidly named “Antiqui-Searchers” over a big historical find; while Season 2 has them searching for crash-landed WW2 German bomber. Amidst these strands the loves and lives of our protagonists and club-members intertwine carefully; as a brilliant supporting cast breathe life into an array of oddball and eccentric characters.

Overall, I found Detectorists very funny throughout creating real inner warmth.  I mean, as Andy and Lance softly walk across the landscape, discussing last night’s University Challenge, scanning for that possible jackpot of medieval gold, nothing very much happens. But there’s The Detectorists’ main strength, nothing much happens with characters you really love spending time with.

(Mark: 9 out of 11)

The Detectorists — Seasons 1 – 3 are available on DVD/BLU RAY

Seasons 1 and 2 are available to stream on NETFLIX.           

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THE LEVELLING (2016) – SKY CINEMA REVIEW

THE LEVELLING (2016) – SKY CINEMA REVIEW

Directed by: Hope Dickson Leach

Written by: Hope Dickson Leach

Starring: Ellie Kendrick, David Troughton, Jack Holden

Music by: Hutch Demouilpied

Cinematography: Nanu Segal

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I grew up watching visions of the English countryside as represented by television shows such as H.E. Bates’ The Darling Buds of May and James Herriot’s All Creatures Great and Small. With such rural narratives you were never far from a beautiful landscapes, wonderfully sunny skies and country folk working together, on the main, as a community. Hope Dickson Leach’s independent British drama is an altogether different beast. It’s a muddy, grieving, bloody and filth-ridden exploration of how tough family and farming existence is.

Featuring some fantastic performances from Ellie Kendrick and David Troughton the story is very simple. Clover (Kendrick) returns from Veterinary College following the sudden death of her brother. While her father is steadily drinking himself to death, she tries to make sense of her sibling’s apparent suicide. Her father, an army man and farmer is living in a caravan next to the battered family home. The farm business is sliding to bankruptcy and their home has been rotting since the Somerset floods a couple of years before. All round their property and livestock are threatened by damp, disease and death.  In short: this is NOT The Darling Buds of May.

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Ellie Kendrick, who I recognised from several TV shows including Game of Thrones, absolutely owns the character of Clover. She is seen as weak and unreliable by her father but is in fact an intelligent and resilient character who is prepared to work hard and dig deep for some respect. The plot itself reminded me a lot of the Michael Caine gangster classic Get Carter (1971); accept with a female lead and more cows. As Clover attempts to steady the fortune of the farm, caused in part to mis-management by her father and brother, she also turns detective, stealthily delving into circumstances relating to her brother’s death.

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Overall, Hope Dickson Leach has made a really touching personal story of grief. This is a very emotional story about a family torn apart by death on personal and financial levels. I don’t know much about farming life, but while it may be idealized in certain books and films the reality is much tougher. Animals, while commodities are often culled because of disease and farmers are at the mercy of the weather. Moreover, it would appear to be much tougher for women too progress in a male-dominated world which favours sons over daughters.  What the film ultimately shows too, in many brilliantly acted and directed scenes, is we must transcend our differences and work together as one – as family – in order to survive.

(Mark: 8.5 out of 11)

 

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

There is no way a mere simple page of words from my keyboard can do justice to the decades of incredible theatrical, televisual and cinematic work of the genius that is Mike Leigh. He has, since the 1960s, worked tirelessly creating: drama, comedy, pathos, empathy, love, hatred, politics, harmony, conflict, nihilism and hope through an orchestra of characters and creative endeavour.

For me Mike Leigh is a true artist. He has not only been involved in innumerable film, TV shows and plays since the 1960s but also created his own production modus operandi in the process. He is rightly well regarded for working intimately with his actors organically creating character and stories from the kernel of an emotion or idea. His works are legion and often feature representations the working or under-classes. There are no superheroes or special effects but rather raw emotion and feelings within his body of work.

The My Cinematic Romance series has always sought to praise filmmakers and actors I really love and Mike Leigh is no different. I would have to say though that to pick FIVE of my favourite works is an impossible task as there is so much choice. Nonetheless, these are five of my favourite Mike Leigh works but do check out any of his films as they have much to say about humanity and life and are also very entertaining in their own inimitable style.

