The Past Month on TV #38

There are three major series for me to review this month, thanks to the UK’s highest-rated drama launch for a decade, Bodyguard; the debut season of Amazon’s heavily-promoted version of Jack Ryan; and a second season for the runt of the Marvel/Netflix litter, Iron Fist. Plus, shorter reviews of other stuff. All spoiler-free, of course.

So, without further ado…

Bodyguard  Series 1
Bodyguard series 1
A massive hit for BBC One from writer Jed “Line of Duty” Mercurio, Bodyguard follows copper David Budd (Game of Thrones’ Richard Madden) as he’s assigned to protect Home Secretary Julia Montague (Keeley Hawes), who’s trying to push through a tough new anti-terrorism act. As multiple terrorist attacks begin to take place, and Montague cosies up to the intelligence services, the series quickly morphs into a conspiracy thriller, with Budd struggling to know who can be trusted as he hunts for the truth about what’s going on and why.

Like Line of Duty, Mercurio excels at Big drama: this is a busy, fast-moving story that churns through plot. Not much here of the gradual, slow, “it’s really more about these characters as people” stuff we usually get from British drama. That’s not to say there isn’t fine character work, mind: Budd, in particular, is a complex and nuanced hero, who starts out calm and capable and is revealed to be… well, something else; so much so that you begin to wonder if he’s an unreliable narrator… The other thing Mercurio is great at is set pieces. In Line of Duty they’re often lengthy, jargon-filled police interviews, although he’s pulled off a couple of big action ones too. Bodyguard kind of merges the two, in that they’re talky but also usually involve bombs and guns. The series is bookended by them: episode one boldly devotes its opening 20 minutes to what initially seems like a prologue (unsurprisingly, it has more relevance later), and a massive chunk of the middle of the finale is taken up with another.

David Budd and Julia MontagueSome have criticised the series for being OTT, implausible, or having too many plot holes. Well, individual mileage will vary on that. It’s not a slice-of-life drama, after all — the larger-scaled storytelling is a genre thing, not an inherent flaw. It’s no more implausible than hundreds of other thriller TV series and movies, just perhaps not the kind we make much in the UK anymore. I’m always wary of accusations of plot holes — it’s a term that gets thrown around too liberally nowadays by, frankly, people who either don’t know what they’re on about or have a failure of imagination (“we didn’t see that happen on screen so how can it have happened” is, genuinely, the root of one prominent complaint about Bodyguard’s finale).

Still, I think the series’ main aim was to be an exciting guessing game — it’s a whodunnit, really, with a multitude of suspects and motivations. As that, I thought it was a success; and, based on the ratings and chatter, it looks like the public at large agreed. No second series has been commissioned (and, anyway, Mercurio is busy on the next Line of Duty until sometime next year), but I’d be surprised if we don’t see more.

(If you’re outside the UK, it was announced last week that Netflix have snapped up the international rights, where it will be available from October 24th.)

Jack Ryan  Season 1
Jack Ryan season 1The latest reboot of Tom Clancy’s CIA hero sees him get the TV treatment, which is perhaps the best place for a hero who is more about solving problems with his mind than his gun, and a storytelling style that cuts between lots of concurrent plots before later revealing how they interrelate. That’s something this season has done rather well, incidentally — it’s an original story, taking Clancy’s characters but not directly adapting any of his novels, but they committed to trying to emulate his “mosaic storytelling style”. I’ve never read any Clancy, so I’m not an expert on this, but they seem to have evoked it well. (Considering there are multiple Ryan novels that haven’t been adapted, it seems a shame to abandon them entirely. Maybe in a future season.)

The actual plot concerns — what else — Middle Eastern terrorism. On the bright side, it devotes as much time to the villains as to the heroes, painting a more detail picture than just “some foreign-looking people want to blow us up”. I don’t know if it has anything deep or new to say about terrorists and those who hunt them (we’ve had ten seasons of 24, seven of Homeland, and goodness knows how many other shows on this theme since 9/11 — it’s well worn), but it’s still effective as an intelligent thriller, bolstered by having a desk-jockey analyst as a hero rather than a trigger-happy soldier. Nonetheless, episodes are packed with incident, tension, and excitement. It’s not quite “a thinking man’s thriller” because I don’t think it ultimately has enough to say about things, but it is a lot more measured and realistic than your usual action-thriller fare, while still creating exciting (but also plausible) sequences.

