Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
Jed Mercurio hits the mark once again with new drama Bodyguard, led by two excellent performances from Kelley Hawes and Richard Madden
“Looks like the Home Secretary couldn’t be in safer hands”
The weather taking a turn for the blessedly British feels like a most appropriate herald for the return of proper drama to our tellyboxes and first out of the gate for this year’s slate of autumn dramas is Jed Mercurio’s Bodyguard with a properly nail-biting opening 20 minutes which serve as a remarkable statement of intent for this series.
In an expertly tense sequence, Afghan vet turned special protection officer David Budd (Richard Madden) negotiates the peaceful surrender of a suicide bomber of a train in Euston. The perpetrator(s) (as it turns out) may be Islamists but its the gung-ho approach of the police that emerges as much as a threat to a peaceful resolution. Continue reading “TV Review: Bodyguard, BBC1”
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”
“You’re a liar, aren’t you”
After the success of And Then There Were None last Christmas, it was most pleasing to see another Agatha Christie adaptation on the schedule for this year. And given how good The Witness for the Prosecution was, here’s hoping that the BBC can persuade Sarah Phelps to make this a new annual tradition as it is proving to be a most fruitful creative enterprise, completely reinvigorating a genre that has arguably gotten a little too cosy, stale even.
Originally a Christie short story from 1925, later adapted into a courtroom-based play in 1953 (a version of which I saw a few years ago), the story revolves around the murder of wealthy femme d’un certain âge Emily French. The prime suspect is Leonard Vole, her lover, who we discover is a married man and who just happens to have been made the sole beneficiary of French’s will. Vole’s court case relies on the testimony of his wife Romaine but naturally, things prove not to be quite that simple. Continue reading “TV Review: The Witness for the Prosecution”
“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“You believe in laws but there are only lechers”
For some reason or other, I stopped watching the second series of Ripper Street midway through and it’s taken me until now to finally finish it. It wasn’t that I didn’t enjoy it, it’s more likely to do with running out of time to watch it on the iPlayer or something but anyhoo, I’ve managed it now. My review of Series 1 (which I thoroughly appreciated) is over here and I have to say that that enjoyment has continued, even if I do have a few reservations about its female voices.
It’s a shame that in a crime procedural led by three men, two of the leading supporting female characters did not return for this second series. DI Reid’s wife and kind-of-mistress (Amanda Hale and Lucy Cohu) are both MIA, losing all the work done to establish them, and though Leanne Best is introduced as a local politician who can’t help but flirt with Reid (he’s played by Matthew Macfadyen after all), the overall weight of the series does thus feel a little unbalanced.
Continue reading “DVD Review: Ripper Street Series 2”
“When we are born, we cry”
Entries #1, #2, #3 and #4 – and here’s number 5.
Actually taking Lear to the White Cliffs of Dover seems like a good enough reason to mount the entire Complete Walk project if you ask me, and director Bill Buckhurst doesn’t disappoint. Belaris Free Festival’s interpretation gets a wee whirl before we move to Kent where Kenneth Cranham’s disoriented monarch comes across powerfully in jerky jump-cuts and voiceover and then ultimately powerful soliloquy. Skipping to the end of the play, Joseph Marcell then takes on Lear for a sensationally powerful reunion with Zawe Ashton’s deeply considered Cordelia.
I must confess I do find it hard to get excited about King John and despite a huge affection for the much-missed Trystan Gravelle, I saw nothing here to change my mind. Filmed at Northampton’s Holy Sepulchre church, with inserts that acted almost as a Shakespearean documentary in covering the death of Shakespeare’s son at the time of writing the play, this one just didn’t do it for me I’m afraid.
Philip Cumbus’ anguished Clarence in his cell; Prasanna Puwanarajah and Paul Ready giving subtly comic life to the murderers on his way to him; Clare Higgins’ Margaret looming ominously in the shadows, Michelle Terry’s (for yes, she directs too!) take on Richard III uses all the shadowy sinister atmosphere of the Tower of London to capture the mood of the play rather successfully. It is contrasted with a silent film version which is amusing to watch at first but spookily effective in the end in the way it portrays Richard’s climactic dream. (NB: click on the title for the full clip.)
“Are you one of those? They’re everywhere in Brighton aren’t they.
‘Yeah, not so many in Halifax though, cos of the weather’”
I really enjoyed the opening half of new BBC police drama Cuffs and so whacked up a review of those four episodes whilst they were still watchable on the iPlayer. The show has now finished its run, 8 episodes being the default setting for a ‘long’ series here in the UK, and whilst it may have lost a little of the fast-paced energy that characterised its arrival, its bevy of boisterous characters ensured I was fully engaged right through to the end of the last episode.
With such a large ensemble making up the South Sussex team, Cuffs did sometimes struggle in giving each of them a fair crack of the whip. For me, it was Amanda Abbington’s Jo who got the shortest end of the stick, too much of her screen-time, especially early on, being taken up with the fallout of her illicit affair instead of showing her as the more than capable police officer we finally saw in the latter episodes. Continue reading “TV Review: Cuffs Episodes 5-8”
“All we can do is hang on”
Rather incredibly, given the number of crime dramas there are, Cuffs is actually the BBC’s first police procedural since 2007’s Holby Blue (according to Wikipedia at least), but a rather good one it is too. Creator Julie Gearey has set the show in Brighton and its environs, the territory of the South Sussex Police service, and the first four episodes (which entertained me on a train journey back from Amsterdam) started Cuffs off so strongly that I wanted to recommend it now whilst you can still catch them all on the iPlayer.
The opening episodes are jam-packed with incident, the first part alone crammed child abduction, stolen JCBs, stabbings and a racist released from prison to give a strong sense of the relentless pace of life in the force but the writing has been particularly strong in demonstrating the peculiar demands of modern policing. Traditional boundaries of respect have been torn down so we see the police punched, spat on, and kicked in the face and also having to deal with rubberneckers filming accident scenes on their phone, and members of the public chancing their arm with harassment claims. Continue reading “TV Review: Cuffs Episodes 1-4”
“I have a motion much imports your good”
They say things come in threes and as with Oresteias, so too with Measure for Measures. After Cheek by Jowl’s brutally contemporary Russian interpretation and Dominic Dromgoole’s comic version for the Globe, it is now Joe Hill-Gibbins’ turn to put his inimitable stamp on the play for the Young Vic. And from the industrial techno rave that opens the show to the awkward freeze-frame of the Duke’s happy ending – all done in a smidge under two hours – this is very much a modern take on Shakespeare that is bound to ruffle certain feathers whilst stimulating others.
With the licentiousness of Viennese society being represented by scores of inflatable sex toy dolls, the image of which recur throughout this whole production, and the Duke using live video relays to speak to the city, the modern-day feel is overt but non-specific, the point being we could be in any major city where a conservative regime is free to impose its puritanical fervour. And in this mise-en-scène, curated by dramaturg Zoë Svendsen and artfully framed in Miriam Buether’s box-frame set with hidden rear compartment, the story unfolds. Continue reading “Review: Measure for Measure, Young Vic”