**CONTAINS SPOILERS**

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ABIGAIL’S PARTY (1977) – BBC TV PLAY

Opening as a stage play in 1977, the seminal tragic-comedy Abigail’s Party sold out for months at the Hampstead Theatre when first released. A filmed TV version was released later to much acclaim that year and starred: Alison Steadman, Janine Duvitski, John Salthouse, Thelma Whiteley and Tim Stern. It’s a comedy of crumbling relationships featuring the passive aggressive clashes between the aspirational classes. The performances, notably from Steadman as the brash and formidable Beverley, are astute, over-the-top but somehow hilariously nuanced too. Moreover, the barbed dialogue and bitchy asides are perfectly delivered during a dinner party that, once seen, will have you laughing throughout. But, like much of Leigh’s work, by the end you somehow feel sad too.

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MEANTIME (1983) – CINEMA

The epitome of classic working-class-kitchen-sink-council-estate tragic-comedy, Meantime, features a “Who’s-Who” of now famous actors including: Gary Oldman, Tim Roth, Phil Daniels, Alfred Molina; plus an early appearance from Leigh favourite Peter Wight. Set amidst the bleak concrete landscape of East London the episodic story focusses on the Pollock family, notably the unemployed brothers portrayed by Daniels and Roth. The former is an answer-for-everything-clever-dick while Roth’s Colin is the more subdued, shy and possibly autistic one, very much in his brother’s shadow. Furthermore, a very young-looking Oldman pops up as a bored, thuggish, glue-sniffing and racist skinhead who bullies those around him, especially Colin. Overall, Meantime evokes memories of my own childhood growing up on a rough Battersea council estate and captures the ennui and inertia of unemployment in Thatcher’s Britain. While it may sound depressing there’s also some classic dialogue and a number of hilarious exchanges between the family and characters which certainly silvers the dark, grey clouds on the horizon.

NAKED (1993) – CINEMA

We need to talk about, Johnny! Arguably, of all the characters and creations from Mike Leigh, Johnny Fletcher is the darkest manifestation and representation of his worldview. Unlike the permanently positive Poppy from Leigh’s Happy Go Lucky (2008), Johnny is a dress-in-black, biting and bilious shadow who drifts like smoke from North to South with no aim other than to attack those around him. Sardonic and severe in his outlook, Johnny’s misanthropy knows no bounds as he angrily castigates his ex-girlfriend’s lack of ambition, portrayed by Lesley Sharp, before beginning a doomed sexual liaison with her flatmate, the self-hating Sophie (Katrin Cartlidge).  It is not an easy film to watch due to the flagrant and offensive misogyny exhibited by the male characters and the seeming lack of hope throughout. Yet, it remains a compelling portrait of pre-millennial nihilism with some epic monologues delivered by the rasping and mercurial voice of David Thewlis’ in a never-to-be-bettered acting performance.

SECRETS AND LIES (1996) – CINEMA

After the nihilistic dissonance of Naked (1993) Leigh’s next film would return to familial roots and gentler, if still emotionally resonating, domestic drama. The story centres on Marianne Jean-Baptiste’s optometrist attempting to locate the birth mother who gave her up for adoption. In an extremely tender and serene performance, Baptiste as Hortense Cumberbatch finds her search turn up unexpected results. Brenda Blethyn, in the more melodramatic role of Cynthia Purley, runs the gamut of emotions; while the imperious Timothy Spall steals the floor with his noble rendition of Cynthia’s brother, Maurice. Spall’s Maurice is an ordinary, yet noble man, trying to hold the disparate family strands together. I especially loved the opening vignettes of Maurice’s photographic customers which established themes of surface appearances contrasted to hidden family secrets. This overall is what I class as a small epic containing so many brilliant character details, funny looks, and very touching moments where the emotion, quite often, is in the silence. Secret and Lies (1996) was, to date, Mike Leigh’s most accessible and emotionally satisfying film and would deservedly garner acting and directing awards and nominations from the Academy, BAFTA and Cannes.

