Series 2 of Top Boy- Summerhouse is, quite frankly, exceptional
“I don’t wanna go to Ramsgate”
The first series of Top Boy surprised me at just how good it was, making a mockery of my earlier decision that it wasn’t my kind of thing. So I launched straight into the second series (now labelled Top Boy- Summerhouse on Netflix), unprepared for how harrowing it would get. It may have taken two years for it to be created but boy it was worth the wait.
Ronan Bennett’s series picks up one year later with Dushane’s (Ashley Walters_ status at the head of the Summerhouse estate as equally precarious and secure as ever, forever dependent on the next big drug delivery. But the Albanians have got their own plans, former besty Sully is setting up his own rival crew and the police have just dug up a body – eep! Continue reading “TV Review: Top Boy – Summerhouse (Series 2)”
Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judy is a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
“How does this end Simon?”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”
“In Whitechapel, they die every day”
When low ratings for series 2 of Ripper Street saw the BBC decide to pull the plug on it, it was something of a surprise to hear Amazon Video would be taking it over (this was 2014 after all) in a deal that would see episodes released first for streaming, and then shown on the BBC a few months later. And thank the ripper that they did, for I’d argue that this was the best series yet, the storytelling taking on an epic quality as it shifted the personal lives of its key personnel into the frontline with a series-long arc to extraordinary effect.
And this ambition is none more so evident than in the first episode which crashes a train right in the middle of Whitechapel, reuniting Reid with his erstwhile comrades Drake and Jackson four years on since we last saw them. A catastrophic event in and of itself, killing over 50 people, it also set up new villain Capshaw (the always excellent John Heffernan) and brilliantly complicated the character of Susan, promoting her to a deserved series lead as her keen eye for business, and particularly supporting the women of Whitechapel, throws her up against some hard choices. Continue reading “DVD Review: Ripper Street Series 3”
“They’re adults, they’re not stupid, they knew what this was”
There’s not too much more that can be added to the debate about Mike Bartlett’s Game that hasn’t been said elsewhere, aside from to note that I really rather liked it. Lowered expectations probably helped with this but also there’s also an appreciation for the way in which Bartlett seems to like to work. His concepts tend to either get developed into large-scale epic plays such 13 and Earthquakes in London or crystallised on the micro-level, producing works in miniature like Cock, Bull and Contractions.
Game very much falls into this latter category, coming in at under an hour, and on the face of it – as pointed out by many – lacking a huge amount of dramatic heft. Fitting into one of 2015’s earliest theatrical trends, Carly and Ashley have made a deal with the devil in order to secure decent housing for themselves – in return for accommodation and income, they’re targets in a live-action video game as punters pay for the opportunity to fire tranquilising darts at them as they go about their daily business. Continue reading “Review: Game, Almeida”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“I literally have enough money to buy anything”
It was Scarlett Johansson wot did it. My over-riding thought as Simon Stephens’ Birdland built to its destructive climax was that the alien for Jonathan Glazer’s recent film Under The Skin had somehow infiltrated affairs. The viscous black liquid that surrounds Ian MacNeil’s set slowly rises to encroach on the ever-twisted world of tortured rockstar Paul, threatening to swallow him in its total embrace, an oblivion the man might truly welcome. But it is just a coincidence, although perhaps rooted in some conceptual similarity, there are no aliens here. Or Hollywood superstars.
Instead, Irish legend-in-the-making Andrew Scott plays a hugely successful musician who is on top of the world and coming to the end of going round the world on a huge tour. Whipped into a constant fervour by the corrosive side of celebrity, his personality has become so warped that he can, and does, demand anything he wants, and by and large gets it. Aside from making him a total f*cktard, especially where his best friend and bandmate’s girlfriend is concerned, it also symptomizes the deeper societal malaise of a corrupted capitalist mindset in all its exploitative ugliness. Continue reading “Review: Birdland, Royal Court”