“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
“If we drill down into the numbers, you’ve got a solid popularity arc here”
On the seventh day of Christmas, Black Mirror gave to me…a Hollywood makeover courtesy of Netflix
In what could be seen as a rather ironic move, Black Mirror found itself the subject of a bidding war, the result of which was its third series of 12 episodes, later split into 2 series of 6, was commissioned by Netflix and shown exclusively there, Channel 4 losing out and protesting about such behaviour until they did the exact same thing to the BBC with the Great British Bake-Off that is…
There’s no defined order to the six episodes, that’s the nature of an anthology series, but there’s no mistaking the order Netflix want you to watch them in, leading with Nosedive, the episode featuring a Hollywood star in Bryce Dallas Howard. Directed by Joe Wright, it also deviates a little from standard practice by having a teleplay written by Michael Schur and Rashida Jones from an idea by Charlie Brooker, rather than Brooker himself like the majority of the other episodes. Continue reading “12 Days of Christmas – Black Mirror 3:1”
“Yet another everyday story of country folk”
And so Series 2 of Happy Valley winds to a close and you have to hope that the people who acclaim Scandi-noir as the high point of today’s television recognise that this slice of Yorkshire-bleak is just as good, if not better. Sally Wainwright might have thrown some people for a loop by moving (even further) away from straight police procedural to something much more intimate and emotionally complex, placing Sarah Lancashire’s utterly magnificent portrayal of Sgt Catherine Cawood at its very heart. (My thoughts on episode 1 are here.)
“Omnipotent and ubiquitous, God I’m good” she wryly notes as a younger colleague drunkenly praises her at the end of a boozy evening and as the multiple strands of this series slowly began to converge, it was her presence that knitted the whole thing together. Wainwright’s closer hand on the tiller (directing four of the six episodes, all of which she wrote) allowed for some of the bolder moment to really shine, notably the two-handers that opened so many of the shows, a scorching stillness and quietude that underscored much of the horror of policing the Dales. Continue reading “TV Review: Happy Valley Series 2”
“This is sheep-rustling, north-Halifax style – just the one sheep and three lads off their heads on acid”
One of the televisual highlights of 2014 was Sally Wainwright’s Happy Valley, anchored by an astonishing central performance from Sarah Lancashire as pragmatic Yorkshire sergeant Catherine Cawood. So the return of a second series on BBC One is good news indeed, especially given Wainwright’s decision to also direct considerably more of the episodes this time round.
It’s obvious from the off that she is entirely at the top of her game. Reintroducing the startlingly mordant vein of humour on’t’moor, this opening sequence sees Cawood recounting a day’s work to her sister, namely sheep-rustling gone unfortunately wrong on a housing estate but leading to an even grimmer discovery, one which links directly back to James Norton’s Tommy Lee Royce, the father of her grandson after raping her daughter (who then committed suicide) and Catherine’s nemesis from the first series. Continue reading “TV Review: Happy Valley, Series 2 Episode 1”
“Silly schoolgirls are always getting seduced by glamorous older men, but what about you two?”
Lone Scherfig’s film An Education was one of my top films back in 2009 and rightly saw Carey Mulligan nominated for Best Actress at the Oscars. Watching it again reminded me of how good it is, a great showcase for British film and one of my favourite depictions of 1960s Britain I think I’ve ever seen. Nick Hornby’s screenplay is based on Lynn Barber’s memoirs of her schoolgirl years, spent mainly pleasing her father’s desire for her to be an excellent student and get into Oxford. That is, until handsome stranger David offers her a lift one day. That he’s twice her age is no matter, the world of sophistication he inhabits seduces her entirely from her humdrum Twickenham existence and changes her life completely.
Mulligan is brilliantly cast as the 16 going on 17 Jenny Mellor, the combination of her youthful looks and soulful eyes captures much of the teenage precocity that leads her to think she’s more mature than she is, especially in the face of such rowdy schoolgirl friends like Ellie Kendrick’s Tina and as she rushes headlong into this adult world of jazz clubs, stolen nights in hotels and weekends away in Paris, she brilliantly shows how her self-assuredness is slowly stripped away as she comes to see what she has sacrificed in order to follow her heart. Olivia Williams’ brilliant Miss Stubbs is the perfect counterpoint, a spinster teacher who encourages Jenny’s academic dreams yet perversely epitomises the height of ambition for an educated woman. Continue reading “DVD Review: An Education”
“We’re living in extraordinary times Virginia”
I think Rachel Freck and I would be very good friends, given the exquisite job she did in casting BBC1 miniseries Life in Squares very much according to my preferences. Phoebe Fox and Eve Best, Lydia Leonard and Al Weaver, James Norton and Rupert Penry-Jones and Elliot Cowan, plus bonus Deborah Findlay and Emily Bruni amongst many more – the stuff of my dreams. So I was already very well-inclined towards this retelling of the travails of the Bloomsbury set, written by Amanda Coe and directed by Simon Kaisjer, before it had even started.
Fortunately it also delivered well over its three hour-long episodes, giving us costume drama with a bit of a difference (and a smattering of raunch as its publicity campaign unnecessarily blurted). Kaisjer’s vision was less opulent fantasy than lived-in reality, albeit through an artistic filter, and so handheld camerawork mixed with everyday costumes to achieve this more rooted ethos. And Coe’s script putting one of the lesser celebrated of the set – Vanessa Bell née Stephens – at the heart of the narrative gave the narrative the freedom to stretch out across multiple timeframe, remaining fresh all the while. Continue reading “TV Review: Life in Squares”
“How can I be too high in rank to dine with the servants but too low to dine with my own family?”
As Avenue Q once counselled us, “you should be…careful when you’re talking about the sensitive subject of race “ and Amma Asante’s 2014 film Belle does exactly that, treading delicately but definitively in telling this real-life story of a mixed race woman who found herself at the heart of English society in the late 1700s. Inspired by a painting of this woman, Dido Elizabeth Belle, and her cousin Lady Elizabeth Murray that hung in Kenwood House, scriptwriter Misan Sagay (and Asante herself too, as reports would suggest) have fashioned a most elegant biography which has a little more bite than your usual period drama due to the inclusion of the slave trade as a significant sub-plot.
Gugu Mbatha-Raw is excellent as Belle, the illegitimate daughter of an enslaved African woman and a British navy captain, who is placed into the care of his uncle Lord Mansfield as a ward. He and his wife already care for another niece and so the two become as if sisters, scarcely aware of Belle’s unique position. For though she is ostensibly a part of society, and upon her father’s death a woman of independent means, she is not permitted to contravene society’s rules – so she may not dine with her family and their guests for propriety’s sake, but she may join them after dinner. And she and Bette start to attract the interest of notable suitors, she becomes increasingly aware of the problems in the world she has been placed in. Continue reading “DVD Review: Belle”