Naturally, the season takes the form of “an 8-hour movie” (to be precise, it’s actually 6.6 hours long), because that’s what’s popular with prestige TV nowadays, but it also works on an episodic level. Put another way, it’s in parts that build to a whole, rather than a whole sliced up because it has to be. That’s not to say the series isn’t heavily serialised, mind (for example, there’s a random murder in episode two that doesn’t seem to relate to anything else, but then pays off at the end of episode four), but this is only a problem if you dislike non-episodic storytelling. I tend to agree that some shows take this too far, seeming to go nowhere on an episodic level because everything’s designed to be “one long story”, but Jack Ryan is one of those serialised shows that strikes a healthy balance between the two — it is one long story, but each episode conveys a solid amount of plot.

Field analystAn advantage the show has in this regard is its short length: with just eight episodes, the plot moves at a fair lick. It gets better as it goes on, too, as the various plot lines and characters begin to build and resonate with one another. Indeed, it’s something very rare, possibly unheard of, in direct-to-streaming series: one where I wished the season was a couple of episodes longer. Not that it’s rushed per se, but one or two subplots might’ve been even better with just a little more room to breathe; the main stories might’ve been even better with just a beat or two more in them. But in an era where streaming/prestige series are gaining a reputation for being bloated and not having enough story to fill their running time, maybe it’s better to leave people wanting more.

And I certainly do want more — season two’s already in production, and I’m looking forward to it. Although I enjoyed this season a lot, I do hope the next one takes us somewhere a little more original (and therefore interesting) than Islamic terrorists. I mean, how about those Russians and the tech espionage shit they’re pulling nowadays? Now that sounds Clancy-esque.

Iron Fist  Season 2
Iron Fist season 2The first season of Iron Fist attracted a lot of criticism, and, thankfully, the people behind the Marvel/Netflix series have listened. This second season doesn’t suddenly revamp the show into the best thing on TV or something, but it is a big improvement. They were hamstrung to an extent — as new showrunner M. Raven Metzner has said in interviews, you can’t reboot something like this: it has to keep to the continuity of what happened in season one, and in The Defenders, and in the other Marvel/Netflix series, and go from there — but they’ve made a fair fist of it, (there’s a good piece about what changes they made here), and by the end of the season the show is in a much better place.

It starts a little iffily, mind. I mean, the hero is a rich, privileged white guy with anger issues who appropriated another culture for his own ends, while the villains are the Asian guy who wants back his birthright that the hero took, and a businesswoman who wants her due from the company she helped build. If I was confident the show was going somewhere with that it’d be one thing, but it also feels like it can’t’ve been deliberate (considering the heroes also include a Japanese-American woman investigating her heritage and, later in the season, a black female cop), but it’s a definite reading of episode one. I began to worry it was going to accidentally pan out like some kind of Men’s Rights / White Supremacist show. Well, it’s not that bad, thank goodness — the season does make some nods towards tackling these issues (there’s a scene in episode six where Davos specifically calls Danny out on his privilege meaning he values nothing), but I’m not sure it truly engages with it, more hopes that if it’s acknowledged and sort of moved on from (I won’t say too much because of spoilers!) then we’ll let it slide.

So, even with that, a lot of things are improved over season one. Most things, even. But the show is at its best whenever its title character is off screen. Every member of the supporting cast and their relationships to each other is more interesting than Danny. At best he’s a bit nothingy, at worst an irritant. In fairness, I also suspect the show knows this, given its focus on Colleen — look how she shares the marketing. She makes a better lead character than Danny — her conflictedness about being a vigilante is certainly a richer seam than his privileged certainty, and Jessica Henwick excels in some properly kickass fight scenes, too. Among the supporting cast, Ward and Joy Meacham get some interesting material as well, again developing from what they went through in season one. Where back then it was just Plot Stuff to provide a story and twists, here there’s a genuine attempt to explore what the psychological fallout of that might look like. Plus, there’s a lot less stuff about the running of Rand Enterprises, something I called out the first season for ballsing up.