VERA DRAKE (2004) – CINEMA

Having presented the lively Topsy Turvy (1999) world of Gilbert and Sullivan a few years before, Leigh created another period piece with Vera Drake. Set in 1950s London it centres on Imelda Staunton’s kind housewife who harbours a secret life. Amidst her family and work existence Vera assists young woman who accidentally get in the “family way”. I don’t want to say too much but this is a gut-wrenching and tragic story which highlights the issues of the day with a stunning emotional power. Imelda Staunton is one of the best actors I have ever witnessed on stage and screen and she brings to Vera’s character sympathy, pride and passionate inner strength. The supporting cast of Philip Davis, Eddie Marsan, Daniel Mays, and Sally Hawkins are superb; and a special mention to cinematographer Dick Pope, who has lit most of Leigh’s films. Pope creates, within a palette of greys, greens and browns a salient mood which enhances the performances and Leigh’s masterful direction.

 

Mike Leigh’s new film PETERLOO (2018) will be released this year in cinemas.

 

NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER!

NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER!

Having just finished watching Season 4 of the incredible anthology TV show Inside No. 9, I felt compelled to write why it is so good! So here are NINE reasons why it is one of the best TV shows I have ever seen.

 

  1. League of (Two) Gentlemen

Inside No. 9 is written by and stars Steve Pemberton and Reece Shearsmith. Both are brilliant comedic and dramatic actors having appeared in many TV shows and films down the years. They are arguably most famous for beginning their careers in cult comedic troupe The League of Gentlemen; however, their work on Inside No. 9 actually surpasses the ‘League’ in my view.

 

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  1. Cast

Shearsmith and Pemberton, along with themselves, are able to cast well-known actors from stage and screen in supporting roles. Part of the fun of many episodes is spotting such guest appearances with, in many cases, the ensemble brilliance of the actors bouncing sparks of each other. Inside No. 9 has featured talented performers including:  Timothy West, Fiona Shaw, Jack Whitehall, David Warner, Denis Lawson, Sheridan Smith, Rory Kinnear, Conleth Hill, Alison Steadman, Noel Clarke, Philip Glenister, Zoe Wanamaker, Keeley Hawes, Nikki Amuka-Bird, Derek Jacobi and many more.

 

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  1. Writing

Each episode is self-contained within a 30 minute one-off story. The challenge therefore is to create a compelling narrative which establishes: theme, character, setting and the drama quickly in order to draw the audience in and subsequently entertain. Like similar classic anthology shows such as The Twilight Zone and Tales of the Unexpected the writers do this brilliantly and conversely, for me, every script is a joy to experience again and again.

 

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  1. Genre

Shearsmith and Pemberton are experienced actor and performers with great range. They initially worked in comedy, however, The League of Gentlemen and Psychoville contained heavy infusions of horror and grotesque which scared and disgusted amidst the laughter. Inside No. 9 could be described as comedy but it crosses many other genres too. Episodes such as: The Harrowing (Season 1) and Séance Time (S2) and Devil of Christmas (S3) are firmly fixed in the horror genre; Tom and Gerri (S1) and Diddle, Diddle Dumpling (S3) and Nana’s Party (S2) are contemporary domestic dramas; The Trial of Elizabeth Gadge (S2) evoked historical dramas; and silent and slapstick comedy is represented by the sublime A Quiet Night In (S1). Every episode is beautifully devised within its set milieu and genre creating a rewarding viewing experience.

 

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  1. Number 9

During the whole four seasons, as well as the writing being spot on, there is much imagination in the details. For example, the No. 9 is not just the house number of the story location it is also a: dressing room, sleeper car, barn, call centre, shoe-size, study, karaoke booth, gallery space and church hall. Such locations show the diverse imagination of the writers and various spaces of these wonderful stories.

 

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  1. Emotion

Stories are nothing without compelling characters. Amidst the gags, one-liners, horror, drama and clever writing you have to care about what happens to the characters. Indeed, Inside No. 9 also delivers some compelling stories which contain much emotion and pathos. The 12 Days Of Christine (S2) is one of the most blistering dramatic arcs I have seen within a short form TV show. Similarly, Tom and Gerri (S1), Diddle, Diddle Dumpling (S3), To Have and To Hold (S4) and Bernie Clifton’s Dressing Room (S4) contain very powerful endings that shock the heart as well as the mind.

