After a brilliantly brutal opening, the third series of No Offence twists into something different as the team face off against the far-right
“We’ve all led each other to each other”
The third series of No Offence started with a real bang as they kept us all on our toes by offing one of its lead characters. And though things calmed down considerably, the ongoing main story of Friday Street’s battle against the rising far-right threat offered an interesting spin for the series.
Paul Abbott’s writing always excels when it puts its characters in the forefront and it’s no different here. Dealing with grief (in their own inimitable way) only added to the portrayals, as Joanna Scanlan, Elaine Cassidy and Will Mellor all rose to the occasion, and it was great to see more of Paul Ritter’s maverick forensics guy. Continue reading “TV Review: No Offence Series 3”
The third series of Paul Abbott’s No Offence returns to Channel 4 in brilliantly unsentimental form
“What the f*** just happened?”
No Offence makes a welcome return to our television screens but with a quirk of timing, finds itself occupying some of the same space as Bodyguard. Who knows whether Paul Abbott and Jed Mercurio met in a pub to compare storylines and in any case, when they’re both done as compellingly as this, it really doesn’t matter.
We return to Friday Street police station and the big concern for the Manchester Met is currently local politics, a mayoral race potentially being derailed by the efforts of a far right pressure group. And during a hustings event, things go terribly, tragically wrong in a way that seems set to shape the emotional palette for the entire series to come. Continue reading “TV Review: No Offence Series 3 Episode 1”
“Now is not the time for your Bronte Sisters-saurus act”
In what’s been a blistering start to the televisual year (Unforgotten, The Moorside), the second series of Paul Abbott’s No Offence is definitely up there, offering at least a little comic relief along with its deadly serious dark side. My views on episode 1 set the tone for the rest to come – the glorious return of the Friday Street team, led by Joanna Scanlan’s inimitable DI Viv Deering, having met their match in the arch-villain Nora Attah, a glorious performance from Rakie Ayola.
And typical of Abbott’s oeuvre, along with his co-writers, there’s a fantastic complexity to his characters. Attah may rule her gangland with a rod of iron, issuing icy reprisals against rivals who dare cross her path, but as subplots about FGM and sexual violence are threaded through the season, there’s strong hints about the harshness of the world that has shaped her. And that makes her the ideal counterpart for Deering’s anarchic policing style, our sympathies caught in the complex conflict between their respective shades of grey. Continue reading “TV Review: No Offence Series 2”
“A police presence is non-negotiable”
Paul Abbott’s No Offence returns for a most welcome second season after a quality Series 1 in mid-2015 added to the purple patch for police procedurals that we seem to be in. Abbott’s spin places us with the Manchester Metropolitan Police and in a world that is equally darkly comic and dramatic as the squad deal with the ramifications of the climax of that first series, as well as keeping an eye on the combustible gangland situation that looks set to involve our guys here.
And what guys – Joanna Scanlan’s almost impossibly charismatic DI Viv Deering as comically sharp as she is whip-smart, Elaine Cassidy’s pragmatic DC Dinah Kowalska and Alexandra Roach’s serious-minded DS Joy Freer underneath her, with Sarah Solemani’s ice-cold DCI Christine Lickberg joining them, providing scarcely wanted oversight and some juicy looking tension. The casual female focus (of the series at large) and refreshing body positivity (of this episode in particular) are just marvellous to behold. Continue reading “TV Review: No Offence Series 2 Episode 1”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“I would you were as I would have you be”
Our journey along the Complete Walk, at our own speed and from the comfort of our own home, continues apace. Here’s my thoughts on the first suite of films
and now there’s four more for your delectation.
comes to us from Parham House, West Sussex, with the glorious Olivia Williams and Susannah Fielding playing Olivia and Viola/Cesario. And directed by Jessica Swale, it’s deliciously exciting and erotic as the former is utterly thunderstruck by the latter, both actors hitting the mark perfectly and suggesting that this would be a production for the ages were it ever to happen in full. It is spliced with Tim Carroll’s 2012 production
which saw Mark Rylance reprise his Olivia, a performance of which, in all honesty, I was no real fan back then and remain so now.
Interestingly, this was the first of the films that felt heavier on the Globe production rather than the new clip. In the atmospheric gloom of Glamis Castle, Adele Thomas directs a forcefully weird Joanna Scanlan as the Porter but the majority of the action comes from Eve Best’s 2013 production
, (sadly not the Elliot Cowan-starring one
from 2010) with Joseph Millson’s beautifully spoken M and Samantha Spiro’s vibrant Lady M. It was nice to see them again but the final result did thus feel a little unbalanced.
