Screen: June TV Roundup

There have been some outstanding television programmes over the past couple of months, including a few that are likely to dominate the awards discussion over the next year. Yes, they were amid my nominations for this year's Dorian Awards (Golden Globes voting uses a different calendar). in this roundup, I'll start here with three new shows, then three final seasons and finally four returnees...

Half Man
From Baby Reindeer writer Richard Gadd, this is a staggeringly bold drama about the push and pull between two stepbrothers from Glasgow. Niall and Ruben are expertly played by Jamie Bell and Gadd himself, with star-making turns by Mitchell Robertson and Stuart Campbell as teens. But it's the unflinching nature of the writing that makes this show essential, taking a riveting look through at connection, masculinity and identity with mind-bogglingly layered situations. It's violent and harsh, but there's a real sense of affection woven into the badly strained nastiness. And this is a rare case in which editing the story out of sequence actually adds a proper kick, forcing us to pay attention. (BBC)

Big Mistakes
Created by Dan Levy and Rachel Sennott, this bonkers crime comedy centres around Levy's Pastor Nicky and his agent-of-chaos sister Morgan (Taylor Ortega), who gets them entangled with a mobster (Mark Ivanir). As things escalate, the plot feels increasingly silly, but it remains watchable simply because the cast is so strong. The ace card here is Laurie Metcalf as the siblings' mother, so self-absorbed with running for mayor that she hasn't a clue what's going on with them. The story has a freewheeling structure that easily carries us along through eight half-hour episodes. And these people are just about the right kind of ridiculous to make us want to see more of them. (Netflix)

Margo’s Got Money Troubles
Bold and full of intensely outrageous moments, this comedy centres around a family that has serious impulse control issues, but the deep and very messy love they have for each other is riveting to watch. Powerhouse performances bring these people to life, including Elle Fanning in the title role as a single mother who finds an inventive way to make ends meet, Michelle Pfeiffer as her spiky mother and Nick Offerman as her ex-wrestler, ex-addict dad. Plus extraordinary turns from Marcia Gay Harden, Greg Kinnear, Michael Angarano and especially Nicole Kidman. There's nothing simple about this show, but it's funny and bracingly honest about things most television programmes are terrified to touch. (Apple)

T H I S   I S   T H E   E N D

Hacks: series 5
With a steady stream of starry cameos, this comedy charges confidently through to its big finale with another series of episodes that mix snappy humour, entitled attitudes and warm emotion. Of course the entire show has been about the relationship between jaded veteran standup comic Deborah (the great Jean Smart) and her cynical young writing partner Ava (Hannah Einbinder), so it's nice that the storylines honed in on their interaction. Meanwhile, there was plenty of nuttiness from their agents (Paul Downs and Megan Stalter) and a flurry of side characters from throughout the seasons. It's so much fun we don't mind too much that the various plotlines all feel rather undercooked. (HBO)

Euphoria: series 3
Jumping ahead a few years, this season shifts from a teens-messing-around-with-drugs drama into intense crime thriller with young people trying to survive against very steep odds. Anchored around the seriously gifted Zendaya, who gives Rue a wonderfully textured soul, the show feels like it is pinging from one tragedy to the next, and it becomes clear that no one is going to escape writer-director Sam Levinson unscathed. Plot turns are astonishingly harsh, the violence is darkly haunting and the seediness is sometimes overpowering. But the actors are all on fire, especially Sydney Sweeney, Jacob Elordi, Colman Domingo, Maude Apatow, Adewale Akinnuoye-Agbaje and Alexa Demie (HBO) 

The Boys: series 5
Barging into its full-on final season, this raucously violent show sets up that long-anticipated final confrontation between Karl Urban's scabrous antihero Billy and Antony Star's supervillain Homelander. The true protagonist Hughie (Jack Quaid) also gets a personal arc with conflicted goodie Starlight (Erin Moriarty). And side characters have their own kicks, including favourites Frenchie and Kimiko (Tomer Capone and Karen Fukuhara), plus Jensen Ackles and Cameron Crovetti as Homelander's father and son, respectively. It's all as deliberately ugly and abrasive as always. Even with various requisite over-grisly endings, this is an astute, timely look at the true nature of power and heroism. (Prime)