 

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  1. Form and Style

Shearsmith and Pemberton are not only great actors and writers; they are also drenched in film, TV and cultural knowledge. As such, their work on Inside No. 9 is consistently reflexive and inter-textually referencing pop culture. In the: The Devil of Christmas (S3) they reference DVD commentaries and 1970s horror TV; in Once Removed (S4) they do a Memento (2000) and tell the story backwards; while in Zanzibar (S4) the characters deliver lines in iambic pentameter. However, stylistic or formalistic devices do not impinge on the narrative polarity but enhance the viewing experience.

 

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  1. Twists in the Tale

Ah, I love a good story twist as I grew up watching shows such as: Hitchcock Presents, Tales of the Unexpected, The Twilight Zone, Armchair Theatre and The Outer Limits to name a few. Inside No. 9 follows in the tradition of these classic programmes by often flipping narrative expectations with delicious results. Much fun can be derived trying to work out the twist too and even if you can see it coming that still adds to the entertainment factor to me. But WHEN YOU DON’T see it the programme becomes something else altogether!

 

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  1. Favourite Six Episodes

Tough one this but if I had to choose my favourite six episodes (out of 24 so far) I would go with the following (in production order):

  • A Quiet Night In (2014) – two burglars try to steal a painting in silent comedy classic.
  • La Couchette (2015) – a train sleeper car provides the setting for a hilarious night of comedy chaos.
  • The 12 Days of Christine (2015) – Sheridan Smith shines in this haunting and beautiful character profile of a young woman.
  • The Riddle of the Sphinx (2016) – ultra clever crossword dominated thriller set in a University study.
  • Diddle Diddle Dumpling (2017) – Shearsmith and Keeley Hawes excel as a couple whose lives are impacted by obsession and a lost shoe.
  • Bernie Clifton’s Dressing Room (2018) – two failed TV entertainers bicker as they prepare to perform their act one last time.

 

 

 

 

 

 

 

2017 – MY FAVOURITE TWELVE TV SHOWS OF THE YEAR

2017 – MY FAVOURITE TWELVE TV SHOWS OF THE YEAR

Our TV watching experiences are very different now with the various platforms available, so the idea of viewing shows live and week-to-week is a thing of the past. Moreover, the quality bar and production values of television programmes are getting even higher; especially where HBO, Amazon, Showtime and Netflix are concerned.

I have my perennial favourites so my list this year may look very similar to last year (see below), yet I’ve not yet seen the latest seasons of Better Call Saul or Black Mirror yet. Neither did I see the much lauded shows: Twin Peaks: The Return, The Deuce or anything on Amazon but overall it was a great for new TV shows and some classic long-running programmes.

FAVOURITE TWELVE TV SHOWS OF 2016 (in alphabetical order)

BETTER CALL SAUL (2016) – SEASON 2
BILLIONS (2016) – SEASON 1
DAREDEVIL (2016) – SEASON 2
FARGO (2015) – SEASON 2
GAME OF THRONES (2016) – SEASON 6
GOMORRAH (2016) – SEASON 2
IT’S ALWAYS SUNNY IN PHILADELPHIA (2016) – SEASON 11
MAKING A MURDERER (2015) – SEASON 1
PENNY DREADFUL (2016) – SEASON 3
SOUTH PARK (2016) – SEASON 20
STEWART LEE’S COMEDY VEHICLE (2016) – SEASON 4
WESTWORLD (2016) – SEASON 1

 

FAVOURITE TWELVE TV SHOWS OF 2017 (in alpha order)

BIG LITTLE LIES (2017) – HBO

“. . .  inter-weaving stories concerning an unknown murder victim; school bullying; warring parents; extra-marital affairs; and the abusive relationships, is expertly played out over seven compelling episodes.”

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CURB YOUR ENTHUSIASM – SEASON 9 (2017) – HBO

“. . . Curb Your Enthusiasm comes back as if has never been away as it revels further in the adventures of Larry David’s pedantry, un-PC behaviour, poor decisions, risky statements and strict adherence to the social etiquette and unwritten rules of life!”