Now this one was good. Sheila Reid’s storytelling Gower, reprised from the Swanamaker production earlier this year
, enhanced by wordless excerpts from the National Theatre of Greece’s version from the Globe To Globe season and illustrated animation too, Dominic Dromgoole’s direction took Reid all around the Globe complex and beautifully so.
One of the cushier jobs in this series, Douglas Hodge’s achingly voiced Prospero finds himself marooned on Bermuda and shot gorgeously by Jessica Swale mostly in voiceover to beautiful effect, And it was nice to revisit Jeremy Herrin’s Roger Allam-starring version
for the Globe in 2013, even if I remain unconvinced by its Ferdinand and Miranda, a sterling combination of old and new.
“The factory that started the century providing a range of footwear for men will go into the next century providing footwear for… a range of men.”
I don’t know what I was doing in 2005 but it wasn’t watching Kinky Boots. I don’t really remember deciding that I didn’t want to see Julian Jarrold’s film but for whatever reason, it has remained on my unwatched list but now, a decade on and with its musical adaptation now gracing the London stage, I finally got round to giving it a whirl. And it made for a fascinating watch, especially in light of having seen it in the theatre, that slightly different iteration of the story playing out in quite a different way.
The main thing I took from Tim Firth and Geoff Deane’s writing, inspired by a true story, is that struggling shoe-factory owner Charlie isn’t actually that likeable a character. Perhaps it was partly Joel Edgerton’s muted performance but there’s something a little bleak about him, his single-mindedness coming across more brutally here especially in his treatment of fiancée Nicola (as if anyone could do that to the lovely Jemima Rooper), thus making it hard to see why Sarah-Jane Potts’ Lauren would be quite so keen to step into her shoes. Continue reading “DVD Review: Kinky Boots”
“Calm, methodical, Sunday fucking best”
There’s no two ways about it, Paul Abbott’s latest TV series has been an absolute triumph. Channel 4’s No Offence has kept me properly gripped over the last eight weeks and I’m delighted that a second series has already been commissioned as its enthralling mixture of comedy drama and police procedural has been irresistible from its opening five minutes with all its squashed-head shenanigans through to its thrilling finale which kept us on tenterhooks right til its final minutes.
Whence such success? A perfect storm of inspired casting and pin-sharp writing from Abbott and his team. Joanna Scanlan’s DI Viv Deering reinvigorates the stereotypical police boss to create a career-best character for Scanlan, her fierce loyalty played straight but her dry one-liners making the most of her comic genius. Elaine Cassidy’s DC Dinah Kowalska, the eager young copper on whom the focus settles most often, Alexandra Roach’s earnest but quick-learning DS Joy Freer completing the leads. Continue reading “TV Review: No Offence, Channel 4”
“That is one exceptionally clever squirrel”
A slightly odd addition to the festive film slate, Christopher Smith’s Get Santa has a strangely muted sense of Christmas spirit, which viewed through these Brit flick lenses, never really takes off. Rafe Spall’s failed getaway driver Steve is just out of jail and all he wants is to spend Christmas with his son Tom, a cute Kit Connor. But partner Alison has a new fella, his parole officer is out for blood and his kid seems more preoccupied with the bearded man in a red suit he’s found in the shed.
Of course that turns out to be the real Santa, aka Jim Broadbent, who has crashlanded in Richmond Park taking his sleigh for a test run. And in the course of trying to rescue his reindeer from the pound, he ends up in prison (allowing for the film’s one 24 carat joke as the resident barber does his hair and beard up gang-style to help him blend in) and so it is left to Steve and Tom to save Christmas, even if it means breaking his parole. Continue reading “Film Review: Get Santa”
“We rubbed along alright”
Master of televisual adaptation Andrew Davies turned his hand to Angela Lambert’s novel A Rather English Marriage in 1998 and watching it back now, it seems to harken back to an even earlier age, one of uncomplicated classic quality with a resolutely unfashionable straight-forwardness that we simply don’t see that much at all these days. The tale is a simple one of two retired veterans who, after being widowed on the same day, are placed together by a well-meaning social worker who reckons the companionship will do them both a world of good.
They’re an odd couple though. Albert Finney’s Reggie was an air squadron leader and having married into money, is used to a wealthy life. By comparison, Tom Courtenay’s Roy was a mere NCO and became a milkman after the war so as they move into together, Reggie naturally assumes a dominant position with Roy slipping easily into the habit of calling him Sir as their relationship settles into something imbalanced. Ultimately, both men recognise the private pain they are hiding as long-held secrets come to light but it is the return of women to their lives that proves to be the most significant change. Continue reading “DVD Review: A Rather English Marriage”