VillainsIronically, while the MCU movies became renowned for their poor villains, that’s the area the Netflix series have always excelled in. This season the star turn comes from Alice Eve as a version of Daredevil villain Typhoid Mary, who (spoilers if you don’t know the character!) has dissociative identity disorder (DID), aka multiple personality disorder — so she can be both sweet, timid, kind Mary, and hard, stern, violent Walker. It’s the kind of role that’s a gift for any actor, of course, and Eve is fantastic. Similarly, Danny’s childhood friend Davos gets to combine many of the traits I’ve described in other characters: motivated by past events; complex relationships to other characters (not only Danny, but, as the end of season one teased, Joy). He’s the kind of villain whose goal is almost relatable; where you almost side with him over the hero.

Across all of the characters and storylines, I think the season wants to be about addiction, but it doesn’t execute it as a throughline particularly well. Early on we see Danny being a little bit out of control with the fist; then, many episodes later, he explains he was addicted to it; in between, there’s a subplot about Ward being in NA and struggling to stay on the wagon. These two plot threads should be mirroring each other, not tag-teaming — and in a way that sometimes leaves the theme untouched for an episode or two, at that. It’s a shame, really, because if they’d managed that kind of cohesion in what the show was “about”, it may have been able to lay claim to being a genuinely very good show, rather than just a marked improvement on season one. Don’t get me wrong, I quite liked a lot of it, and I do think it’s a big improvement; but you can see signs that maybe it could’ve been something even better. But hey, even if it can’t offer depth, at least it can offer thrills. And really, it’s a superhero show — good vs. evil punch-ups are the order of the day.

Marvel’s Netflix shows have often faced accusations of being too long, of not having enough story to fill their 13 episodes. That’s a problem of story, not episode count, as The Defenders proved by not having enough plot to fill eight episodes. Nonetheless, Iron Fist now only has ten episodes, and it seems to have helped. The plot moves so fast that by halfway it feels like it must be nearing its end, but instead of going in circles, it has some more twists and tricks up its sleeve. And to complete the indication that the show is making an effort to head in new directions, the finale devotes about half its running time to wrapping up the main plotDaughters of the Dragon (via a whole load of fighting, natch) and then the second half to what happens after — not just the necessary “wind down” type aftermath stuff, but also a fair chunk of time into establishing where things will go in season three. Netflix hasn’t commissioned that yet, but I hope they do because I’m actually looking forward to it. Wonders will never cease.

Upstart Crow  Series 3 Episodes 1-3
Upstart Crow series 3Ben Elton’s Shakespearean sitcom commences its third run as funny as ever, if not more so — I’ve always enjoyed it, but it feels particularly on point this series. I guess its on-the-nose satire of modern life by transposing it to Elizabethan society (e.g. Will’s woeful carriage journeys between London and Stratford are an unsubtle riff on the problems with British railways) won’t find favour with everyone, mainly because it seems a little easy and there’s a monologue about it pretty much every episode, but I still find that stuff amusing. When Elton applies the same strategy to other aspects of modern life, it’s similarly as rewarding/obvious, depending on your predilections. But there’s also a solid vein of mining Shakespeare’s own works for humour, the best one so far this series being an extended bit about how all of Will’s friends think Hamlet is a comedy due to its farcical plot. There’s also a running subplot about Will’s nemesis, Robert Greene, trying to discredit him by making people think he doesn’t write his own plays, which nicely pillories those ridiculous theories, and includes a guest appearance by Ben Miller doing an amusing riff on Mark Rylance.

Reported Missing  Series 2 Episode 1
Not normally my kind of programme, this — a fly-on-the-wall documentary that follows police as they search for missing persons — but the ‘plot’ description for the first case piqued my interest. A dad reports his five-year-old son missing after having not seen him for two years due to a custody dispute with the mother. When the police track her down, she says the boy doesn’t exist and she doesn’t even know the man who made the report. Who is telling the truth? What’s really going on? It plays out like a low-key thriller. If you have access to iPlayer (the episode is here), it only takes up the first half of the episode and I’d say is worth half-an-hour of your time.