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FARGO – SEASON 3 – FOX / CHANNEL 4

“. . . Slyly satirising the police procedural drama with off-centre plot twists and dark humour, David Thewlis’s scumbag businessman and Mary Elizabeth Winstead crafty femme fatale steal the show in Season 3 of Noah Hawley’s pitch perfect Coen Brothers’ pastiche.”

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GAME OF THRONES
(2017) – SEASON 7 – HBO

“. . . containing great direction, acting, design and character twists throughout and while it felt rushed at times these seven episodes were still amazing from my perspective! And the dragons and zombies and battles and death! Winter is definitely here!”

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HANDMAID’S TALE (2017) – HULU

“. . . containing suggestions of hope, light, rebellion and solidarity in a grim, patriarchal world which crushes life and colour; this impressively directed, acted and shot series had me transfixed throughout. Elizabeth Moss is a revelation. . .”

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IT’S ALWAYS SUNNY IN PHILADELPHIA (2017) – SEASON 12

“. . . In the current superb 12th season one episode is presented from a supporting characters dream; while the most impressively detailed formal presentation has Dennis becoming a god-like TV director. This intelligence keeps the show fresh and funny.”

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LEAGUE OF GENTLEMEN – 20TH ANNIVERSARY (2017) – BBC

“. . . Reece Shearsmith, Steve Pemberton, Mark Gatiss and Jeremy Dyson are geniuses! In 1999 they brought an array of beautifully ugly comedic grotesques to the TV screen. After 3 seasons, stage tours and a movie the League of Gentlemen ceased. But they were back at Christmas with three episodes of brilliant black comedic sketches and set-pieces.”

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LEGION (2017) – FOX

“. . . as imaginative and original take on the mutant/X-Men genre you are going to find. It also very cleverly melds themes relating to: mutation, telekinesis, disassociation and schizophrenia expertly; while Aubrey Plaza and Dan Stevens are incredible in the show.”

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MINDHUNTER (2017) – NETFLIX

“. . . both dark and stylish, this David Fincher production, created by writer Joe Penhall, took elements from Zodiac (2007), Silence of the Lambs (1991) and standard FBI procedural dramas to brilliantly highlight the embryonic stages of the serial-killing profiling team.”

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SOUTH PARK – SEASON 21 – SOUTH PARK STUDIOS

“. . . The bar was raised SO high by Season 19 that Season 20 was bound to suffer, especially in the complex serialization approach. Yet, Parker and Stone are back in Season 21 with satire of the highest order! Some classic episodes such as: Sons of Witches, Put it Down and Hummels and Heroin and more, made this must-watch classic comedy.”

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STRANGER THINGS 2 (2017) – NETFLIX

“. . .Netflix’s first season sci-fi-80s-Spielberg-King-Carpenter-nostalgia-fest was arguably padded out and over-hyped; but Season 2, after a slow start, really hit the ground running as the small town kids battle inter-dimensional monsters with fantastic style and scares.”

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THE YOUNG POPE (2016) – HBO

“. . .  The Young Pope contains some wry and delicate humour too. I mean ten episodes of a Vatican-based comedy it isn’t, but Paulo Sorrentino’s skewed look shows the priests and nuns, not as higher beings but rather flawed humans like the rest of us.”

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TO CODA:

Of course, there’s probably loads of shows I’ve missed, yet I must make a special mention for the old BBC classic , Doctor Who, which while not on the above list, makes it in spirit. While the show is now older than time there were a few great episodes in Peter Capaldi’s final season as the eccentric and genius Time Lord! So, I bid you bon voyage and here’s to productive viewing in 2018.

 

 

SCREENWASH – BBC DRAMA REVIEWS

SCREENWASH – BBC DRAMA REVIEWS

Over the past few months I’ve focussed my extra-curricular viewing on BBC produced dramas via the BBC channels and catch-up on Netflix. The British Broadcasting Corporation, being the public-service-tax-payer-funded-beast that it is has a commitment to produce quality programming for national viewing and also overseas sales too. I then got to thinking; why not check out where some of my £12.12 per month money goes. So, here are some bitesize reviews of recent BBC dramas with marks out of the usual eleven.