B A C K   F O R   M O R E

The Four Seasons: series 2
Breezing through another eight episodes, this outrageously watchable show catches up with three couples over another year of joint holidays. This is pure joy distilled into a TV series. The dynamics both within and between the couples have shifted, largely due to Ginny's (Erika Henningsen) impending motherhood and Anne's (Kerri Kenney) lingering bitterness. And both Kate/Jack (Tina Fey/Will Forte) and Danny/Claude (Colman Domingo/Marco Calvani) have their own relationship issues. The first-rate cast excels at this engaging, fresh mix of comedy and drama. Notable flourishes include a flashback episode with Steve Carell, plus a trip to Italy that beautifully redefines Claude. (Netflix)

The Comeback: series 3
Lisa Kudrow's inventive comedy returns, following on from its 2005 and 2015 runs. It's also tackling another bracingly current industry issue, while catching up on the next chapter in the life of Kudrow's astonishingly nuanced alter-ego Valerie Cherish. This time, her manager (Dan Bucatinsky) lands her the lead role in a sitcom that's written by AI, creating mixed emotions: the cast and crew have jobs, but writers don't. Using dry humour, the topical discussion is cleverly woven into the fabric of the show, so it's more provocative and less flashy than, say, The Studio. And the ensemble is simply wonderful, in both new and returning roles. Andrew Scott is particularly strong as a slippery studio head. (HBO)

Scrubs: series 10
The hospital sitcom is back, after its nine-season run from 2001 to 2010, with its distinctive mix of fast-talking wit and heartwarming sentiment. Returning cast members Zach Braff, Sarah Chalke, Donald Faison and Judy Reyes are joined by Joel Kim Booster as a nemesis doctor and most enjoyably Vanessa Bayer as a hapless HR officer. And it works well because it shifts the leading characters from rookies into the veterans, now in charge of a new group of ridiculous but of course brilliant interns. What makes this entertaining is the lively writing, with rapid-fire banter, extended sight gags and rather a lot of very silly jokes that poke fun at things like masculinity and political correctness. (ABC)

Alpha Males [Machos Alfa]: series 5
Increasingly tangled in knots, this Spanish comedy continues to put its characters through the wringer as they attempt to grapple with the interplay between gender and society. At this point, the four men are on their own, planning a patriarchal commune away from women. But of course they are quietly breaking their own rules. Meanwhile, their exes are having their own journey, trying to build strong female lives while also continually blurring the lines. The actors are a bit more grounded this time around, which makes the rapid-fire storytelling feel marginally less inane. But the way it pings around between the various story threads is still rather exhausting. (Netflix)

GUILTY PLEASURES: Britain's Got Talent, The Traitors US, Race Across the World, Drag Race (UK vs the World 3, All Stars 11).

NOW WATCHING: Spider-Noir, Good Omens 3, Man on Fire, Maximum Pleasure Guaranteed, Widow's Bay.

COMING SOON: The Bear 5, Star Trek: Strange New Worlds 4, Sugar 2, The Vampire Lestat, Zorro, Heartstopper Forever.

Previous roundup: APRIL 2026 > 

Critical Week: Reach out and touch me

There have been a flurry of screenings this week, as studios try to make sure critics see their films before the Cannes Film Festival gets underway next week. Two films opening this week were screened a bit late to the press. Billie Eilish's July 2025 Manchester concert has been filmed in 3D in Hit Me Hard and Soft, directed by Eilish herself, working with 3D aficionado James Cameron. The concert footage is stunning, remarkably immersive and intimate; the backstage doc material is rather thin. And then there's the videogame action sequel Mortal Kombat II, this time starring Karl Urban as fan-favourite Johnny Cage. He's hilarious, and helps non-fans get through two hours of dense mythology and astonishing grisliness. 

