The Past Month on TV #35

In this month’s TV review: wah gwaan in Luke Cage season two, and “what’s going on?!” in Westworld’s finale.

Luke Cage  Season 2
Luke Cage season 2The ninth season of the MCU on Netflix takes us back to Harlem for the continuing adventures of the eponymous bulletproof black man. It’s hard to imagine a more timely superhero for America (maybe if he was an immigrant too), not that the series’ is actually all that concerned with such issues, aside from passing nods and references. Instead, it’s more of a gangster crime drama: the still-standing season one villains, underworld power couple Mariah and Shades, intend to go legit by selling their illegal gun business, using the profits to invest in social projects for Mariah’s beloved Harlem. Standing in their way is Bushmaster, a superpowered patois-speaking Jamaican gang leader, who has a long-held grudge against Mariah’s family — and he’s come for retribution.

This focus on the conflicts between the villains has led some critics to reckon that Luke Cage has been sidelined in his own show. That’s true to an extent: because we’re privy to Mariah, Shades, and Bushmaster cooking up and executing their separate schemes, Luke is left to kind of wander around, trying to figure out stuff we already know. At the very least, the series is as interested in its villains as in its heroes — I reckon if you totted it up, Luke and Marian’s screentime would be pretty comparable. On the bright side, this is a very character-driven season — it’s as concerned with who these people are and how they’re changed by events, rather than just the mechanics of the plot — and Luke is certainly no exception. For one, his estranged father is in town — a superbly nuanced turn from the late Reg E. Carney (who the season is dedicated to, appropriately), which lends a different perspective again.

Plus, picking up and running with a theme from the first season, Luke is now famous as “Harlem’s hero”, but this is going to his head a bit, negatively affecting his relationship with Claire. The series does a good job of reflecting the celebrity status of superheroes, something the other Marvel films and series haven’t really touched on. If these events were even vaguely real, there’s no way Luke Cage could hang out in Harlem without being noticed. So now there’s an app to track his whereabouts, merchandise, sponsorship offers, his actions make headlines, and wealthy fans are willing to pay for him to make personal appearances. Luke espouses an ambivalent relationship to all this: he’d rather it wasn’t happening, but it does have its uses — and those prove seductive.

Rulers of HarlemMike Colter remains a likeable lead, but, again, it’s a villain who steals the show: as Mariah, the brilliant Alfre Woodard is perhaps the best thing about the whole series. Her performance is consistently fantastic, selling every twist and turn of character the writers throw at her. The season is as much about what events do to her as it is about Luke. She isn’t entirely alone, though: there are plenty of great performances, and scenes to showcase them, throughout the season. Occasionally there are some really bloody terrible ones though, like the time detective Misty Knight and her captain argue loudly about a shared secret while they’re in a room full of other cops. Is that bad writing, bad acting, bad direction, or all of the above?

And sometimes the good stuff is spread a bit thin. There are points, especially midseason, where it feels so goddamn slow. Or maybe not slow, but long. Episodes seem to just keep going. One is called On and On, like some kind of joke at our expense. This is the case with so many of these streaming shows, though — most of them need more plot and/or tighter storytelling. I guess part of the problem is the 13-episode diktat, which presumably the showrunners have no say over. It’d be better if they could make the season the length it needed to be, rather than spin wheels to make it last as long as it has to. That said, most Luke Cage episodes use the full hour “time slot”, and a couple run over it, so if maybe they’ve kind of reclaimed the padding…

Talking of other shows, the last time we saw Luke Cage in Luke Cage he was headed off to jail, but he starts this season free as a bird. Oh, and another major character is missing an arm. MCU fans will know that, since the last season, The Defenders happened, in which we saw these major changes to these characters’ status quo. There are vague nods at explaining some of that for anyone who skipped the team-up miniseries, but, really, it assumes you’ve watched it; and that ‘issue’ crops up again later in the season, with a couple of guest appearances by characters from Iron Fist. If you’re not interested in any of the other Marvel/Netflix series and don’t want to invest eight hours to find out a couple of linking story points (because The Defenders’ main plot has nothing to do with Luke Cage’s storylines), then maybe you need to read a plot summary on Wikipedia or something.

Heroes for hireThe flip side to all that is that this interconnectedness will perhaps be comic book fans’ favourite thing about the show — the way it casually references other series, or suddenly brings their characters in for a guest spot, is just like how comic books operate. It’s pretty constant too: barely an episode goes by without a significant reference to or cameo appearance by someone from another Marvel/Netflix show; and these aren’t all mere Easter eggs, but sometimes quite important or vital pieces of plot or character development.

For all its variability, Luke Cage finds its groove as the season goes on, and the final few episodes feel like an improvement (though I’d still contend they’re longer than they need to be). It all builds to a finale that feels almost low-key — I mean, there’s war on the streets and a lot of minor characters die, but that’s almost incidental, because it’s all about the characters, their relationships to each other, and how those find (or fail to find) closure. No spoilers, but it ends in a really intriguing place for season three. That’s not been officially commissioned yet, but surely it’s inevitable. It’ll be interesting to see where they take things next.

Westworld  Season 2 Episodes 8-10
Riding into the sunset (metaphorically)And so Westworld’s sophomore run rides into the sunset, and I think it’s left behind more questions than answers.

When the show’s first season finally came to expose its secrets, there was a lot of oohing and ahhing — the twists and reveals, whether you’d guessed them or not, retroactively made a lot of sense, and suggested a good deal of cleverness on the part of the writers. Season two’s finale, on the other hand, seems to have been met with a collective “…huh?” Even plenty of people who enjoyed it confess to not understanding everything that was going on, while others have just given up at this point.

Personally, I’m somewhere in between. There’s a lot to like and admire about the closing hours of season two, not least the production values: the show looks fantastic, and the acting is top notch. But I won’t dismiss the argument that the writers have disappeared up their collective arse, because there’s a lot of tricksiness and jiggery-pokery going on here that is sometimes hard to unravel — a stark contrast to the end of season one, I think, which managed to make the games it had been playing clear. Perhaps in their bid to outwit Reddit users, Westworld’s second season seems to have been jumping through hoops merely to be cleverer than its viewers, and I’m not sure that’s paid off.

Dark DoloresExhibit A is the “Hale was Dolores all along” revelation. It’s a neat twist, almost up to season one levels, were it not undermined by the season’s own structure: Hale hasn’t been Dolores all along, and the muddled timelines make it hard to recall how many scenes we’ve had with “Halelores” (as the writers apparently dubbed her). In fact, one of the ways they hid her in plain sight was to limit her screen time: apparently she only popped up in episodes three and seven. Those scenes are littered with subtle clues to her identity, however, though I guess the Redditors missed them — probably because they couldn’t keep track of which timeline we were in either.

There’s so much else going on here that I don’t even know which bits to pick out. I guess that’s part of the problem: with so many conclusions saved up until the finale and then all stuffed in at once, there’s just too much to digest and process in one almighty hit. One of my long-held suspicions has definitely been confirmed though: despite the plot of the series’ movie inspiration, co-creator Jonathan Nolan isn’t really interested in making a thriller about a robot rebellion at a technologically-advanced theme park, but instead has set out to make Person of Interest 2.0, for good or ill. That’s only going to become more apparent next season, I think, which is set to leave the titular park behind entirely. It’ll be interesting to see how many viewers it takes along with it…

Things to Catch Up On
Preacher season 3This month, I have mostly been missing Preacher’s third season, which started this week. Well, I only watched the first two episodes of season two in the end, so I’m very far behind. There’s also another Marvel TV series, Cloak & Dagger (which is passingly referenced in Luke Cage, apparently). That’s releasing new episodes weekly (on Amazon Prime this side of the pond). So many of these weekly shows I now wait to be complete before I binge them, but then I don’t get round to it (cf. Star Trek: Discovery, Black Lightning, etc). Finally, I happened to spot there had been a French sci-fi series called Missions on BBC Four, just before it disappeared from iPlayer, so now I’ve got all of that downloaded too.

Next month… you know, I have no idea. I know it’s the summer, but there must be something coming up? Maybe I’ll finally take the chance to dig into my massive backlog.

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The Past Trisennight on TV #34

With the series finale of The Americans on UK TV tonight (at 12:05am on ITV4), I thought I’d bring my monthly TV review forward a bit and share my thoughts on the final season of a series that, for those of us who found it, will be sorely missed.

Plus! The latest episodes of Westworld — much more widely discussed than The Americans, but does it deserve the attention? And quick thoughts on the end of Archer Vice and another series finale, that of Peter Kay’s Car Share.

The Americans  Season 6
“It’s the end of the world as we know it, and I feel fine.”

The Americans season 6That song was released in 1987, the same year as the final season of The Americans is set. The show has typically avoided featuring well-known music in favour of cult favourites and obscurities, but R.E.M.’s classic would’ve been an appropriate number to hear during one of the series’ trademark music montages in the finale. (That said, it did contain both Dire Straits and U2, so they weren’t above using big hits.) Maybe it would’ve been a bit on the nose, but it certainly was applicable: it was the end of the world as the characters knew it, and so too for fans, as six incredible seasons came to a final end. But do we feel fine? That depends how you define “fine”. The show will be missed terribly, but goddamn if it didn’t stick the landing to cement itself as one of the greatest TV series ever made.