Also watched…
  • Daniel Sloss: Live Shows — A pair of live stand-up shows, recorded at different times and places, that Netflix have lumped together as a ‘series’. The first, Dark, is a masterpiece; it lives up to its name though, so avoid if pitch black humour isn’t your thing. The second, Jigsaw, isn’t quite as exceptional, but is still excellent. A definite cut above most other stand-up specials I’ve watched.
  • Hang Ups Series 1 Episodes 4-6 — I was praiseful of Hang Ups last month, but if anything it improved as it went on, with the finale a riotous farce.
  • The Imitation Game Series 1 Episodes 1-3 — ITV’s impression-based panel show is a bit odd (everyone’s busy pretending it’s improvised when much of it is clearly scripted) and dependant on the skills of the guests (some of these so-called impressionists should find a new job), but it’s pleasantly diverting. Plus it gave us this skit of Andy Murray singing I’m So Excited, which is spot on.
  • Magic for Humans Season 1 Episodes 4-6 — Like Hang Ups, there’s even better stuff here than in the first half of the season (which I also wrote about last month). Episode four, Seeing is Believing, is not only a fun magic show but also kinda profound.

    Things to Catch Up On
    Killing EveThis month, I have mostly been missing Killing Eve, BBC America’s critically-acclaimed, Emmy-nominated thriller about an MI5 officer hunting for an assassin. It aired in the US back in April, and it feels like ever since I’ve been hearing praise for it flowing across the Atlantic. It finally made its way to this side of the pond this month (for an organisation with “BBC” in their name, BBC America productions do take their time getting over here). As I’ve only just (as in “as of last night”) finished making my way through 24 episodes of Jack Ryan, Iron Fist, and Bodyguard back-to-back, maybe that’ll be up next.

    Although likely to get in the way is Maniac, Netflix’s miniseries starring Jonah Hill and Emma Stone that looks inherently interesting (based on the trailer — like Inception made by someone with a wilder imagination than Christopher Nolan) and is directed by Cary Joji Fukunaga, aka the recently-announced director of Bond 25. I’ve never seen anything he’s done, despite almost all of it being on my “to watch” list, so it’s about time I started. Expect reviews of both of those next month, then, alongside the return of a certain time traveller…

    Next month… Jodie Whittaker is the Doctor!

  • The Hunt for Red October (1990)

    The 100 Films Guide to…

    The Hunt for Red October

    The hunt is on.

    Country: USA
    Language: English & Russian
    Runtime: 135 minutes
    BBFC: PG
    MPAA: PG

    Original Release: 2nd March 1990 (USA)
    UK Release: 20th April 1990
    Budget: $30 million
    Worldwide Gross: $200.5 million

    Stars
    Sean Connery (Goldfinger, The Rock)
    Alec Baldwin (Beetlejuice, The Shadow)
    Scott Glenn (The Right Stuff, The Bourne Ultimatum)
    Sam Neill (Omen III: The Final Conflict, Jurassic Park)
    James Earl Jones (Star Wars, The Lion King)

    Director
    John McTiernan (Die Hard, The Thomas Crown Affair)

    Screenwriters
    Larry Ferguson (Highlander, Alien³)
    Donald Stewart (Missing, Patriot Games)

    Based on
    The Hunt for Red October, a novel by Tom Clancy, the first to star Jack Ryan.


    The Story
    After the USSR launches a new type of submarine with an almost undetectable engine, its veteran captain, Marko Ramius, ignores his orders and heads for the US. As the Russians hunt for him and the Americans try to intercept him, one question is on both sides’ minds: is Ramius intending to defect or start a war?

    Our Hero
    CIA analyst Jack Ryan is something of an expert on Ramius, and the main voice insisting the Russian intends to defect. With just days to prove his theory, the normally desk-bound Ryan must venture out into the field — the “field” in this case being the stormy waters of the Atlantic Ocean.

    Our Villain
    Submarine captain Marko Ramius, a hero in the USSR who trained most of their fleet, has been entrusted with their latest top-secret vessel, the Red October… but what is he intending to do with it? If Ryan’s right, he’s not such a villain after all.

    Best Supporting Character
    Commander Bart Mancuso is the captain of the US submarine USS Dallas, the first to encounter the Red October and, thanks to its genius sonar technician, the only one able to track it. Scott Glenn’s performance was based on a real sub captain the cast spent time with, Thomas B. Fargo, whose friendly but authoritative manner and relationship with his crew inspired Glenn.