**CONTAINS MILD SPOILERS**

THE CHILD IN TIME (2017)

Based on Ian McEwan’s prize-winning novel this was an interesting drama which worked in many respects but did not quite connect in others. Benedict Cumberbatch and Kelly McDonald are parents whose child goes missing while out shopping. The drama and grief of this was very well evoked but the supporting story of a publisher’s regression and mental collapse did not quite thematically meld for me. No doubt McEwan’s original source is a master work and I enjoyed many of the emotional moments provided by the excellent acting. (Mark: 8 out of 11)

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DOCTOR FOSTER – SEASON 1 (2015) + SEASON 2 (2017)

Suranne Jones is absolutely stunning in this domestic drama written by Mike Bartlett. She acts her heart and soul out as the eponymous GP, who in the face of her husband’s suspected infidelity, attempts to find both the truth and maintain her family unit and sanity. It’s a brilliantly written TV series which creates great drama from the “whodunnit” aspect of the potential spousal treachery. Plus, in addition to the Hitchcockian elements Dr Foster herself is very unpredictable in her actions; making for some nail-biting scenes. Bertie Carvel also excels as the charismatic husband and the second season, while not reaching the emotional heights of the first, and feeling more contrived, had some decent dramatic twists too.

(Season 1 – Mark: 9.5 out of 11)
(Season 2 – Mark: 8 out of 11)

LONDON SPY (2015)

The always-impactful actor Ben Whishaw is superbly supported by thespian giants Jim Broadbent and Charlotte Rampling in this obtuse spy thriller. Playing a troubled warehouse worker called Danny, Whishaw falls for the enigmatic genius, Alex (Edward Holcroft); and is thrown into a murky and murderous world of spymasters and upper-class family feuds. Beautifully acted and designed the story moved too slowly for me. Over five episodes the slow-bleed plot of character despair, double-crosses and cover-ups did not sustain the suspense and tension throughout.  (Mark: 7.5 out of 11)

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THE SECRET OF CRICKLEY HALL (2012)

Suranne Jones (again!) leads the acting line in an earlier post-Coronation Street role. She portrays a mother who, along with her family, seeks the solace of the countryside after their young child has gone missing. However, the house they reside in is haunted by ghosts from the past and as the family attempt to overcome their grief, evil spirits threaten their present. The contemporary narrative works well with the wartime scenes in a decent haunted house scenario that was adapted from the book by horror legend James Herbert; also featuring an early role for Maisie Williams. (Mark: 7.5 out of 11)

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SMALL ISLAND (2009)

Notable for its excellent ensemble cast and featuring before-they-were-famous roles for: Ruth Wilson, David Oyelowo, Naomi Harris, Benedict Cumberbatch and Ashley Walters, this excellent drama focussed on the war and post-war lives of several disparate characters whose lives become intertwined by fate. Based on Andrea Levy’s novel it is especially rich in regard to the diasporic characterizations and experiences of Jamaican immigrants in war-torn England. The writing is solid and there’s some fine acting and emotional moments to keep one enthralled and I enjoyed how the stories dovetailed dramatically at the end. (Mark: 8 out of 11)

TOP OF THE LAKE (2013)

Hey, what if Jane Campion wrote and directed a cop drama? Well, the answer is Top of the Lake!  This is a slow-burn, who-why-how-dunnit with a superb cast, beautiful New Zealand vistas and eccentric, dark characters. Some may find it too slow and artsy, while certain decisions by the characters and plot turns were intriguingly weird. However, Elizabeth Moss excels as the burnt-out cop (is there any other kind?) searching for a missing pregnant teenager, while Peter Mullan is suitably vicious as the rural patriarch; and Holly Hunter is fantastic too as the leader of a women’s commune. Overall, Campion’s barbed world-view satirizes humanity and cop show clichés in a compelling crime drama. (Mark: 8.5 out of 11)

TOP OF THE LAKE 2: CHINA GIRL (2017)