It all began with a good setup for a concluding season: finally, after years of disagreements about their jobs and their personal lives and how both should be handled, the world conspired to pit the Jennings directly — and secretly — against each other. The Americans isn’t usually so overt in its plotting, so it’s no surprise that the scenario doesn’t play out as a straightforward spy-vs-spy battle. But it certainly tests the lead characters both professionally and personally, and to an extent they haven’t been before, forcing them to question every one of their loyalties: to their employers, to their country, to their friends, to their family, and to each other. To say too much about how it unfolds would be a spoiler, obviously, but it has some clever ways of challenging even the characters’ most deeply-held beliefs.

Most spy-based TV shows ratchet up the scale or stakes season after season — I’m thinking of Spooks, where in season two they spent a whole episode debating the ethics of performing an assassination, but a couple of years later that was just routine first-act stuff; or 24, where season one was just about someone trying to assassinate a presidential candidate, but by season four it was about multiple coordinated attacks including bombing trains, kidnappings, melting nuclear power stations, shooting down Air Force One, a nuclear missile strike… The Americans has, if anything, gone in the opposite direction: there’s still spy stuff there, of course, and it’s as grounded as ever, but it’s increasingly taken a backseat to the characters’ relationships. Maybe this is just a matter of perspective, but I felt that in earlier seasons the spy stuff was the focus, No ordinary marriageegiven texture or sometimes affected by the relationships, whereas by this point the relative importance and impact seems reversed. I guess you could still enjoy it as “just a spy show”, but I don’t think you’d want to — the stuff you’re invested in has shifted. That was always the programme’s genius, of course: it’s not about spies who happen to be married, it’s about marriage through the prism of people who are spies.

For a while it almost doesn’t feel like the end (the season opener even begins with a montage set to Don’t Dream It’s Over), but then comes episode five, The Great Patriotic War, and suddenly years of stuff is brought to a head: the status quo and people’s values are flipped, then re-flipped; there are massive changes and developments — but all managed with The Americans’ usual understated believability. As the fallout begins in episode six, Rififi, you can’t tell where it’s going to go. It keeps the focus squarely on Elizabeth and Philip’s relationship, as if we could ever forget the show is, at heart, all about that, not the big spy stuff. The season isn’t just engrossing on a thriller-ish “will they get caught?” level, but also on an emotional “will they stay together?” one. A bit part of this is the performances by Keri Russell and Matthew Rhys, both of whom are so, so good — the subtleties and nuances of their performances, and the way the series trusts them to convey what’s needed with just silence at times, is phenomenal. That they haven’t received more recognition for their work here is a crime against television.

The penultimate episode, Jennings, Elizabeth, is where things really begin to come to a head, and Jesus, the tension! It’s hair-raising. It’s intense. It leaves your nerves shattered, not just during the programme but after it too. I’m glad I saved the season up to watch on consecutive days, because I don’t know how I’d’ve spent a week with that hanging over me. And as for the finale, somewhat ironically titled START… I’ve been worried about how they’d end the show basically since it started. I spent that last hour covered in goosebumps and with my heart in my throat, and it was kinda perfect. It didn’t give me everything I wanted, but perhaps it gave me all that I needed. The garage sceneAs a commenter on the A.V. Club’s review put it, “I have to say it is of greatest compliment that the show both wrapped up the story and left me wanting more. It felt equal measure satisfying and gut wrenching.” That’s exactly how I felt. Also, it contained what I have no qualms about calling one of the greatest scenes in TV history: just a handful of characters talking in a garage, and it was absolutely stunning, the true culmination of the entirety of the show.

If you haven’t been watching The Americans (and viewing figures suggest you probably weren’t) then do yourself a favour and rectify that at some point — a 75-episode masterpiece awaits. Without doubt, one of the greatest TV series ever made.

Westworld  Season 2 Episodes 5-7
Shogun WorldI wrote last time about how Westworld season one took a few episodes to warm up but eventually got me completely hooked. Season two is so far failing to pull the same trick — over half the season has felt like it’s still just getting underway to me. And then, in the blink of an eye, episode seven, Les Écorchés, catapults us from “just getting started” to “endgame” over the course of an hour. I’m not sure how I feel about all that. There’s some exciting and interesting ideas in the mix here, but what also feels like a bit of flailing around. Maybe it’s all in aid of a Big Surprise? Season one certainly had a few of those in its final episodes — they were the most talked-about part of the show in the end, I’d wager — so I assume they’re going to end up shooting for the same.

One thing they’ve definitely copied from that freshman run is the multiple timelines. Back then it was a secret, and it ultimately paid off, but now it’s out in the open, and I’m not sure what it’s for. I mean, there are some very basic uses in play — “how does Character X get from that situation in the past to this situation in the present?”, “where have half the cast gone between the past and now?” — but that seems a bit… facile. As I say, I hope they’ve got some surprise to pull out of their sleeve — something to do with how the hosts struggle to differentiate between memories and current events, perhaps — but it’s a long time coming…

Also watched…
  • Archer Season 5 Episodes 6-13 — While the change-of-setup idea seemed interesting at first, I’m not sure how much I actually liked Archer Vice overall. There were some good episodes, plus sundry character bits and lines, etc, but the cumulative level of enjoyment was less than I remember from previous seasons. Equally, it’s been four years since I last watched the show — maybe I’d just moved on? Well, I’ll continue on to season six anyway, especially as I believe that returns to the original spy-agency setting.
  • Car Share The Finale — A much-needed conclusion after series two’s cliffhanger (did they really think that was ever going to wash as a final ending?) It gave us the happy ending most people wanted (I saw a handful of dissenting voices on Twitter), and, even more impressively, managed to do so without sacrificing the series’ two-people-chatting-in-a-car format. It was pretty darn hilarious, too. If they ever want to do more I won’t complain, but it’s fine to leave it there this time, thanks.

    Things to Catch Up On
    A Very English ScandalThis month, I have mostly been missing A Very English Scandal, the Russell T Davies-penned drama about the real-life case of a ’60s politician and his secret homosexual lover. It seems to have gone down exceptionally well, and anything by RTD is always worth watching. Other than that, it feels like there’s a bunch of stuff on streaming I’ve been meaning to get round to and still haven’t. That list would keep us here all day, though.

    Next month… the MCU’s other black superhero returns to Netflix.

  • The Doozy of a Monthly Update for May 2018

    There’s a lot to say about this rather special May, so let’s just crack on with it.


    #91 Captain Underpants: The First Epic Movie (2017)
    #92 Phantasm (1979)
    #93 Laura (1944)
    #94 ManHunt (2017)
    #95 Anon (2018)
    #96 Absolutely Fabulous: The Movie (2016)
    #97 Trekkies (1997)
    #98 Trekkies 2 (2004)
    #99 FernGully: The Last Rainforest (1992)
    #100 Stalker (1979)
    #101 Shrek the Third (2007)
    #102 The Hangover Part III (2013)
    #103 Terminator 2: Judgment Day 3D (1991/2017)
    #104 Jigsaw (2017)
    #105 Batman: Gotham by Gaslight (2018)
    #106 O Brother, Where Art Thou? (2000)
    #107 Inferno 3D (1953)
    #108 Adventures of Zatoichi (1964), aka Zatôichi sekisho-yaburi
    #109 Coco 3D (2017)
    #110 The Pixar Story (2007)
    #111 Game Night (2018)
    #112 Lupin the Third: The Secret of Mamo (1978), aka Rupan Sansei: Rupan tai Kurōn
    #113 Live by Night (2016)
    #114 Christine (2016)
    #115 The Wild Bunch (1969)
    #115a The Wild Bunch: An Album in Montage (1996)
    #116 Allied (2016)
    #117 Colossal (2016)
    #118 It (2017)
    #119 Solo: A Star Wars Story (2018)
    #120 Deadpool 2 (2018)
    #121 All the Money in the World (2017)
    #122 Finding Dory 3D (2016)
    #123 The Warriors (1979)
    #124 American Made (2017)
    Laura

    Game Night

    Lupin the Third: The Secret of Mamo

    Deadpool 2

    The Warriors

    .


    • S’funny: it happened three weeks ago, so this is old news to me now, but this is officially an “I reached #100!” update.
    • Speaking of it being “old news”… the previous record for the earliest I’d made it to #100 was 28th May in 2016. At the end of March I very much doubted I’d even be close to that this year. But, come the end of April, I would’ve been disappointed if I didn’t smash that record. And I did, reaching #100 on 10th May.
    • This is the 10th year I’ve made it to my eponymous goal, out of 12 attempts. All the viewing I did beyond #100 means 2018 is already my 6th best year.

