It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“Fat, embittered, heavy-drinking, middle-aged male detective. Do you know how much of a cliché that is”
Part of Anne-Marie Duff’s triple-fronted return to prominence (cf Suffragette and Husbands and Sons), BBC1 drama From Darkness sees her take the lead in the psychological crime drama from Katie Baxendale. Running away from unhappiness, former police constable Claire Church has made a new life for herself on a remote Scottish island with the ruggedly handsome Norrie and his daughter but the revival of a decades-old case inexorably draws her back to the darkness to longs to flee.
Trying to skewer traditional notions of female victimhood in crime dramas, Baxendale curiously opts for a storyline based on the serial killings of prostitutes and never really manages to put enough clear water between From Darkness and others in the genre. And tied up as it is with trying to explore the repercussions of letting fear overwhelm us, the show can’t quite overcome its desire to slot into the fairly conventional strictures of your standard police procedural with all its daft contrivances.
So despite being retired from the force, Duff’s pill-popping Church is soon rattling around as if she owns the place and the investigation, under the instigation of Johnny Harris’ conflicted DCI Hind with his own troubled past intimately connected to Claire’s. Luke Newberry’s green DS Boyce offers a much-needed measure of comic relief, his Oxbridge nature ill-suited to the realities of Greater Manchester policing and Caroline Lee-Johnson’s coldly efficient Superintendent is ace at just getting shit done.
Continue reading “TV Review: From Darkness, BBC1”
“Our own worst enemies are ourselves, our fears”
Where films succeed, sequels must now follow and after The Woman in Black did decent Harry Potter-fuelled box office, it was inevitable that a return engagement would follow. The Woman in Black 2 – The Angel of Death hit cinemas at the beginning of the year to less-than-stellar reviews and on watching the film, it isn’t too hard to see why despite the presence of Phoebe Fox and Helen McCrory at the head of the cast.
That said, it isn’t a foregone conclusion. Jon Croker’s screenplay uses another story from Susan Hill, set 40 years on from the first film in the middle of the Blitz from whence McCrory’s headmistress Jean Hogg and Fox’s Eve Parkins are evacuating a group of their schoolchildren. But the frying pan of Nazi bombers is followed by the fire of malevolent spirits as the safe haven they are granted turns out to be the haunted Eel Marsh House. Continue reading “DVD Review: The Woman in Black 2 – The Angel of Death”
“Governments fall, wars break out – there’ll be nothing left of this country”
Recent Croatian history forms the fascinating backdrop to Tena Štivičić’s 3 Winters, a multi-generational family drama that stretches across nearly 70 years and endless drama, both political and personal. From the 1945 establishment of the Socialist Federal Republic of Yugoslavia that replaced the monarchy and promised a bright future, to its collapse in 1990 presaging both independence and the bitterly fought Balkan conflicts of that decade, and then on again to a 2011 that heralds another form of confederacy as Croatia enters into EU accession talks. Štivičić’s focus remains on a single household throughout but it can’t help but be influenced by the turbulence of the times.
That household is the Zagreb home of the Kos family, a plush place passed into their hands during the nationalisation of property at the end of the Second World War. So the residence that Monika previously served in becomes the house her daughter Rose moves into with her daughter Masha. Masha grows up to be a forthright wife and mother of two and as the clan gathers to celebrate the wedding of one of those daughters Lucia, years of frustrations and secrets and history and lies begin to uncoil as past events catch up with present actions. Štivičić takes her time to set up the play in a languorous first half but the pay off is intensely wielded after the interval. Continue reading “Review: 3 Winters, National Theatre”
“The whole gay thing, is it still an issue any more?”
Part of Channel 4’s 2007 gay season, Clapham Junction was written by Kevin Elyot showing the lives of a number of separate but interconnected gay men over 36 hours in the Clapham area of London. So we have civil partnership ceremonies with the groom shagging one of the waiters at the party afterwards, dinner party guests meeting inopportunely at the local cottage before a ghastly middle class gathering, a teenage stalker finally meeting the handsome neighbour unaware of his troubled past, and guys prowling round the common for anonymous sex, little aware that a violent psychotic is amongst them.
Phoebe Nicholls’ delightfully overbearing mother with her monstrous prejudices, Samantha Bond’s blithely unaware party guest, Luke Treadaway’s sweatily intense teenager Theo desperate to offer himself up to Joseph Mawle’s lithe mystery man, Rupert Graves’ confident out television maker toying with James Wilby’s closet case (a neat nod back to Maurice), there are undoubtedly performances aplenty to be savoured in here. But the construction of the whole film is just generally too weak, Elyot’s writing uninventive and heavy-handed in the message it thumps home. Continue reading “DVD Review: Clapham Junction”
Much of the talk about Rebecca Lenkiewicz’s new play Her Naked Skin has focused on the rather shameful fact that it is the first play by a female writer to be staged on the main Olivier stage at the National Theatre. Which whilst true and a definite achievement in itself, should not detract from the fact that this is a really rather sensationally good play.
Set in the Suffragette Movement in London in 1913 with excitement in the air as victory can be tasted, but times have never been more frenzied or dangerous as militant tendencies are at their strongest and many women are experiencing jail time on a regular basis. Lenkiewicz pitches the continuance of this struggle against the more personal story of Lady Celia Cain, bored in life and with her traditional marriage and family, who launches into a passionate lesbian love affair with a much younger, much more lower-class seamstress whom she shares a cell with and soon much more. As the affair hots up, so too does the political climate as emancipation comes closer to becoming a reality. Continue reading “Review: Her Naked Skin, National Theatre”