    Memorable Quote
    “‘Ryan, some things in here don’t react well to bullets.’ Yeah, like me. I don’t react well to bullets.” — Jack Ryan

    Memorable Scene
    As the Red October navigates an underwater pass only traversable thanks to detailed maps and precise timings, the silent engine fails, forcing them to engage the regular motors — which attracts the attention of the Soviets hunting them. With a torpedo on their trail, Ramius takes the precarious navigation into his own hands…

    Technical Wizardry
    With much of the action taking place in the cramped confines of various submarines (the Red October, the USS Dallas, and another Soviet sub, the V.K. Konovalov), cinematographer Jan de Bont realised they would need a way for viewers to quickly determine which submarine they were on, especially when cutting between action on multiple vessels. He decide to subtly vary the colour of the lighting on each sub — blue for Red October, red for the Dallas, and green for the Konovalov — so that they would be distinguishable without belabouring the point. It works: while watching the film, it’s never confusing which sub we’re supposed to be on.

    Truly Special Effect
    Apparently director John McTiernan wanted to realise the underwater action with CGI, until ILM pointed out it was nowhere near that advanced yet. Instead, most of the underwater shots are models — and not shot underwater, but in a smoke-filled warehouse. They look fantastic, with small CG additions (like plankton or the wake of propellers) helping to sell the visuals. On the downside, some of the pre-digital compositing is now really showing its age — Alec Baldwin’s hair is see-through in the final shot!

    Next time…
    With the film a huge success, naturally more Jack Ryan adaptations followed. Technically the first two, Patriot Games and Clear and Present Danger, are sequels to Red October, but with Alec Baldwin busy the lead role was recast with Harrison Ford, so it feels more like the series starts over. For no apparent reason a fourth film in the series didn’t materialise, and so the series genuinely started over a decade later, with Ben Affleck playing a younger Ryan in The Sum of All Fears. That wasn’t a success, leading them to try again another decade later, with Chris Pine playing an even fresher Ryan in Jack Ryan: Shadow Recruit. That wasn’t a success either, which has led them down the path of adapting the character for television, with John Krasinski playing another young Ryan in Amazon’s Jack Ryan.

    Awards
    1 Oscar (Sound Effects Editing)
    2 Oscar nominations (Sound, Editing)
    3 BAFTA nominations (Actor (Sean Connery), Production Design, Sound)

    Verdict

    Everything ages: Tom Clancy’s debut novel was credited with helping start the techno-thriller genre in the ’80s, which I guess made this film adaptation cutting-edge when it followed shortly afterwards. Now, it’s the best part of 30 years old and, even if it’s not exactly looking dated, it certainly doesn’t look current — they don’t make big-budget spy thrillers like this anymore. But maybe they should, because Red October’s qualities stand the test of time: its story is driven by well-drawn, interesting characters (the committed everyman hero; the moral enemy submarine commander; and so on) and an overall sense of suspense (who will find the sub first? And how soon? And what will they do then?), rather than elaborate stunts or computer-generated effects. I like the latter too, but there’s room for variety in the cinematic landscape. Well, at least we’ll always have minor classics like this to watch again and again.

    The latest screen iteration of Tom Clancy’s hero can be seen in the TV series Jack Ryan, available to stream on Amazon Prime from today.

    Jack Ryan: Shadow Recruit (2014)

    2016 #69
    Kenneth Branagh | 106 mins | streaming (HD) | 2.35:1 | USA & Russia / English & Russian | 12 / PG-13

    Jack Ryan: Shadow RecruitKenneth Branagh, who once used to direct films based on Shakespeare and opera and that kind of thing, seems to have carved himself a place as a jobbing blockbuster director so far this decade: it started with a spot in Marvel’s then-burgeoning universe, adapting Thor; saw arguably its greatest success with the live-action remake of Disney’s Cinderella; and he’s now working on an adaptation of young adult action-adventure Artemis Fowl — all released by Walt Disney Pictures, incidentally.