    That’s enough about #100 — how about the usual monthly perspective?

    • Well, May 2018’s total was 34 films. That surpasses the record set just last month to become my New. Best. Month. Ever!
    • Obviously that means it’s the best May ever, but it’s also the first time May has featured 20+ films (the previous best was 16).
    • Never mind 20+ — what about 30+? This is only the third month ever to cross that milestone, and the first time there have been two back to back.
    • Oh, and it maintains my ten-per-month minimum for the 48th month — four solid years. My longest run before this was seven months.
    • Naturally, this kind of behaviour smashes averages. May’s increases from exactly 12 to exactly 14. The rolling average of the last 12 months also shoots up by nearly two whole films, from 16.8 to 18.6. And the average for 2018 so far goes up even more than that, from an already-high 22.5 to a whopping 24.8. If that average were to continue, it would be remarkable: only four months in the history of 100 Films — i.e. 2.9% of months — would meet or surpass that figure.
    • Despite watching more films than there were days in the month, I managed to miss seeing one on May 23rd, which is one of the seven remaining dates on which I’ve ‘never’ watched a film (as first mentioned in July 2017’s update). The ball is now in June’s court to get that figure down to a nice round half-dozen.

    Whew, enough numbers! Here’s some stuff about the actual films…

    • I rewatched The Terminator back in December because T2 3D was hitting Blu-ray that same month and I hadn’t seen either film for years. Well, five months later, I finally (re)watched said sequel.
    • Even worse, I rewatched Finding Nemo back in July 2017 to remind myself what happened in it before I watched Finding Dory. Ten months later, I’ve finally watched that sequel.
    • This month’s Blindspot film: Sam Peckinpah’s bloody, quick-cut Western The Wild Bunch. Controversial for both those reasons on its release back in the ’60s, by golly if it isn’t still striking for them today!
    • This month’s WDYMYHS film: Andrei Tarkovsky’s acclaimed sci-fi mystery Stalker. It’s slower than his Solaris and I didn’t like it as much, but it did make me want to watch that again. Maybe I’ll pick it up in the current Criterion UK sale…



    The 36th Monthly Arbitrary Awards

    Favourite Film of the Month
    Well, this is tricky — so many films, so much choice. At the risk of sounding like I’m picking a runner-up, I really, really enjoyed Game Night and will give it a glowing review sometime near the UK home ent release, but I’ll probably give it four stars. Nonetheless, I guess it would’ve been the winner here if I hadn’t watched The Warriors last night, which I loved and will give the full five.

    Least Favourite Film of the Month
    Fortunately, this was a bit easier. While there were some underwhelming films this month, the only one I outright disliked was Phantasm. On the bright side, I watched it because the series’ Blu-ray box set was on offer and I was considering a purchase (I had the first film recorded off TV), so it saved me something like £36.

    Best Animated Film of the Month
    I watched seven animated films this month, which seems enough to warrant its own category. Two of them were Pixar films, both of which I enjoyed. Two more were American computer animations, which provoked a more mixed reaction. Another two were traditionally animated movies, both of which I enjoyed more than I expected to. But the victor is the last one: the barmy and kind of brilliant anime Lupin the Third: The Secret of Mamo.

    Bonkers Sex Scene of the Month
    Much to everyone’s relief, they chose to delete the infamous preteen orgy from It, which for all kinds of reasons is perhaps the all-time champion of this category. Brad Pitt and Marion Cotillard getting it on in the middle of a sandstorm seemed to provoke a lot of comment too, but that doesn’t quite beat the accidental weightlessness of having sex with a pilot midflight in American Made. Supposedly the scene was inspired by director Doug Liman bumping into star Tom Cruise while they were flying together. Well, what happens in the air stays in… the movie, apparently.

    The Audience Award for Most-Viewed New Post of the Month
    Maybe if I’d seen Deadpool 2 or Solo sooner, and reviewed them similarly fast, this might be a different story, but, for the second time this year, the view count is topped by my monthly TV column. (In second place was underrated Netflix/Sky Cinema original Anon.)



    My Rewatchathon continues at pace:

    #17 Superman (Expanded Edition) (1978/2000)
    #18 Deadpool (2016)
    #19 Mission: Impossible III (2006)
    #20 Dick Tracy (1990)

    I know this is already a pretty long update, but I have thoughts on almost all of these…

    This was the first time I’ve watched Superman for… decades, probably. It’s definitely the first time I’ve seen the “expanded” cut, but as it’s only eight minutes longer and mostly small extensions I didn’t give it a new number. Two of its longer scenes are very good additions, though, so it’s a worthwhile cut of the film. The even-longer TV version (over three hours!), a full print of which was discovered in Warners’ vault and released on US Blu-ray last year, is reportedly too long, slowing the pace to a crawl with unnecessary asides. I’ve sometimes thought about importing it for completism’s sake, but I doubt I’ll bother.

    When I reviewed Deadpool two years ago, I gave it a full 5 stars. That was rounded up from a 4.5 because of how much fun I had. Even then, I predicted it might not hold up so well to rewatches. Well, I was right. Not that I now think it’s bad, but without the refreshing novelty you get on a first viewing, I thought it was more of a solid 4.

    M:i:III will be the subject of a “Guide To” post nearer the release of Fallout. I considered giving Dick Tracy the same treatment, but I’m not sure I can be bothered. I watched it when I was very young and I think I liked it — I remember having some kind of tie-in book that I enjoyed a lot. The film used to have a bad rep, but apparently has undergone some kind of reevaluation recently. I’m not sure it’s merited. Some things are great — the production design and cinematography are incredible, hyper-stylised in a way that almost looks a couple of decades ahead of its time — but others aren’t, like the disjointed story, or the Danny Elfman score that seems to have been recycled from Batman off-cuts.


    Life, uh, finds a way (again) on the big screen… and not much else, as UK release dates start getting bumped for the sodding World Cup.

    On the small screen, catching up with last year’s Oscar nominees: The Post and Three Billboards finally came out on UK DVD & Blu-ray last week, and Darkest Hour (not The Darkest Hour) is out on Monday, though we still have to wait until the 25th for The Shape of Water, three-and-a-half months after the US. What is this, the ’90s?

    The Past Month on TV #33

    There’s much to see in this month’s packed overview, including a pair of BBC miniseries (as promised last month), a couple of comedies, the camp joy of Eurovision, and the return of Westworld. Plus, a word about the bloodbath that was the recent US renewal/cancellation season.

    The City and the City
    The City and the CityThe first screen adaptation of a novel by acclaimed British sci-fi/fantasy author China Miéville, The City & the City is a police procedural set in the unique location of twin cities Besźel and Ul Qoma, which occupy the same geographical space but inhabitants (and visitors) are forbidden from seeing the city they’re not in. When I first heard the pitch I assumed it was a Doctor Who-y sci-fi thing — that the cities were slightly out of step in time or something, and literally existed in the exact same space. Instead, they’re side by side, sometimes overlapping — there are places where the left-hand side of a road is in Besźel, the right-hand side in Ul Qoma. Residents are trained from birth not to see the other city. Apparently it’s partly an analogy for how we mentally block out unsavoury things in our own cities, but that doesn’t really come across in the screen adaptation, which is more focused on the murder mystery and its implications — it’s connected to a mythical third city, Orciny. In this respect it reminded me of Thomas Pynchon’s The Crying of Lot 49: our hero ends up investigating a very-secret, potentially dangerous organisation that may or may not exist, and whether or not they find it… well…

    This production makes for a dense, demanding drama, throwing you in at the deep end with all sorts of terms and jargon that treats the world as real, challenging you to keep up and work it all out as it goes. There’s no hand-holding here. I guess that explains its low ratings on IMDb and the raft of “people were, like, totes confused by David Morrissey’s new drama!” articles that accompanied its airing. In terms of what it is “about”, the visual style very much evokes ’80s Soviet countries in Besźel, with secret police and dated, rundown cars and gloomy yellow-brown palette; while Ul Qoma is characterised by blues, glass and steel, LCD screens — a modern metropolis, but with different kinds of oppression. It’s very timely in its depiction of far-right nationalist groups being ascendent vs those seeking unification and tolerance being crushed — I wonder if that’s why it got made now, or if it’s just a fortunate coincidence.

    Not everyone’s going to get on with The City and the City’s challenges, but there’s something here for those prepared to attempt the trip. Put it this way: after it finished, I popped on Amazon and ordered the book.

    Ordeal by Innocence
    Ordeal by InnocenceThe BBC’s latest Agatha Christie adaptation finally reached our screens after a delay for extensive reshoots (to remove a cast member accused of sexual misconduct, not on this production). It’s a grim tale of abuse and, of course, murder, but classy work by director Sandra Goldbacher kept it more in the tone of the Beeb’s excellent And Then There Were None and away from the dirge of their Witness for the Prosecution. It’s buoyed further by strong work from a star-studded ensemble cast — there are many names here who could (and, indeed, do) headline their own series or movie. (Nothing against Luke Treadaway, who’s very good, but why he’s in the key art (pictured right) when they could’ve included, say, Alice Eve, Eleanor Tomlinson, or Matthew Goode, I don’t know.)