BEST OUT THIS WEEK:
Kokuho • Romeria
PERHAPS AVOID:
Mortal Kombat II
ALL REVIEWS >

Wider audiences will enjoy the straight-to-streaming animated adventure Swapped, a colourful and very nutty body-swap romp with a terrific voice cast led by Michael B Jordan and Juno Temple. Leo Woodall puts his likeable charisma to fine use in Tuner, a mashup of drama, romantic comedy and crime thriller. Costars Dustin Hoffman and Havana Rose Liu help make it thoroughly entertaining. Sam Nivola ably leads the cast of the enjoyable teen road-trip comedy Driver's Ed, with ace support from Kumail Nanjiani and Molly Shannon. And Pedro Almodovar's new drama Bitter Christmas is another gorgeously layered tale about creativity. I also saw three live performances: the fabulous Les Ballets Trockadero de Monte Carlo at Sadler's Wells, the immersive dinner theatre Chat Noir at the Lost Estate, and Bullyache's challenging A Good Man Is Hard to Find at Sadler's Wells East.

Coming up this next week, I'll be watching Allison Janney in Miss You Love You, Sally Field in Remarkably Bright Creatures, Emilia Jones in Fairyland, Curry Barker's horror thriller Obsession and a live performance of Remachine at Sadler's Wells East.

Screen: August TV Roundup

This is TV awards season, so I've had more series than usual to keep up with, trying to make a fair assessment on my ballot for the Dorian Awards (Golden Globes TV voting will be in November). But it's a lot, especially as so many shows have unnecessarily long episodes. But there have been some very good shows lately - I'll start with my favourites of the last couple of months...

The Bear: series 3
Bold and riveting, this intense drama continues to be classified as a comedy, perhaps due to its snappy characters. These are often outrageously messy people who struggle to communicate as they work together to run a fine-dining restaurant in Chicago. Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach are as bracing as always, surrounded by an ace ensemble. It's a rare show that continually catches us off guard with surprising details. Episode 6, directed by Edebiri and starring Liza Colon-Zayas, might be one of my favourite half-hours of TV ever. (Hulu)

One Day
Leo Woodall and Ambika Mod are excellent in this complex adaptation of the beloved novel, with each episode set on the same day in the following year. Their characters Dexter and Emma are an oddball couple, but they have a strong connection that creates a vivid friendship. The highs are light and funny, and the lows are powerfully emotional, sometimes downright devastating. Yes, there are quite a few tear-inducing moments, largely because the writing, acting and direction are so astute. It's a properly involving show with strong underlying resonance. (Netflix)

Shōgun
Lavishly produced on an epic scale, this is a beautiful adaptation of James Clavell's novel about an Englishman in 1600 Japan. The storytelling may sometimes feel dense, but it is packed with riveting details about the inner workings of the culture. Cosmo Jarvis is excellent in the focal role, holding his own opposite magnetic stars like Hiroyuki Sanada, Tadanobu Asano and Anna Sawai. The quality of the sets, costumes and historical detail is astounding, and the story is utterly riveting as it builds to a series of astonishingly grotesque battle sequences. This is exceptional television. (Hulu)

The Sympathizer
With director Park Chan-wook's visual flair, this story has both a large scale of geography and history and quirk-filled characters who are massively entertaining to watch. Hoa Xuande is terrific in the lead role as the Captain, a communist spy during the Vietnam War who is hiding as a refugee in California. His reality is incredibly nuanced, from his on-off girlfriend Sofia (a fantastic Sandra Oh) to the various Americans (all played by a scene-stealing Robert Downey Jr) wh keep an eye on him. When he ends up on a film set shooting a Vietnam War movie, the film's expert meta-storytelling really soars. (Max) 

Sugar
With sleek and stylish direction from Fernando Meirelles, this centres around a strikingly cinematic performance from Colin Farrell in the title role as a private eye looking for a missing heiress. The snaky and splintered storytelling weaves in classic movies that flicker through Sugar's mind. So while the case itself is the usual twisty, nasty messiness, there are surprising character layers. And several set-pieces are thrillingly well staged and played, even if it's sometimes over-heightened. First-rate support from Amy Ryan, Nate Corddry, Alex Hernandez and others. Earns extra points for short episodes. (Apple) 