    In amongst those, he helmed this: a second attempt (after 2002’s The Sum of All Fears) to relaunch (after a sortoftrilogy in the early ’90s) Tom Clancy’s CIA analyst-cum-spy (the titular Mr Ryan, obviously) as a Bond/Bourne-rivaling action-thriller franchise. It didn’t work. (Next try: make it a TV series for Amazon.) While I can’t pretend to be shedding any tears over the wasted opportunity of not getting another spy franchise, that’s not for lack of enjoyment: demonstrating perhaps even more versatility than with his comic book adaptation (which was kinda Shakespearean, really) or his Disney fairytale (which was a grandiose period drama, really), here Branagh managed to craft a very creditable action-thriller — with emphasis on the latter, an uncommon choice these days. Perhaps that’s why it didn’t catch on.

    Rather than going back to Clancy’s novels, Shadow Recruit chooses to relocate Ryan to the present day, and takes its inspiration from a 2007 Black List screenplay called Dubai. Dubai is, of course, a notoriously pricey Middle Eastern city, and therefore we naturally assume rich in oil. Shadow Recruit’s plot begins with the US refusing to veto a pipeline that will damage Russian oil interests — somehow, I suspect there wasn’t too much re-writing required here. Anyway, following this decision, Afghanistan veteran turned undercover CIA financial analyst Jack Ryan (Chris Pine) uncovers a plot to crash the value of the dollar, which will lead to a new Great Depression. Dispatched to Moscow to investigate, Badass Branaghhe comes up against oligarch Viktor Cherevin (Kenneth Branagh), the architect of the plan, which will be instigated by a massive terrorist attack on US soil. Unless Ryan can stop him, of course — with the help of his handler (Kevin Costner), and his fiancée Cathy (Keira Knightley), who’s followed him to Russia because she thinks he’s having an affair. I mean, he was sneaking around a lot…

    As I said, the film wasn’t a success, either critically or commercially — despite casting a young, theoretically popular lead in Chris Pine, it didn’t attract the young audience needed to produce blockbuster numbers these days. I guess playing the “thriller” rather than “action” card didn’t pay off, so maybe a TV series is a smarter move after all? I guess we’ll see. Anyway, I think the reaction has been unduly harsh, because Shadow Recruit is very effective at what it sets out to do, and is, in my view, easily the most entertaining Jack Ryan movie since at least the first, The Hunt for Red October. Perhaps that’s damning with faint praise: I was disappointed by both Patriot Games and Clear and Present Danger when I finally watched them in 2014, and I described Sum of All Fears as “an adequately entertaining two hours. Otherwise, it’s nothing special.”

    Shadow Recruit probably isn’t anything special either, mind. Branagh manages to mount a few excellent sequences, including a very tense dinner / infiltration combo in the middle of the film, where Cathy has to keep Cherevin occupied while Ryan nips over the road and breaks into the oligarch’s office, which develops into a solid car chase. The dynamic is also Just going for a runa little different to the action-thriller norm. Ryan has skills leftover from his military days, but he’s not a one-man army like Bond or Bourne — he needs help both on the ground and from tech guys behind the scenes, who play a vital role in… well, I was going to say “the climax”, but it’s “the bit just before the climax”. The climax is a chase around New York, because of course you have to end with a chase.

    This was meant to be a defence of Shadow Recruit and I feel like I’m doing a poor job. Thing is, it’s not up to the quality of the much-mentioned Two Bs when they’re at their best, but its relatively plot-and-character-orientated style distinguishes it from those franchises’ regular MOs. Plus Branagh brings a greater cinematic quality than you’ll find in, say, that Spooks movie, meaning Shadow Recruit straddles the divide between TV-level spying and big-screen action in a way that TV spin-off wanted to but couldn’t really manage. Perhaps the character really will work better in a big-budget TV series, then?

    4 out of 5

    Clear and Present Danger (1994)

    2014 #67
    Phillip Noyce | 135 mins | TV | 2.35:1 | USA / English | 12 / PG-13

    Clear and Present DangerI don’t know if it says more about me or the two Harrison Ford-starring Jack Ryan movies that I wrote 250 words of this review before I realised I was actually talking about Patriot Games. Weirdly, it’s this sequel that I thought was better.

