Tag Archives: Channel 4

THE HANDMAID’S TALE (2018) – SEASON 2 – TV REVIEW

THE HANDMAID’S TALE (S2) – TV REVIEW

Based On: The Handmaid’s Tale by Margaret Atwood

Writer(s): Bruce Miller, Dorothy Fortenberry, Yahlin Chang, Kira Snyder, Eric Tuchmann

Director(s): Mike Barker, Kari Skogland, Jeremy Podeswa, Daina Reid etc.

Starring: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, Max Minghella, Samira Wiley

Release: Hulu (USA), Channel 4 (UK)

** MAY CONTAIN SPOILERS **

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Misery, fascism and oppression have never been so stylish as in the Margaret Atwood televisual adaptation of her famous novel The Handmaid’s Tale. If you haven’t seen it then the story finds a major part of the U.S.A in the grip of a new, militarized and hierarchical regime following a brutal civil war. This new totalitarian state is called Gilead and is led by power-mad men who utilise religion, torture and weaponry to invoke their barbaric laws. Hang on, that sounds quite familiar!!  Could the show be quite close to real life? From a certain perspective there is indeed more reality here than allegory.

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At the centre of the drama are the Handmaids.  Due to falling fertility rates only certain women can give birth. Those that still can and considered to be dangerous to the Gilead hierarchy are imprisoned to the leaders’ houses and raped in a ritualistic monthly ordeal. The narrative focusses on the plight of June Osborne – now known as Offred / “Of Fred” – as she deals with having everything stripped away from her. She has no name, no identity, no freedom and above all else has been ripped away from her husband and child; only to be treated no better than a battery hen.

Elisabeth Moss gives an incredible performance as June / Offred. A versatile performer she imbues the complex pathos, strength and fragility required to convey the emotion of events within the story. The second season begins with a now pregnant June escaping from her captors. However, as the series progresses we know that she is not going to get away that easily. Because, this is a harsh drama. It doesn’t just smash home the viciousness of a society which oppresses women, it also illustrates the dangers of allowing fundamentalists to take total control. Executions by hanging and drowning are commonplace; and if you perpetually rebel an individual can be sent to The Colonies for a fate worse than death.

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While the themes and events are sometimes difficult to stomach The Handmaid’s Tale is compelling viewing. Be warned though when one is close to a sliver of light at the end of the tunnel, that light is extinguished as darkness pervades. With a brilliant cast that includes Yvonne Strahovski, Joseph Fiennes and the always-excellent Ann Dowd, this is not just powerful storytelling, it’s incredibly interesting to look at too. The maroons, greens, greys, blacks and whites in the colour scheme create a poetic sense of beauty and doom. The direction, editing, lighting and soundtrack serve the narrative expertly as Margaret Atwood’s dystopic future is illustrated skilfully.  Ultimately, in Elizabeth Moss’ portrayal of June Osborne we have a heroic and resilient character; one who, amidst all the suffering, is determined to survive and save those she loves. Praise be!

                     Mark: 9 out of 11

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SCREENWASH – AMERICAN TV DRAMA REVIEWS, INCLUDING: BILLIONS, BIG LITTLE LIES & WALKING DEAD

SCREENWASH – AMERICAN TV DRAMA REVIEWS

Following on from my recent reviews of ITV drama shows I have also recently watched, many U.S. programmes over the last few months.  So, here are some more bite-size reviews with marks out of eleven. Hope you enjoy.

**CONTAINS SPOILERS**

BATES MOTEL (2014) – SEASON 1 – NETFLIX

So, Norman Bates gets a paradoxical contemporary prequel which while chronologically set before Alfred Hitchcock’s classic Psycho (1960), exists in the now of mobile phones, crooked cops, Chinese sex slaves, cystic fibrosis and huge cannabis forests that drive the towns’ industry.  Freddie Highmore as young psycho Norman and Vera Farmiga as his domineering, yet sexy, mother are absolutely brilliant in this absurdly plotted but nifty little horror-crime-thriller-mish-mash. I especially enjoyed Highmore’s subtle delivery as he fights with the demons in his head, amidst hormonal teenage desires. Plus, more often than not he echoes Anthony Perkins classic performance as the original Master Bates. (Mark: 8 out of 11)