Screened earlier this year on the BBC, the follow-up finds Elizabeth Moss, now back in Sydney, tracking down the killer of an Asian prostitute while battling illegal adoption rings and all manner of sexist-pig-men. Like the original it pulls you in with its richly drawn characters and brilliant cast all committing to the lurid and quirky plotlines. Moss is always reliable and does the brooding, melancholic and troubled cop perfectly, while Nicole Kidman is brilliant as the middle-class academic out of her depth with the emotions of her adopted daughter. The sinister beta-male-nemesis Puss portrayed by David Dencik was a great rendition of spurious masculinity while it was great to see Gwendoline Christie out of her Game of Thrones armour, as a naïve rookie cop assisting Moss’ detective. (Mark: 8.5 out of 11)

TRUST ME (2017)

Jodie “New Doctor Who” Whittaker leads the cast as a downtrodden nurse and single-mum struggling with an NHS cover-up over poor service delivery. Faced with the sack she decides to engage in a cover-up herself by taking on the identity of a Doctor; and then the real drama kicks in. Whittaker is very empathetic and natural, while the suspense was very thrilling at times as her character gets deeper and deeper into the mire. Overall, it was a very tense and fun medical drama which made some very good social points in regards to a Doctors’ life and the NHS in general. Ultimately, it made me appreciate what the NHS does for us but also want to avoid getting ill in the future too!

(Mark: 8.5 out of 11)

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WAR AND PEACE (2016)

Well, the BBC certainly pushed the budget boat out on this one with a who’s who of new and experienced acting talent including: Jim Broadbent, Paul Dano, Lily James, Tuppence Middleton, Aneurin Barnard, Adrian Edmondson, Jessie Buckley, Tom Burke, Rebecca Front, Greta Scacchi, Brian Cox, Stephen Rea, Gillian Anderson and many more. Adapting Tolstoy’s gigantic and classic doorstop novel must have been some feat and it is indeed and sumptuous and incredible production. As a drama it drew me in with its’ stories of over-privileged Russian lives set during the Napoleonic wars as they live, love, cheat, duel, war and die. Yet, while I did not feel too much empathy for the characters, the acting, design and directing is a joy to behold and I garnered a certain hypnotic pleasure bathing in the high quality of the whole shebang. (Mark: 8 out of 11)

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13 REASONS WHY DOCTOR WHO WILL BE FINE!

13 REASONS WHY DOCTOR WHO WILL BE FINE!

The 16th July 2017 the news was passed, after the Men’s Singles Final at Wimbledon, that there would be a new actor playing BBC TV’s long-running sci-fi fantasy character Doctor Who; and that person will be the very talented Jodie Whittaker.

So, as Roger Federer was holding aloft the trophy to worship and cheer, the internet was quickly going into meltdown as Doctor Who fans and geeks cheered this exciting news about the soon-to-regenerate Timelord/Lady!  Meanwhile, in the darkness and under the bridges of the world-wide web the naysayers, fiends and trolls began sharpening their claws and keyboards ready to protest most vehemently at this gender shift.

My initial reaction was one of excitement and now the dust has settled slightly I continue to feel a keen sense of anticipation for the next season and the casting of Jodie Whittaker! So, here are thirteen reasons why the next season will, in my opinion, be fine.

  1. CALM THE F**K DOWN – IT’S JUST A TV SHOW!

The level of negative comments on Facebook pages, newspaper comments, online fan forums, YouTube and other geeky websites was absolutely ridiculous. Den of Geek even had to issue a warning because of some of the vitriolic comments. I think humanity has a problem if they’re losing their mind of the casting of a woman into a historically male role.   It’s not a matter of life or death or a war or cancer! It’s just a bloody TV show and everything will be fine!

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  1. IS IT POLITICAL CORRECTNESS GONE MAD?

Many online comments have been that this is political correctness gone mad and I find this offensive to be honest.  I don’t believe this is motivated by feminism or tokenism or positive discrimination. This is a creative decision based on who the showrunner’s think are best for the role.

  1. DOCTOR WHO IS NOT ABOUT GENDER!

The character is about regeneration. The 13th Doctor’s regeneration is coded as female in gender! It’s not about rewriting history but presenting the character in a whole new context within the narratives, drama and humour.