    This time, Ryan finds himself getting a promotion thanks to his boss falling ill, just as a crisis explodes around drugs trafficking from Mexico to the US: a friend of the President is killed by the cartels, then exposed as being in cahoots with them. Uh-oh! Behind closed doors, and unbeknownst to Ryan, elements within the government plot to illegally send a super-secret squad into Mexico and kill those so-and-sos. As Ryan investigates the to-do legally, he begins to suspect something else is going on…

    Like its predecessor, the story for Clear and Present Danger winds out across multiple threads that aren’t directly connected for quite some time. However, their interrelation is a bit clearer, making the film feel more focused, in spite of its boosted running time. The plot isn’t exactly inspiring, sadly, but it does allow for a few more memorable sequences: an alleyway ambush on an American convoy, with Ryan in the thick of the action (a scenario which is apparently still used to train real troops); and, in a very modern twist, a sequence where Ryan hacks into a corrupt colleague’s computer, while the colleague tries to delete the files Ryan is looking for. Pretty cutting-edge for 1994.

    ConfrontationIt’ll come as no surprise that Ryan ends up exposing the nasty conspiracy — which goes as high as the President! But what does a good American patriot do when he finds out the practically-holy President has committed such a sin?! The novel ends with Ryan confronting him… and then deciding not to expose his secret war. Presumably this is thanks to Clancy’s obviously-Conservative political views. “Liberal” Hollywood, on the other hand, has given us a more just — and more satisfying — conclusion. Thank goodness for that.

    Though an improvement on its immediate predecessor, I wouldn’t say Clear and Present Danger was quite a stand-out addition to the espionage genre. Following an aborted attempt to restart the franchise eight years later in The Sum of All Fears, and what looks to be another twelve years after that, in last January’s Jack Ryan: Shadow Recruit, perhaps Jack Ryan’s popularity is destined to remain literary.

    3 out of 5

    Jack Ryan: Shadow Recruit is available on Now TV now and premieres on Sky Movies Premiere this Friday.

    Patriot Games (1992)

    2014 #53
    Phillip Noyce | 112 mins | TV | 2.35:1 | USA / English | 15 / R

    Patriot GamesA sequel to The Hunt for Red October in technicalities only (it’s another Jack Ryan adaptation, but he’s been recast; only one actor returns, in fact), Patriot Games is another political/espionage thriller from the pen of Tom Clancy.

    On a working holiday in the UK, former CIA analyst Jack Ryan (Harrison Ford) coincidentally thwarts an IRA assassination attempt on members of the royal family, killing one of the assailants. Also among the terrorists was the dead one’s brother (Sean Bean), who sets off on some new terrorising plot that ultimately leads him to the US, where he plans revenge…

    That’s more or less a summary, anyway, because Patriot Games is a sprawling tale. Although most of the major characters start off connected by that failed assassination, they soon splinter to go about their business in unconnected sequences, which finally come back together towards the end. To describe it as “novelistic” might be obvious, considering it’s based on a novel, but it’s not been streamlined for the big screen. The 112-minute runtime (PAL) looks speedy by today’s standards, when every blockbuster comfortably passes two hours, but it’s a lengthy narrative from a time when big movies were less overblown and got on with things — tell this amount of story today and you’d probably pass the three-hour mark.

    Unfortunately, sometimes it feels like Patriot Games has. Progressing multiple separate narratives gives a disjointed feel, leaving the viewer waiting for it to all tie together in some way. The storytelling is fitfully slow and kind of baggy, lacking pace. Oirish, to be sureThere’s a nasty synth score, just to make things drag more. There are some moments of brilliance though, not least the beautifully-shot boat chase climax. There’s also the dubious joy of seeing Sheffield’s most famous son, Sean Bean, doing an Irish accent. Co-terrorist Polly Walker is English though — twist! Not that her subplot really goes anywhere. Possibly she just couldn’t do the accent.

    Amusement comes unintentionally, and mainly thanks to its depiction of the Irish characters. One’s called Paddy O’Neill. No, really. Another seems to spend his time just sat around watching Clannad videos.

    Given its pedigree you’d expect Patriot Games to be a classic ’90s thriller. I’ve always been a bit surprised that it’s often around, but not more talked about. Now that I’ve seen it, I see why. Disappointing.

    3 out of 5

    Patriot Games is on More4 tonight at 9pm. The most recent Jack Ryan movie, Shadow Recruit, is available on Now TV now and premieres on Sky Movies Premiere this Friday.

    Tomorrow, I’ll take a look at the second Harrison Ford-starring Jack Ryan adaptation, Clear and Present Danger.