BIG LITTLE LIES (2017) – SEASON 1 – SKY ATLANTIC

One of the most difficult things a screenwriter and director have to do, in my view, is to make rootable those wealthy, spoilt and first-world characters that drive your story. One way to do it is to make their conflict human and relatable, plus casting brilliant actors in the lead roles helps greatly too. Reese Witherspoon, Nicole Kidman, Laura Dern, Adam Scott, Alexander Skarsgard and Shailene Woodley are all on top acting form portraying various personas within the affluent Monterey upper middle classes. Jean-Marc Vallee directs David Kelley’s superb script with aplomb and the editing is some of the best you will see in a television show all year. The interweaving 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. (Mark: 9 out of 11)

BILLIONS (2017) – SEASON 2 – SKY ATLANTIC

Again, how do you make rich people empathetic and rootable? Well in Billions the writers don’t!  They have created a superbly written series around some of the most selfish, self-centred, vicious and vindictive characters in hedge-fund shark Bobby Axelrod and unscrupulous Attorney General Chuck Rhodes; and pitted them against each other over ten compelling episodes. Damian Lewis and Paul Giamatti are on fantastic form as “Masters of the Universe” leads that will stop at nothing to destroy each other’s lives. Maggie Siff and Malin Akerman as their respective wives also at the sharp end of the legal, financial and psychological one-upmanship drama, along with a terrific ensemble cast including: David Constable, David Strathairn, Eric Bogosian, Toby Leonard Moore and the very gifted Asia Kate Dillon. (Mark: 9 out of 11)

HOMELAND (2014) – SEASON 3 – NETFLIX

After the explosive end to Season 2, which wiped out many of the major supporting players, Season 3 found Carrie Matheson and Nicholas Brody find themselves separated and in deep trouble. Matheson is cast as the scapegoat for the destruction of the CIA and failure in protocols while Brody is in Columbia lurching from one violent episode to another. The strength of the first two seasons came from the dynamic plotting, heart-racing suspense and the chemistry between Claire Danes and Damian Lewis. Season 3 suffers from the two’s separation slightly but there was enough dramatic moments throughout to make it well worth a watch. Danes was especially impressive as Matheson who is forever taking chances because of her determination to protect her country, plus her love for Brody. The show doesn’t present easy answers and the ending was particularly bleak as we come to realise that no one wins in these political and international wars. Have to say that Mandy Patinkin as Saul Berenson and Rupert Friend gave great support and the show ultimately remains compelling, even if at times it slightly tested believability.  (Mark: 8 out of 11)

SONS OF ANARCHY (2015) – SEASONS 6 & 7 – NETFLIX

My lord this show is SO brutal; in fact I think it is arguably the most violent TV show I have ever seen because many of the deaths are cold and hot-blooded savagery. In Seasons 6 and 7, Jax (Charlie Hunnam) desperately tried to become a better person and take the club down a more legitimate route, however, once an outlaw – always an outlaw. Thus battles with cops, IRA, gang-bangers, Mayans, Aryan Brotherhood, and more culminated in two seasons of the usual carnage and bloodshed. Also, Jax had the horror of dealing with the death of loved ones borne out of terrible lies and decisions by those close to him. The main strength of the show is the terrific ensemble cast of which Jimmy Smits, Charlie Hunnam, Tommy Flanagan and Katey Sagal really stood out. Also, the action and serpentine plot twists kept the dramatic irony and suspense at pulsating levels. Only the indulgent montages, over-the-top “I love you, brother” dialogue and overlong episodes wrenched a little but overall an exciting end to a gruesome but entertaining TV show.  (Mark: 8.5 out of 11)