    I’m only really familiar with Christie from screen adaptations, but it seems to me her rep for writing fundamentally-lightweight game-like murder mysteries comes from her ‘series’ — the books starring Poirot, Miss Marple, and Tommy and Tuppence — because her other work seems to be serious and quite dark. Maybe that’s just the route these recent adaptations have gone down, I don’t know, but it certainly differentiates them from the jolly tone of the next-most-recent Christie adaptations (2015’s Partners in Crime and ITV’s Marple, which ended in 2013). Though they also adapted Ordeal by Innocence as an episode of Marple back in 2007, so what do I know?

    Westworld  Season 2 Episodes 1-4
    Westworld season 2Last month I wrote a mostly praise-filled review of Westworld’s first season, but if I’d been reviewing it in smaller chunks then my comments on the first four episodes would’ve been very, very different — I know, because after episode four I happened to draft a paragraph about how, while it wasn’t bad, it was kind of a slog (most of that paragraph survived into my published review, actually). I’ve been trying to bear that in mind as season two gets underway, because once again it exhibits flashes of greatness amid a feeling that it’s really going nowhere fast. But in season one this was the setup phase, introducing characters and places and concepts and threads that would begin to come together and pay dividends as their purpose was revealed in the season’s second half. Hopefully they’re playing a similar game here. Equally, I hope they haven’t overcooked it — Westworld became notorious for the it-was-under-your-nose-the-whole-time reveals it pulled in the final few episodes, and if they’re trying to do that again but without as good a set of ideas, well, we’re all just going to be disappointed.

    Episodes  Season 5
    Episodes season 5A whole seven months after its US airing (and nearly three years since we saw the last series), the final run of this UK-made UK/US-coproduced sitcom finally reached British screens (a far cry from the days when that took less than 24 hours). Originally about a pair of UK sitcom writers struggling to remake their successful British series for the US market, Episodes is fairly removed from that format at this point — it’s just about the characters now, and mainly their trials and tribulations with each other rather than the whims of the US network TV system.

    I’m not sure that this was the funniest season, but at this point it seemed mainly concerned with wrapping up the lives of its characters, at least as far as we’re concerned (I mean, it didn’t kill them all off or something). So, unsurprisingly, the final season isn’t a great jumping-on point, as it mainly continues and resolves storylines and relationships hanging over from previous seasons. The final instalment even indulges in a series of time jumps to get us to an endpoint that is so predictable (but not unpleasant) that I reckon writers David Crane and Jeffrey Klarik probably had it planned from the outset. Whether all that time-hopping was economical storytelling or because they didn’t leave themselves enough episodes to let it play out in full, you be the judge. Anyway, Episodes at its best was almost sneakily great, and remains very good to the end.

    Eurovision Song Contest  Lisbon 2018
    Eurovision 2018There was drama to spare at this year’s Eurovision. Firstly, China were banned from showing it due to messing around with the semi-final broadcast (they censored tattoos, homosexual dancing, and Pride flags); then, on the big night itself, the jury voting was neck-and-neck right to the final country… before being completely upended when the public votes were added.

    But most talked about of all was a stage invasion halfway through the UK’s performance. In case you didn’t see it, a protestor ran on stage, grabbed the mic off the singer, tried to blurt out a message of some kind, before being hustled off stage, and then our act carried on with the rest of the song. Everyone was duly impressed by her fortitude, the UK’s odds of winning surged… and then we did crap in the voting anyway, because the rest of Europe still hates us. They also hate Russia, as evidenced by the crowd once again booing the nation for merely appearing during the voting. Apparently they’ve no such problems with Israel, though — their song may’ve had a popular feminist message, but it was also mired in accusations of cultural appropriation, and then there’s the whole Palestine thing too. We’ll see how much handwringing there is about that this time next year…

    Across it all was Graham Norton’s sassy commentary, which is the one benefit of being a UK Eurovision fan. Here are some of his best bits from this year — my favourite was #27.

    Also watched…
  • Brooklyn Nine-Nine Season 3 Episodes 18-20 — First it was cancelled, and I thought, “well, at least being two seasons behind means I’ve got plenty of episodes left for now.” Then it was uncancelled, and I thought, “noice.”
  • Car Share Unscripted — A special all-improvised edition of the commuting-based sitcom, which proves that, if your characters are likeable enough, just hanging out with them for half-an-hour is all you need. Next month: the series finale.
  • Friday Night Dinner Series 5 Episode 1 — Another great sitcom! I’m a couple of episodes behind, though. I was reading the other day about someone who caught up by bingeing nine episodes in one go. I can believe that.
  • Lucifer Season 2 Episodes 11-18 — Well, at least being a season behind means I’ve got a fair few episodes left for now, but I’m still disappointed it’s been nixed.
  • Not Going Out Series 9 Episodes 5-7 — I still like Not Going Out, but I feel like it’s not as funny as it used to be, too often getting involved in over-complicated plots rather than just being the gag machine it once was. Maybe that’s rose-tinted glasses for earlier episodes; maybe Lee Mack’s struggling for ideas after nine whole series — who can say?

    Cancellation season
    Brooklyn Nine-Nine — the most important cop show. Ever.Cancellation season has been and, I think, gone in the US, and this year was a particularly bloody one. The big news as far as Twitter was concerned was Brooklyn Nine-Nine, which caused such a ruckus that multiple other networks were interested and it found a new home within 24 hours. Lucifer also caused a bit of a stir, though there’s no sign of hope for that yet. Similarly afflicted were Designated Survivor (which was decently addictive enough that I binged through season one in just ten days and have been holding back on season two to do the same; apparently Netflix, who have the rights outside of the US and Canada, are contemplating a continuation) and The Expanse (which I haven’t started yet but has been on my radar thanks to Ghost of 82’s review), as well as a couple of other moderately-high-profile shows that I don’t personally watch. I guess the networks must have some really good pilots in the offing for next season… or, more likely, not. Well, you never know.

    Next month… time to say do svidaniya to The Americans.

  • The Past Month on TV #32

    Turns out I watched lots of great TV series this month, so here are several big ol’ reviews to try to explain what was so good about them…

    A Series of Unfortunate Events  Season 2
    A Series of Unfortunate Events season 2Abandon your vapid, facile distractions and set aside your very fine dramas, because it’s time to indulge in some vicarious fearsome disaster with the return of Netflix’s venerable family delight — a phrase which here means: A Series of Unfortunate Events is back.

    This season adapts volumes five to nine of Lemony Snicket’s thirteen-tome investigation into the terrible events that befell the Baudelaire siblings following the death of their parents; specifically, the many nefarious schemes of Count Olaf and his troop of miscreants as they endeavoured to steal the Baudelaire fortune. Although we left the Baudelaires feeling alone in the world — seeing as Olaf had managed to off each of their appointed guardians in turn, and the banker charged with finding them fitting accommodation is, well, incompetent — these episodes see the trio finding new friends and learning that secret forces are working in the shadows to keep them safe… though why they’re doing that, and who they are, is only slightly less mysterious than the inexorability of Count Olaf’s vendetta against the Baudelaires.

    Season two retains all the best qualities of the series’ first run, remaining witty, intelligent, satirical, literate, surprisingly attuned to genuine emotion, nicely scattered with meta-jokes, and manages to deliver all of this at a rate of knots that risks you missing one excellent moment while you’re still laughing at the last. What we get considerably more of here — much more than I was expecting, even — are answers. Reading between the lines (i.e. trying to avoid spoilers), I get the impression the book series left many things unresolved. Maybe the TV adaptation will too by the time it’s done, but at the moment it’s dishing out new information on the regular. It makes for an exciting game as a viewer, connecting up the snippets of info that are doled out, piecing together the bigger picture. There’s also some solid character development, on both sides: it seems there’s more to Olaf than just moustache-twirling villainy, while one story sees the Baudelaires indulge in an ends-justify-the-means betrayal that does them no favours later on.

    Not at all theatricalNeil Patrick Harris is having a whale of a time as Olaf and all his varied aliases, while the apparent earnestness of child actors Malina Weissman and Louis Hynes is clearly well measured for effect rather than poor work. There’s an array of memorable guest performances this season as well, from Kitana Turnbull, fantastically horrid as Carmelita, a little-goody-two-shoes teacher’s-pet bully the Baudelaires encounter in the opening two-parter; to Lucy Punch as an obsessive fashionista; to Sara Rue as a new inductee into the secret organisation trying to help the Baudelaires. Best of all is Nathan Fillion, born to play the fast-talking dashing hero who gets a ton of the best lines. If there’s a downside, it’s that we don’t see enough of some people. Unlike most kids’ fare (and, let’s be honest, some stuff made for adults), this isn’t a show where good is always rewarded and bad behaviour always punished, and that means some people may be shuffling out before we’ve had as much as we’d like. I guess the clue was in the title…

    It all ends on a bit of a damp squib cliffhanger. I mean, the series itself is in good shape: there are lots of mysteries left, with answers tantalisingly close, and most of the main cast are headed to a key location that’s pregnant with promise. But it’s undermined slightly with a big character reveal that doesn’t quite come off — they don’t reveal who the character actually is on screen (I guessed wrongly who she was meant to be, in fact), and while they’ve cast a moderately famous actress, she’s not famous enough for her mere presence to count as a reveal — and they put the kids in a moment of jeopardy that’s entirely empty — no one believes season three is going to begin with the two leads falling off a cliff to their death, do they?