  1. JODIE WHITTAKER IS A BRILLIANT ACTRESS!

Jodie Whittaker is perhaps best known as Beth Latimer in excellent ITV drama Broadchurch. In it she acts her heart out as a young mother struggling with the loss of her son.  She’s also appeared in many stage productions and also has form appearing in sci-fi stories such as Attack the Block (2011) and the Black Mirror episode The Entire History of You (2011. Overall, she is a sterling actress with a great range who will bring a tremendous verve and energy to the role.

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  1. JODIE WHITTAKER IS WORTHY!

The character of the Doctor is all about taking on injustices across space and time and this takes a hell of a lot of courage from the character. By taking such an iconic role dominated in history by male actors, Jodie Whittaker proves she has the backbone to stand up to the ridiculous backlash that has occurred and make the role her own.

  1. TIMELORDS ARE SHAPE-SHIFTING ALIENS!

As the show has demonstrated recently with the Master transforming into Missy, Time Lords are confirmed as shape-shifting aliens and therefore it makes sense they can change gender. It’s only reactionary thinking and resistance to change which doesn’t recognise this.

  1. DOCTOR WHO IS TIMELESS!

Doctor Who is an institution that has been going for 53 years. Even when the TV show was on a break it regenerated into other mediums. There are fans worldwide who attend shows and conventions now we have an industry full of Doctor Who comic books, novels, audio books, radio adaptations, paintings, posters and many more social media outlets.

  1. SO MANY FAMOUS FEMALE DOCTORS!

I feel ridiculous for even using this as justification; but there have been so many amazing Doctors who happen to be female. I mean do we live in the dark ages where idiots refuse to be seen by female Doctors. Anyway, click here for a list of just a few famous Doctors:

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  1. NEW DRAMATIC PERSPECTIVE

Changing the actor of the Doctor opens up a whole new different set of dramatic possibilities. The casting of Jodie Whittaker will present a marked move away from the Doctor as a middle-aged eccentric male. They broke this mould when casting Matt Smith and he was excellent, so I expect the new Doctor to just as positive in the next season.

  1. BRAIN OVER BRAWN!

Based on many of the morons commenting online it’s the end of the world as we know it with the casting of Jodie Whittaker. But the character of the Doctor has NEVER been about using stereotypical brute force associated with male action heroes. The Doctor uses brain, cunning, experience, humour, smarts and their overall genius to overcome the monsters.

  1. IT WILL CONFUSE THE HELL OUT OF THE ENEMY!

The Daleks, Cybermen, Weeping Angels, Sontarans, The Silence, The Silurians, Humans and many, many more have come a cropper due to the Doctor’s ingenious skills. Thus, a female Doctor could potentially screw with their brains initially. Well, all of them except perhaps the Master/Missy; whoever that may be next!!

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  1. POST-HUMOUR!

As well as the wonderful science fiction and horror tropes present in Doctor Who there’s almost always humour in the show. Patrick Troughton and Matt Smith were very good at acting the clown, while Tom Baker was also very good at acting insane when in times of trouble. Peter Capaldi brought a wonderful sarcasm and a litany of zinging one-liners during his tenure, but with the new Doctor the dynamic will change. Thus, I look forward to a different kind of humour with hopefully some satirical gags at the change in gender.

  1. NEW SHOWRUNNER!

Chris Chibnall has carved himself out an impressive television writing CV, including work on: Law and Order, Torchwood, Doctor Who and Broadchurch and I think he will breathe new life into the show and characters. Chris Chibnall says of the new casting:

“After months of lists, conversations, auditions, recalls, and a lot of secret-keeping, we’re excited to welcome Jodie Whittaker as the Thirteenth Doctor. Her audition for The Doctor simply blew us all away. Jodie is an in-demand, funny, inspiring, super-smart force of nature and will bring loads of wit, strength and warmth to the role. The Thirteenth Doctor is on her way.”

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IT’S NOT THE END OF THE WORLD!

In my humble opinion Jodie Whittaker will be brilliant. If she isn’t or the show isn’t very good I won’t complain. I will just stop watching the show based on creative and qualitative reasoning. I won’t use the reason she is a woman as a negative because WE LIVE IN THE 21ST CENTURY!!

And remember – it’s just a TV show!  It’s not the end of the world because if it was we will always have the Doctor to save us!

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