Oof, the start of the downfall…Series 9 of Spooks turns into the Lucas North show with terrible ramifications
“Do you know how I knew it was true? Because for the first time you made sense”
It couldn’t last, two strong series of Spooks back-to-back were undone by the horrors of Series 9. And it needn’t have been this way, it opens with a great 10 minutes. Ros;s funeral! A proposal! Harry as an assassin! Ruth getting called “that dogged, brilliant bitch”! But new head writers Jonathan Brackley and Sam Vincent then have the trickier task of reconstructing a new team, and don’t quite nail it with Sophia Myles’ Beth and Max Brown’s Dimitri only ever appearing in shades of beige.
Worse though, is the shifting of the entire season’s narrative onto Richard Armitage’s Lucas who – dun dun dur – is actually someone else called John Bateman, whose torturously wrangled personal history is dragged out through the presence of Iain Glen’s Vaughan. Undoing all the good work that Armitage had done in building the fascinating ambiguities of Lucas North, the entire John Bateman storyline was a huge mis-step and ultimately indulges Spooks at its worst.
Never better than turning Harry down, she’s a vital steadying presence in a show that badly needs it. Continue reading “Lockdown TV Review: Spooks Series 9”
“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
With the new series of Doctor Who almost upon us, I thought I’d look back on some of my favourite guest spots on the show since it has come back on air, as it has become quite the magnet for actors to get on their CV. Have a look at my top 10, well 11, here and let me know who you think should have been on there instead.
Suranne Jones (The Doctor’s Wife)
This is probably my all-time favourite moment out of all of the new Doctor Who episodes. Neil Gaiman’s conceit was brilliantly simple, to bring the TARDIS to life, but Jones’ performance elevates it to something extraordinary, I get goosebumps just thinking about it and this scene, from near the end, is just perfection. As Matt Smith’s lip starts to wobble, we see the Doctor at his most affectingly human.
Continue reading “My top 10 favourite Doctor Who guest star appearances”
“Life seems nothing more than a quick succession of busy nothings”
Eek. So having sampled the more recent ITV version of Mansfield Park. I next turned to Patricia Rozema’s 1999 film adaptation and adaptation is surely the right word for it felt like an entirely different story and not in a good way. Again, there’s a distinct modernisation of the heroine into something which was assumedly palatable for test audiences and/or studio bosses but consequently way misses the mark for anything truly Austenesque, Frances O’Connor isn’t exactly bad as Fanny but it never feels like a good fit.
Elsewhere, there’s a scything of some of the key characters, script changes altering others completely. And strangely, given how much of Austen’s novel has to be concertinaed into feature film length, Rozema opts to add in new material – an overworked strand about slavery is heavy-handed in the extreme, the hints of lesbianism (Embeth Davidtz’s Mary Crawford) a desperate ploy for scandal, opium addiction for Lady Bertram scandalously wasting the presence of Lindsay Duncan. Continue reading “DVD Review: Mansfield Park (1999)”
The Icelandic Vesturport company are well known here for their theatre work – I’ve seen their collaborations on Faust
and The Heart of Robin Hood
– but they are also film producers, both long and short. The first of their shorts that I caught was Björn Hlynur Haraldsson’s Korriró as it starred two actors I’ve previously seen – Nína Dögg Filippusdóttir and Gísli Örn Garðarsson. Filippusdóttir plays a homeless woman who happens on an open garage door into a luxury home which offers a brief respite from the drudgery of her life. It is beautifully shot and uncompromisingly direct – confronting us all with our attitudes towards the homeless and those from whom we avert our gaze.
The Last Temptation of William Shaw
Described as a promotional trailer for the upcoming feature ‘My Power Animal is the Pigeon” (of which I can find no trace), The Last Temptation of William Shaw has the double whammy benefit of a shirtless Daniel Ings and an animated Ings too. A mixture of live action and animation from Alois Di Leo and Mat Rawlins, it’s only brief but intriguingly effective – I wonder if there’s any future life in the Pigeon.
Gone to the Dogs
Liz Tuccillo’s Gone to the Dogs captures perfectly the most annoying aspects of the anthropomorphisation of having a dog, which seems to be becoming increasingly prevalent in our culture, whilst also managing to remind us of its sheer inconsequentiality. When a latecomer to a dinner party brings along her pooch as a plus one and brings him to the table, the scene is set for some serious debate about how far we’re willing to go for our animals and it is all engagingly good. Great stuff, and the presence of the ever-excellent Martha Plimpton makes it even better.
On paper, I ought to have really liked Bloom – a gentle rom-com in the making with shades of Little Shop of Horrors, but it never really quite manages to hit the mark. Amanda Root’s shy Helen is more than a little surprised when her tidy flat is taken over by marauding greenery and though she has never previously said a word to her neighbour, Richard Hope’s green-fingered Richard, it soon emerges he is her only hope. Emma Scott Robinson’s script doesn’t establish the characters well enough to make us care though and so it passes by amiably enough but never compelling.
A Sunny Morning
Charlie Cox is one of those actors I wish I could see more of, he doesn’t work anywhere near enough for my liking (plus I haven’t gotten round to starting Boardwalk Empire yet) so I was glad to be able to spot him in a couple of shorts. Joseph Proctor’s A Sunny Morning is a simple two hander also starring Sophia Myles as a couple enter the aftermath of an argument with her having decided on something big. Clues are there – a copy of Hedda Gabler is on the nightstand next to her wedding ring – but as she and her husband chat, will her resolve falter? Cox is delightfully handsome as ever in his ruffled way but the film really belongs to Myles and her hugely expressive face, full of subtleties and emotion captured beautifully in Trevor Speed’s cinematography.
“We know that there’s another way…we just not sure where it is”
What is Utopia? Defining the hopes and dreams of a perfect world has occupied writers for hundreds of years and in this co-production between Newcastle’s Live Theatre and the Soho Theatre, contemporary writers have also been asked to explore their own takes on the concept, blueprints for future happiness, which have been woven altogether by Steve Marmion and Max Roberts in this ambitious, if unwieldy production.
In a strange grey room, six pierrots work their way through the different blueprints, working through the various scenarios to see if any of them actually do lead to the promised land. Some are funny and satirical as in the warlord discovering the power of Facebook or the old-school stand-up whose jokes fall flat in a world of perfect harmony. And some are more serious, as the authors probe the idea of utopian ideals arising out of less-than-perfect situations, acts of self-sacrifice and tender kindness coming out of the blue. Continue reading “Review: Utopia, Soho Theatre”