    But, really, these are minor complaints in a show that continues to hit almost all the right notes. Fortunately season three is already in production, so hopefully there won’t be too long to wait for what should be a vehemently final denouement.

    Westworld  Season 1
    Westworld season 1With season two imminent (it begins tomorrow, people!) I finally got my behind in gear (it’s only taken 18 months) and missioned my way through the first season of HBO’s reimagining of the Michael Crichton film. I imagine that’s the last time I’ll be mentioning the original movie in this review, because while the TV series takes the basic premise and some of the iconography of the original, it has much bigger, deeper, broader ideas on its mind.

    For thems that don’t know, it’s about an immersive theme park — the titular Westworld — populated by robots, known as “hosts”, who imitate humanity with near-unerring accuracy. Guests pay a fortune ($40,000 per day) to effectively time travel, spending their time in the park as if it was the real Wild West, except with the freedom to do as they please with complete impunity — the hosts can’t hurt the guests, but the guests can kill, maim, or shag anything they like. And boy, do they. But the hosts seem to be developing, evolving, moving beyond their programming. The series follows both the adventures of some guests in the park and the activities of the team behind-the-scenes, trying to keep the show on the road and work out what’s going wrong. But most of all it follows a handful of hosts, who repeatedly live the same day on a loop, their memories wiped so they don’t realise it… unless, of course, that wiping isn’t 100% effective…

    Despite all the praise it attracted, I took a while to warm to Westworld. The first four episodes felt like a bit of a slog. There are good, even great, scenes and performances in those opening hours, and of course it’s introducing all the potentially interesting concepts and themes; but, much like the hosts, I felt like it was slowly going round in circles at times, and I felt little drive to push on and find out what happens next. I think I must finally know what it feels like to be one of those people who think Netflix shows don’t go anywhere fast.

    More human than humans?During its production Westworld hit the headlines because they shut down production for a while to retool the scripts and hone the story. Maybe this was why. If so, it paid off, because from the fifth episode things pick up considerably. Developments and twists really kick the mysteries into gear. Scenes between characters begin to carry more meaningful dialogue and affecting emotion. There’s even some action to give it a nice adrenaline kick at times. Rather than feeling like it’s ambling nowhere in particular, you feel like showrunners Jonathan Nolan and Lisa Joy have some very particular things in mind, but good luck guessing what they are because there are many surprises in store: however close you think you are to uncovering Westworld’s games, someone always has something else up their sleeve. It develops an almost Game of Thrones-esque ability to pull surprising but plausible developments out of ‘thin air’.

    It was interesting to observe that from the outside, actually. Famously, the series pulls off some pretty big tricks that are revealed in the final few episodes, but the hive-mind of Reddit figured most of them out well in advance. (Indeed, they also figured out some of what was going to happen in season two, leading to rewrites.) Therefore I’d had some of the twists and developments spoiled before viewing, or I’d learnt enough to figure them out easily for myself; but there were others… well, I guessed almost everything, I think. I’m not trying to brag — I know I’m far from alone in making those deductions. But it made me think: did I just have a leg up to get there, from hearing what other people had figured out? Or are loads of us super-duper clever and so ‘beat’ the show? Or is the show not as clever as it thinks it is? Maybe it’s a bit of all of those things. Audiences are so sophisticated nowadays, so used to looking out for clues and twists, especially in programmes that demonstrate or suggest a propensity for them, that actually pulling the wool over viewers’ eyes is nigh impossible — especially when your biggest fans are basically crowd-sourcing solutions.

    Who's in control?The other most striking thing about the show are the performances. It’s like an acting masterclass: there are numerous fine performers here, and they’re all doing their best work. Ed Harris, Anthony Hopkins, Thandie Newton, Evan Rachel Wood, Jeffrey Wright… they’re all so magnificent that I don’t know who to single out without going on forever. And that’s not to undersell the rest of the cast either, many of whom would be said to excel in most other shows, but here there’s just so much raw talent on display.

    So, over the course of the season I went from finding it a bit of a drag (I didn’t even like the theme music) to being completely enthralled (now I can’t get the theme out of my head). And season two is sure to spin off in all sorts of new directions, as the trailers confirm. I won’t be waiting 18 months to watch it this time.

    Archer  Season 5 Episodes 1-5
    Archer ViceHere in the UK, animated spy-comedy Archer originally aired on Channel 5, until they started really titting about with the scheduling, which is what led me to drop off watching. It’s all on Netflix nowadays though, so I’m finally getting back into it.

    This fifth season made huge changes to the show’s basic setup, even giving itself a new title in the process: Archer Vice. Obviously such a big reenvisioning generated lots of chatter at the time, some of which I overheard, and from the way people were talking about it I expected a ground-up reboot. That’s not really the case. Yeah, the situation has changed (instead of working for a spy agency they’re now trying to become drug dealers), but it’s all the same characters and the same style of humour. So, it depends how vital you think the “sit” is in “sitcom”, because while the backdrop is technically entirely different, everything else about the show is still in the same vein. In other words, it doesn’t feel like a reboot, just like the same show but with a huge change to the status quo. It almost proves Archer was never really about the spy stuff (which, as neat a hook as it was, it wasn’t) — as with most sitcoms, the “sit” is almost irrelevant: it’s the characters that matter. Now, all of that said, maybe these aren’t entirely the show’s finest episodes, but it’s still very funny. As I always say about comedy, what more do you need?

    Line of Duty  Series 4
    Line of Duty series 4Another superb performance from Thandie Newton here, as the subject of AC-12’s latest internal affairs investigation. She’s convinced she’s arrested a notorious serial killer known as “Balaclava Man”; our faithful heroes reckon she’s cut corners, overlooking serious concerns about the evidence; the higher-ups who were exerting pressure on her to close the case would rather it all just went away. And as is the Line of Duty way, some shocking early developments send things spiralling in different directions. After the programme had become increasingly mired in its multi-season meta-arc last series, culminating in an extra-long finale which brought much to a head, it’s refreshing to have a brand-new case… for most of the series, anyway. For all those last-minute connections, the real star here remains Newton, with a nuanced portrayal of a copper who starts out professional and certain she’s doing the right thing, then disappears off down a rabbit hole of increasingly serious indiscretions to keep her initial beliefs on track, before eventually revealing her true character by the end. I suppose there are some similarities to Keeley Hawes’ role in series two — a clever female detective running rings around AC-12 thanks to her cunning and intelligence — but when the performances are this good and the plots this knotty, does it matter?

    Lucifer  Season 2 Episodes 1-10
    Lucifer season 2While I very much enjoyed the first season of Lucifer, the second one ups the ante. This is mainly thanks to the addition of Tricia Helfer to the regular cast as a great antagonist: everything she does is motivated by what she thinks is best for Lucifer, but that’s not at all the same as what he wants. It makes for a different dynamic than you see in most series, where bad guys do bad things, however many shades of grey the writers pretend to find in them. Plus, although it continues to take the form of a case-of-the-week cop show, it’s putting increasing emphasis on both ongoing story arcs and the fantastical elements. It makes for a nicely balanced, addictively watchable show. The Devil has all the best tunes, indeed.

    Also watched…
  • Episodes Season 5 Episode 1 — The long-awaited final season of the Matt LeBlanc sitcom finally made it to UK TV this month. For various reasons I’ve only watched the first episode so far, so I’ll (probably) say more about the whole season next month.
  • The Silent Child — The Oscar-winning short film screened on UK TV this past month, and is still available on iPlayer. Review here.

    Things to Catch Up On
    The City and the CityThis month, I have mostly been missing the BBC’s miniseries adaptations of China Miéville’s The City and the City and Agatha Christie’s Ordeal by Innocence, both of which I’ve been saving up to watch in a more condensed fashion once they’re finished. The Christie ended on Sunday but the Miéville is only halfway through. Anyway, I imagine I’ll cover both next month. Also released this past month was Netflix’s big-budget reboot of Lost in Space, which I would’ve watched if I hadn’t been missioning my way through Westworld this past week. That might be here next month also. And finally, the last-ever season of The Best Show On TV™, The Americans, is underway in the US. Again, I’m saving it all up ’til it’s done, but I do intend to watch it promptly so as to avoid finale spoilers — my real hope is to time it just right so that I can watch the finale the day after it airs in the US, but we’ll see. Said finale isn’t until May 30th, so whatever happens I won’t be reviewing that until June.