THE WALKING DEAD (2017) – SEASON 7 – FOX

The Walking Dead is very much like an elderly grandparent in as much as it has provided happy past memories; has a lot to offer in terms of historical experience; yet sits in their armchair only occasionally sparking into life for our entertainment. However, I must say, Season 7 was way more entertaining than Season 6, which overall really stalled in terms of storylines and fast-paced action. Rick Grimes (Andrew Lincoln) and his Alexandrian crew and family came under pressure, not just from the zombie hordes but also Jeffery Dean Morgan’s delightful uber-villain, Negan. Massacring two of the leading characters at the beginning of the season created a real sense of suspense throughout and, aside from a few filler episodes; I thought the writing and the introduction of other clans gave the show some dramatic impetus. I still think sixteen episodes are too many but the war against the Saviours was gripping and overall there was enough bloody zombie deaths to entertain this horror fan. (Mark: 8 out of 11)

 

CINEMA REVIEW: THE HANDMAIDEN (2016)

MOVIE REVIEW: THE HANDMAIDEN (2016)

TITLE: THE HANDMAIDEN (2016)

DIRECTOR:  Park Chan-Wook

WRITERS: Park Chan-Wook, Chung Seo-kyung (from the novel Fingersmith by Sarah Waters)

CAST:  Kim Min-hee, Kim Tae-ri, Ha Jung-woo, Cho Jin-woong

**MAY CONTAIN SPOILERS**

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You may be too young to know or too old to remember but Channel 4 in the 1980s used to have an eclectic choice of arty independent and World Cinema films.  Now you get a few on Film Four but Channel 4 was a main outlet for interesting cinema not shown on the BBC or ITV channels. Channel 4 also used to, for a short period between 1986 and 1987 have a ‘Red Triangle’ on certain films to advise of sexual scenes and material that may be considered controversial. Not surprisingly the films with a ‘Red Triangle’ guaranteed nudity and erotic scenes causing audience figures to actually rise. After some moaning from the likes of Mary Whitehouse – a right-wing puritanical harpy who was a self-appointed anti-everything woman – the ‘Red Triangle’ was vanquished by Channel 4, but not before gaining notoriety and publicity.

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As a teenager I used to look forward to the more risqué content on Channel 4 as the Internet was at the virgin stage and yet to be invented; so titillation was often confined to late night films on a Friday night. Flash forward thirty years and because I’m more mature and it’s very easy to access pornography online I’m not a big fan of overtly sexual material in mainstream or independent features. Not sure why but I prefer subtlety and suggestion over all-out copulation. In Park Chan-Wook’s majestic erotic con-artist thriller there are some wonderfully subtle erotic scenes which raise the blood pressure and enhance the characterisation. There is also some serious scissoring between the two female leads going on too which in my view pushes the boundaries between eroticism, controversy and exploitation. However, this is the line Chan-Wook has always skipped along in classic films such as: Old Boy (2003), Sympathy for Mr Vengeance (2002), and Thirst (2009).

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The Handmaiden is set in 1930’s Korea amidst the backdrop of the Japanese occupation and the cultural differences between the two nations are expertly drawn and examined in the story. Class differences are also highlighted in a rich text which finds Sook-hee seconded to look after the neurotic Lady Izumi Hideko, who is a ward and being groomed for marriage by her controlling Uncle Kouzuki. I will not give any further of the plot away but safe to say it is an incredibly complex narrative structured into three parts which overlap different perspectives within flashbacks and contrasting character voiceovers and angles.  Did I enjoy it? Absolutely, this is a beautifully shot period masterpiece which I took great pleasure in viewing. In my view the running time was arguably over-long and a couple of the more overt sex scenes could have been trimmed. Nonetheless, the film had me gripped throughout.

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Park Chan-Wook directed a gem of a noir thriller called Stoker (2013) for his first Hollywood film, but here is a bigger-budgeted and thematically richer cinema affair. It takes a complex con-artist-twisting-plot and imbues it with an erotically charged and explicit feminist love story which finds sharp-witted female characters overcoming the dominant and deviant patriarchal beast. Moreover, Chan Wook’s screenplay is a masterful adaptation of the original novel, the wonderfully titled Fingersmith, by Sarah Waters. Like the Coen Brothers, Quentin Tarantino, Martin Scorcese, Christopher Nolan, Jacques Audiard, Michael Haneke to name a few, Chan-Wook’s work is always a must-see-at-the-cinema-event and you don’t need a ‘Red Triangle’ to ensure you watch it.

 (Mark: 9 out of 11)