    Next month… straight on to Westworld season two.

  • The Verbose Monthly Update for March 2018

    As the year reaches its quarterway point, my eponymous goal has (not for the first time) passed the halfway point. That and other equally delightful observations from my March viewing now follow…


    #37 Sausage Party (2016)
    #38 Jack Reacher: Never Go Back (2016)
    #39 In & Out (1997)
    #40 The Jungle Book 3D (2016)
    #41 Popstar: Never Stop Never Stopping (2016)
    #42 Where the Wild Things Are (2009)
    #43 Happy Death Day (2017)
    #44 Death at a Funeral (2007)
    #45 Annihilation (2018)
    #46 Death at a Funeral (2010)
    #47 Transformers: The Last Knight 3D (2017)
    #48 The Muppets Take Manhattan (1984)
    #49 Black Narcissus (1947)
    #50 Zatoichi’s Flashing Sword (1964), aka Zatōichi abare tako
    #51 Hot Tub Time Machine (2010)
    #52 Victoria & Abdul (2017)
    #53 Benji (2018)
    #54 Cars 3 3D (2017)
    #55 It Comes at Night (2017)
    #56 The Hangover Part II (2011)
    #57 Rocky (1976)
    #57a The Silent Child (2017)
    Happy Death Day

    Annihilation

    Benji

    .


    • This month’s 21 new feature films see me sail past the halfway mark.
    • I viewed #50 on 22nd March, which is the second earliest I’ve reached that milestone (behind 2016, when it was on 6th March).
    • 21 is the same number of new films as last month, both of which are ahead of January, so it again raises the 2018 average, from exactly 18 to exactly 19.
    • It also surpasses the rolling average of the last 12 months, but it’s only a sliver higher than March 2017, which means it only increases the average from 15.1 to 15.2.
    • The 2018 Oscar winner for Best Live Action Short Film, The Silent Child, becomes the first short I’ve watched this year. (The previous low for number of shorts watched in a year was 2014, with just two, so I only need to watch a couple more in the next nine months to avoid that fate.)
    • This month’s Blindspot film: Powell and Pressburger’s Black Narcissus, which I selected because it was on TV shortly afterwards and it’s always nice to a tie a review to something. But then I had conflicted feelings about the film, so no review yet while I continue to ponder it.
    • This month’s WDYMYHS film is the Best Picture Winner that inspired a nation, apparently: the original Rocky. Now, just six more of them to go…



    The 34th Monthly Arbitrary Awards

    Favourite Film of the Month
    There wasn’t a single 5-star film this month, but I do have a solid array of 4-star-ers to choose from for this award. Similarly, while there were a couple of very acclaimed features amongst my March viewing, I think the movie I most enjoyed was Groundhog Day-meets-Scream horror flick Happy Death Day, which I can’t help but feel has been somewhat underrated.

    Least Favourite Film of the Month
    There were also very few disasters this month. That said, I did finally get round to Where the Wild Things Are and was thoroughly disappointed. However, while that may’ve been the greatest gulf between my hopes and the reality, I’m still going to plump for the remake of Death at a Funeral in this category — I may’ve had low expectations, but it still didn’t meet them.

    Most Prolific Director of the Month
    I watched three films directed by Frank Oz this month — not deliberately, it was just one of those random coincidences. He’s only directed 12 films, so that’s a full quarter of them. They were: In & Out (which has been available to stream on Sky Cinema for years and goes on my “to watch” long-list every time I get a subscription; this year, it actually made it, on Oscars Sunday (if you’ve not seen the film, it was appropriate viewing for the occasion)); Death at a Funeral (for a while I’ve wanted to watch both this and its remake side by side, and one each was available on Netflix and Sky Cinema while I happened to have both services (a rare occurrence)); and, finally, The Muppets Take Manhattan (because I’m gradually making my way through all the Muppet movies (this is the third)). Review spoiler: I gave them all 3 stars.

    Most Number of Film Series I’ve Been in the Middle of Watching at Once (Probably)
    While I was watching Rocky towards the end of the month, I realised that technically meant I’d embarked on watching the Rocky series; and that made me realise how many film series I’m in the middle of right now. Not counting ones that we’re all in the middle of while we await further instalments to be released, but including rewatches as well as first-time viewings, I reckon I’m currently partway through fourteen different series (“series” being anything that’s a trilogy or greater). Those include, in alphabetical order: the Back to the Future trilogy, Die Hard, the Disney canon, the Hangover trilogy, James Bond, Jaws, the Man With No Name trilogy, Mission: Impossible, the Muppets, Rocky, Shrek, Terminator (though I only really intend to follow up December’s viewing of The Terminator with T2 in 3D and then stop, so maybe it shouldn’t count), Twilight, and Zatoichi. Phew! (And I still feel like I’ve forgotten something…)

    The Audience Award for Most-Viewed New Post of the Month
    For much of the month my review of much-discussed Netflix “original” Annihilation was in pole position here, but in the last week it’s been pipped by my monthly TV column — the first time that’s bagged the award this year, but (based on last year) surely not the last.



    After last month’s larger-than-average selection, this one is half as big… but that still leaves me slightly ahead of target.

    #11 Bad Boys (1995)
    #12 The Jungle Book (2016)
    #13 Bad Boys II (2003)

    Like The Love Punch last month, The Jungle Book earns a speedy rewatch by being all-round family entertainment (and by being freshly added to Netflix the day we watched it, too). Similarly facilitated by a streaming service, I’ve been intending to rewatch and reassess the Bad Boyses for a while, and the opportunity presented itself while I had Sky Cinema to watch the Oscars.

    Next month, hopefully I’ll get back to my Shrek and Mission: Impossible series rewatches. Plus, perhaps a Marvel or two before Infinity War arrives.


    Marvel Cinematic Universe: Episode XIX.

    The Past Month on TV #30

    So, this TV overview is a little later than normal — a full nine days, in fact — but I guess no one notices that but me, so let’s get on with the shows:

    Strike  Series 1
    Strike: The Cuckoo's CallingAdapted from the series of novels by Robert Galbraith — the mystery-writing pseudonym of one J.K. Rowling — you might’ve assumed this would’ve followed in the footsteps of the author’s other literary series and have Hollywood come a-knocking. Maybe they did, but TV is a more natural home for the material: it’s a decent low-key murder mystery with appealing lead characters, which is the sort of stuff that can generate TV ratings but doesn’t spell box office nowadays (well, unless it’s Murder on the Orient Express, with its $350 million worldwide gross, but that’s a different kettle of fish). While the general shape of the drama is familiar from, well, every other TV detective show, Rowling’s well-known interest in social issues regularly comes through — not least in its two main characters, one of whom is a war veteran living with the realities of an amputation, the other a talented woman finding equality in the workplace. I suppose that’s all very timely.

    The series’ biggest challenge is not whether it’s original or not (that’s clearly not a problem), but may be whether it can keep itself going long-term. Rowling isn’t the type to let other writers dream up new stories for her characters (the path that ends up fuelling most initially-book-based detective shows), but she’s not exactly pumping the novels out either: this first series adapted the initial two books; an adaptation of number three starts tomorrow; and… that’s all she’s published, for now (there are reportedly plans for ten more books). Will Strike end up with a Sherlock-esque production schedule? Or will it just quietly disappear when viewers and/or the cast lose interest after a couple more adaptations? Only time will tell…

    The Good Place  Season 2
    The Good Place season 2Having blown the doors off its own enjoyable premise with a clever twist at the end of season one, I was worried The Good Place had left itself with nowhere to go in the future. Fortunately, that isn’t the case. A cleverly-structured double-length opener burns through what I thought would be the entire second season’s plot, and then the second episode burns through even more ideas at a rate of knots. Where most sitcoms find an idea and milk it for all it’s worth (that’s the “situation” part, after all), The Good Place is restlessly inventive.

    That said, it does begin to settle into a new status quo, and at that point it goes off the boil a little. It’s still funny, but not so much as the first season was, and by standing relatively still it’s not as exciting. But then, a little over halfway through, it begins to tear it all apart again, and we’re off on a wild ride where you don’t quite know where things are going to end up — there are several episodes that most other shows would’ve been more than happy to make their finale, but The Good Place just keeps up the “and what happens after that?” barminess. But it does have to end eventually, of course. It doesn’t have a massive twist to rival the end of season one, but then trying to top that would be a fool’s errand. No, instead it sends the show spiralling off in a whole new direction. Superb.

    Absentia  Season 1 Episodes 1-6
    AbsentiaStana “Beckett from Castle” Katic stars in this mystery-thriller, an Amazon exclusive in the US and UK (and everywhere else there’s Amazon Video, I presume). She plays FBI agent Emily Byrne, who was declared dead in absentia after she disappeared while on the hunt for a serial killer. Six years later, she turns up alive, apparently having been held captive all that time — even though the main suspect was convicted of her murder and has been in prison. Events quickly take a turn where her former colleagues wonder if Emily was in on it too, meaning she has to go on the run to prove her innocence. Of course, none of those people ever stop to wonder what she’s actually been up to for six years (it’s not like the killings continued), or why she’d decide to fake her comeback now, or… all sorts of other things. A subplot with her kid — who was too young to remember her, and now has a new real mom because his dad remarried — has emotional potential, but goes a bit too swimmingly at first and then is soon abandoned in favour of shoot outs, and unearthed skeletons (both figuratively and literally), and all that mystery-thriller stuff. So this isn’t one to think about too much, in any respect, but it’s passably entertaining as a pulp thriller. I’m going to stick with it until the end, at least, but I kinda hope it doesn’t try to end on a cliffhanger — I’m not sure I want a whole other season (or two, or three, or more).

    The X Files  Season 11 Episode 1
    The X Files season 11The second season of The X Files since its revival only recently started airing in the UK, but we’ve caught up as far as episode three now. Well, the broadcasts have — I’ve only watched the first episode, and it was so goddamn terrible I’ve not had the heart to continue. (I will, I’ve just not mustered the motivation yet.) Said opener was My Struggle III, continuing the series’ never-ending mythology arc plot, which last season (two years ago now!) was covered in My Struggle I and My Struggle II. Well, at least the mythology episodes are clearly marked these days — there’s a My Struggle IV later in the season, for our sins.

    Anyway, the problems with My Struggle III are manifold, but the key one is that it’s confusing. Partly that’s because it plays heavily off what happened in Part 2 — which, as I say, was two years ago now — and partly because it all builds on the entire history of the series’ overarching storyline, which is long and complex and I haven’t even seen all of. (Someday I need to sit down and properly watch the entire show, all 218 episodes of it. Goodness knows when.) But even allowing for that, this was a bad hour of television — poorly made, with strange stylistic choices (what was with all that random voiceover from Mulder?) Ugh. But hey, I guess most of the season will be standalone monster-of-the-week episodes; and while that as a format has fallen out of favour in the past couple of decades (everybody loves serialisation now), I think it’s what The X Files has always done best.

    The Man from U.N.C.L.E.  Season 1 Episodes 1-4
    The Man from U.N.C.L.E. season 1I’ve had this knocking around waiting to be watched for yonks after I picked up the complete series DVD set on offer. (“For yonks” being “since 2015” in this case.) I remember seeing some episodes as a child and enjoying them, though I don’t remember any specifics. I guess they were from the show’s later, crazier, full-colour years, because these early black-and-white adventures don’t quite chime with that vague sense-memory of what the show should be. That said, although they start out almost serious (as ’60s spy-fi goes, anyway), by just a couple of episodes in there’s already a kookier side on display. Anyhow, I expect the best is yet to come.

    Murder on the Blackpool Express
    Murder on the Blackpool ExpressThis one-off feature-length comedy aired at the end of last year, presumably timed to tie-in with the theatrical release of Kenneth Branagh’s Murder on the Orient Express — as the spoofing poster highlights, of course. (Who thought I’d wind up referencing that film twice in a TV column nearly four months after it came out? I really ought to get on with reviewing it…) Truthfully, that poster is probably the best thing about this. There’s a large cast, all recognisable from a host of British sitcoms, but half of them go underused. Those that do have a part to play get material that’s fairly amusing, amid a plot that’s somewhere between predictable and too mad to be guessable. It was funny enough on balance, but it didn’t live up to its full potential.

    Also watched…
  • The Brokenwood Mysteries Series 3 Episode 1 — Murder with a Kiwi accent.
  • Castle Season 8 Episodes 16-22 — Murder with an American accent.
  • Death in Paradise Series 7 Episodes 3-7 — Murder with a Caribbean accent.
  • Vera Series 8 Episodes 2-4 — Murder with a Northumberland accent.

    Things to Catch Up On
    Altered CarbonThis month, I have mostly been missing Altered Carbon, Netflix’s cyberpunk murder mystery. Reviews looked to be mixed, so I haven’t actually decided whether to bother with it or not. Two series I will definitely (intend to) get round to, but I’m saving up to binge once they’re done, are: BBC Two’s starry political thriller Collateral (led by Carey Mulligan, John Simm, Billie Piper, and no doubt some actors who haven’t had significant roles in Doctor Who. FYI, it’s coming to other counties as a Netflix “Original” next month); and the latest run of Scottish detective drama Shetland (the last series of which was covered in the early days of this column).

    Next month… the MCU returns to Netflix in the unique shape of Jessica Jones.

  • The Past Month on TV #29

    After the bustle of Christmas TV, it’s been a quieter January on the box here at 100 Films Towers. Nonetheless, I did catch up with one of the best series of 2017 — possibly of all time…

    Blue Planet II
    Blue Planet IIDespite the massive hype, I missed this when it aired. I say “missed” — I always intend to watch these big natural history shows, then never get round to them. I confess, it was new tech that persuaded me: after I saw it was all available in UHD on iPlayer, I had to give that a go. And…

    Wow.

    That’s the only word for it, really. Well, it isn’t — “stunning” would be another one. Incredible. Wondrous. Mind-boggling. I’m talking about both the UHD photography and the series itself here. In the latter camp we can also add educational, and informative, and eye-opening, but those are kind of a given — it’s a BBC David Attenborough series, of course it nails that part. Attenborough’s script and delivery strikes the perfect balance between acknowledging the creatures’ intelligence and personalities without slipping into anthropomorphising them. But many of the creatures and places we’re shown are almost unbelievable. Never has that old chestnut “we know more about the surface of the Moon than the oceans” seemed more true. James Cameron is planning to explore the alien life in Pandora’s oceans in Avatar 2, but he’s going to have to go some way to imagine anything more alien than what’s to be found in our real depths. I wonder if he’s seen this? He should. Everyone should.

    If that wasn’t enough, the visuals are awe-inspiring. The vibrant colours of some of these creatures were incredible, unquestionably enhanced by the wider spectrum of HDR. The level of detail the extra resolution seems to afford made it all feel very real too — creatures like dolphins and sharks don’t show gaudy colours, but the texture and sheen of their bodies felt like you could reach out and touch it.

    I wish you could see this in HDR...Now, I didn’t do a comparison to the regular HD stream, so I can’t really say how much better the UHD made things, but I do have a few observations. Related to it looking “more real”, after viewing I saw a good resolution photo taken for the series of one creature (this chap) which didn’t seem to capture the texture of its body in the same way the episode did. That could be the added effect of motion vs a still photo, but it could also be the extra detail from 4K. And talking of comparing still images, when a UHD episode was selected it displayed the iPlayer menu in UHD/HDR too, so I was able to do a direct comparison of each episodes’ key image. In particular, the one pictured above (from episode five) really showed off the vibrancy of HDR.

    Finally, the making-of bits they have at the end of every episode looked more muted than the main show, and I wouldn’t be surprised if that’s because they were finished at HD rather than UHD. But that’s not to say those segments looked bad. So while I feel fairly sure the HDR image was better to at least some degree, I’m also certain that at least some of this marvellousness would come across in regular ol’ 1080p — quality does filter down with image resolution, and they’ve done such sterling work here.

    Anyway. Like everyone else, I can’t recommend Blue Planet II enough to anyone… but doubly so if you have a chance to see it in UHD with HDR.

    Little Women
    Little WomenAs I mentioned last time, I’ve never seen or read a previous version of Little Women, but apparently this new one was pretty faithful so I figure I’m all learned about it now. The biggest change appears to be in the ages of the four eponymous heroines: in this version they look to be about the same age, in their late teens or early 20s at the start, but in fact they should be 16, 15, 13 and 12. Quite different. A challenge for adapters, though, because the story covers a timespan of five or more years (by my reckoning). Other films have dodged this by casting two actresses in some roles, but this adaptation sought to avoid that. It has its cons (an early petulant act comes across very differently if done by a 12-year-old versus a c.17-year-old, I think), but it is what it is.

    Anyway, setting that point aside, it seems quite clear why the book has endured in popularity. (Or, if you prefer, books — in the US it’s one novel with a Part 1 and Part 2, but in the UK it’s separated as Little Women and Good Wives. This version adapts both.) There’s a certain tweeness and sweetness to it — it’s about four sisters who are poor but not that poor and all love each and do fun homely things and have romantic entanglements and so on and so forth — but it’s laced with enough seriousness and sadness (to say more would be spoilersome) to add a bit of welcome grit. Plus the big central romance doesn’t pan out how you might expect. Actually, it develops with a solid dose of realism that more romance-based storylines might benefit from.

    This particular adaptation shines with the typical high quality of a BBC drama, with a recognisable elder cast (Emily Watson, Dylan Baker, Michael Gambon, Angela Lansbury) being equalled by a quartet of newcomers and almost-newcomers as the girls — including Maya Hawke, who looks scarily like her mother, Uma Thurman. (Once you’ve seen it, you can’t unsee it. Seriously, it’s like they’ve used time travel to cast a young Uma Thurman.)

    Also watched…
  • Bright — Well, some people counted it as TV. Review here.
  • Death in Paradise Series 7 Episodes 1-2 — As sunny, breezy, and predictable as its island setting. Reliably lightweight and cheery viewing for dreary January.
  • The Great Christmas Bake Off — For a show just about people competitively baking that I watched in the middle of January, this was surprisingly heartwarming and Christmassy. (Not watched the New Years special yet because the trailer looked strangely disappointing.)
  • Not Going Out The True Meaning of Christmas — The plot may be predictable, but writer-star Lee Mack keeps the jokes coming thick and fast.

    Things to Catch Up On
    McMafiaThis month, I have mostly been missing the BBC’s pair of big, grim January dramas, McMafia and Hard Sun. They both seem to have received a very mixed reaction (not that I’ve been following too closely because, y’know, spoilers), but both have intriguing setups: the former a drama about the global business of the Russian mafia inspired by a non-fiction book; the latter a pre-apocalyptic sci-fi/crime thriller from the creator of Luther.

    Next month… no specific idea, to be honest. But I’ve got the latest seasons of The Crown and Peaky Blinders waiting to be binged, and plenty of Arrow and The Flash to catch up on.

  • 2017: The Full List

    2017 — the 11th year I’ve been doing this 100 films challenge, and the fifth consecutive year I’ve surpassed that goal. Below is the full list of new films I watched this year, all linked up to reviews and that. (“And that” being my “coming soon” page for the dozens of films I’ve not actually reviewed yet.)

    My “Full List” post is an annual tradition round these parts, of course, but this year it undergoes its biggest change of format since 2012, when I switched from listing my viewing in chronological (aka numerical) order to listing it alphabetically, and also added the “as it happened” section. This time, however, it’s an even bigger change — the biggest change to this annual tradition ever, in fact.

    I’ve got rid of the statistics.

    “What, completely?” No, of course not — as regular readers will know, they’re the best part of the year! (They’re my personal highlight, anyway.) Now they’ll be in their own post. Frankly, I don’t know why I haven’t separated them off sooner. Tradition, mainly. Anyway, I think they belong there. Expect that post tomorrow.

    In the meantime, there’s also a new addition to this post: TV reviews. As this was the first full year I’ve run my “Past Month on TV” column, and as there’s an ever-growing consensus to consider television on an equal footing with cinema as a narrative visual art form, and as that’s a position which I broadly agree with, it felt only right that I included my TV reviewing in this big ol’ list of reviews.

    So, time to crack on with things. As this post is just a long list of words and pictures, if you don’t fancy the scroll (or the swipe, if you’re on one of them newfangled touchy-screens) here are some handy links to jump to whichever bit might interest you:



    Below is a graphical representation of my 2017 viewing, month by month. Each of the images links to the relevant monthly update, which contain a numbered list of everything I watched this year. This is also the only place where I’ve listed the 52 films of my Rewatchathon. There’s other exciting stuff in there too, like my monthly Arbie awards.












    And now, the main event…


    Alternate Cuts
    Other Reviews
    Shorts
    Alien: Covenant

    Babe: Pig in the City

    Black Swan

    Candyman

    Death Note

    Don't Breathe

    The Driver

    Get Out

    Ghostbusters

    Guardians of the Galaxy Vol.2

    Hidden Figures

    Jackie Brown

    Kubo and the Two Strings

    Logan

    Moana

    Moonlight

    New Tale of Zatoichi

    Robin Hood: Men in Tights

    Rurouni Kenshin

    Sing Street

    Star Wars: The Last Jedi

    That's Entertainment

    Twin Peaks: Fire Walk with Me

    War for the Planet of the Apes

    Your Name

    Mad Max: Fury Road - Black and Chrome

    The Terminator

    Hotel Chevalier

    .

    Across 16 ‘monthly’ columns I reviewed a significant amount of television this year, and so I thought I should include it in my wrap-up. But rather than just link to 16 posts each containing a grab-bag of programming, I thought it would be more useful to list every series I commented on and then link to the relevant post(s). That also shows up just how much TV I watch…


    Tomorrow (hopefully): analysing all of the above in exciting statistics!

    Soon: ranking all (well, some) of the above in my lists of the best and worst films I saw this year.

    My Top 5 Most-Read New Posts in 2017

    Last year I published a Top 5 of my most-read new posts in 2016, mainly to point out that I had no idea why the post that was #1 was #1. This year there’s no such oddness, but as I found it an interesting(-ish) exercise nonetheless, here we go again…

    This year, all five of my most-read posts are from my TV review column. I don’t know if the TV-reviewing blogosphere is just less saturated than the film one (I’d wager not) or if the fact I combine multiple series in each post has a massive impact on their popularity (more likely), but they’re what get the biggest numbers for new content.

    But this is a film blog (it’s in the title), so this year I’m doing two top fives: the genuine top 5 most-read new posts in 2017, which is also the top 5 most-read new TV-related posts, and then the top 5 most-read new film-related posts.

    Without further ado:

    The Top 5 Most-Read New Posts in 2017
    (aka The Top 5 Most-Read New TV-Related Posts in 2017)

    5) The Past Month on TV #21
    including Game of Thrones season 7 episodes 2-5, Top of the Lake: China Girl, Twin Peaks season 3 episodes 11-14, Line of Duty series 3 episodes 4-6, Peaky Blinders series 2, The Bletchley Circle series 1 and 2, The Musketeers series 3 episodes 1-3, Sherlock’s pilot, and Wallander series 4 episodes 2-3.

    4) The Past Month on TV #13
    including A Series of Unfortunate Events season 1, Sherlock series 4, Gilmore Girls: A Year in the Life, Peter Pan Goes Wrong, the Arrowverse crossover Invasion!, Elementary season 5 episodes 1-3, Outnumbered’s 2016 Christmas special, and the Vicious series finale.

    3) The Past Fortnight on TV #22
    including Marvel’s The Defenders season 1, Game of Thrones season 7 episodes 6-7, Twin Peaks season 3 episodes 15-16, Designated Survivor season 1, and Rick and Morty season 1 episode 1.

    2) The Past Month on TV #16
    including Doctor Who series 10 episode 1, Marvel’s Iron Fist season 1, The Flash / Supergirl crossover episode Duet, The Crown season 1, Line of Duty series 2, Twin Peaks season 2 episodes 1-9, 24: Legacy season 1 episodes 5-8, Broadchurch series 3 episodes 4-8, and Unforgotten series 1.

    1) The Past Month on TV #15
    including 24: Legacy season 1 episodes 1-4, Broadchurch series 3 episodes 1-3, the 89th Academy Awards, Luther series 4, Peaky Blinders series 1, Twin Peaks season 1, Death in Paradise series 6 episodes 7-8, Elementary season 5 episodes 10-13, and Let’s Sing and Dance for Comic Relief series 1 episodes 1-2.

    The Top 5 Most-Read New Film-Related Posts in 2017

    In 6th to 9th place were more TV posts. The following ranked 10th to =13th overall.

    =4) iBoy / Thor: Ragnarok
    Netflix original iBoy was released all the way back in January, so had 11 full months to rack up hits. Marvel’s latest adventure, Thor: Ragnarok, came out just over two months ago, but quickly surpassed iBoy… only for iBoy to close the gap again in a small last-minute resurgence, weirdly. They both have hundreds of hits too, so it’s a helluva coincidence they should wind up with exactly the same total.

    3) Logan
    The second (and last) superhero movie in this top five. Like everything in this list, my review was posted shortly after it hit cinemas — people love new releases.

    2) Dunkirk
    Christopher Nolan’s almost-arthouse WW2 IMAX-shot epic is, according to most, one of the best films of the year and a frontrunner in the imminent Oscars race. Whether that explains why it got so many hits back in July, I don’t know. It might explain why it got nearly ten times as many hits in December as it did in November, though.

    1) Alien: Covenant
    Ridley Scott’s second attempt at launching a new trilogy in the Alien universe met with a mixed reception across the board, but excelled in this category at least. It can’t’ve hurt that I posted my review a couple of days before it even came out in the US — if there’s one thing people love more than reviews of recent releases, it’s reviews of things that aren’t even out yet. It hasn’t experienced a recent increase in interest like Dunkirk either, with 70% of those hits acquired in the first two weeks after I posted it. It’s also already my fourth most-read film review of all time. Who’d’ve thunk it?

    One final observation…

    Looking back at my most-viewed posts in individual months, in 2015 Harry Potter and the Philosopher’s Stone came top in ten months and Chamber of Secrets in the other two. Then in 2016 Philosopher’s Stone was my most-viewed post every single month. But in 2017 it’s been top just four times. Fair play, that’s still far more than any other individual post (TV #15 and TV #22 are joint second with two apiece), but it’s gone from being unassailable to being regularly bested. There were even three months — a whole quarter of the year — when it didn’t make the top five.

    The days of those two Harry Potter reviews accounting for an obscene proportion of visitors to this blog seem to be over… to be replaced by people looking for TV reviews. Funny old world.