C R O W D  -  P L E A S E R S

The Boys: series 4
Continuing the outrageousness, this show doubles down on its razor-sharp political satire, as the vicious patriots leave a trail of destruction behind them but have never been more beloved by the public, whom they manipulate with the media. Meanwhile, the scrappy "boys" trying to take them down struggle to stay together while facing mind-boggling setbacks. Stakes get steadily higher as the action unfolds, adding strong subtext to lively characters played by Karl Urban, Jack Quaid, Erin Moriarty and especially Anthony Starr, even more unapologetic this season as the absolutely vile Homelander. (Prime)

The Acolyte
Breaking free from the main Star Wars narrative, this prequel is set a century before The Phantom Menace, a fascinating female-based story from the Jedi heyday. It's an intriguing premise, but characters are written so specifically that there's little room for actors to add personal tweaks, so it feels a bit concocted. It's entertaining thanks to lead actors Amandla Stenberg and Lee Jung-jae, while Dafne Keen and especially Manny Jacinto stand out in complex roles. But the structure feels indulgent, especially with extended repetitive flashbacks that overstate plot points and mythology. (Disney)

Fallout
Based on a videogame, this action fantasy is packed with outrageous effects and nutty details. Set in an alternate reality two centuries after nukes destroyed a wacky 1960s-style America, the show follows three figures across a desert that used to be Los Angeles: a plucky but naive young woman (Ella Purnell) who grew up in an underground bunker, a nervous young soldier (Aaron Moten) who works for a warmonger and a vicious 200-year-old mutant cowboy (Walton Goggins) with shadowy motivations. There's enough going on here to keep pretty much everyone entertained. (Prime)

Interview With the Vampire: series 1-2
Gothic and almost painfully theatrical, this show is both overwrought and camp, merrily indulging in ghastly violence while shying away from the sexuality that oozes through the characters. This is the epic tale of three vampires, starting in early 20th century New Orleans as the snaky Lestat (Sam Reid) creates companion Louis (Jacob Anderson) and then teen Claudia (Bailey Bass/Delainey Hayles). And it shifts up a gear in the second season set in 1950s Paris. The push and pull between these three makes this compelling viewing, even with so much absurd melodrama. (AMC)

My Lady Jane
Playfully revising history, this fizzy comedy tells the story of Jane Grey, Britain's queen for only nine days before Bloody Mary deposed (and beheaded) her. In this fantasy version, conflicts emerge due do opposing opinions about people who can transform into animals. King Edward (Jordan Peters) seemingly dies, Jane (Emily Bader) is crowned, and Mary (Kate O'Flynn) plots against her with her advisor/sex slave Seymour (Dominic Cooper). Anna Chancellor steals the show as Jane's manipulative mother, and the romantic plotlines are engaging. But it's very silly, and is set up for more. (Prime)

That 90s Show: series 2a
As goofy and genuinely hilarious as ever, this next-generation show continues to maintain its high energy levels even as it observes a group of teens just sitting around and coming up with ways they can get into trouble. And grandparents Kitty and Red (Debra Jo Rupp and Kurtwood Smith) are still moaning about their own issues. But all of this is very funny indeed, refreshingly willing to take on some edgier ideas about sex and drugs without needing to get deliberately rude. It's a thoroughly enjoyable mix of witty dialog and rousing nostalgia. (Netflix) 

Single, Out: series 2
From Australia, this snappy show continues the escapades of Adam (Will Hutchins) as he navigates his new life as an out gay man in Melbourne, including his relationships with boyfriend Gabe (Jake Hyde) and various friends and family members. Adam is a likeable guy whose highs and lows are easy to identify with. And everyone around him is hilariously ridiculous, with their own antics at work and a variety of inter-connections. The show's still loose and breezy, but it's also a lot sexier this season, playing energetically with the lustiness these young people are learning to express. (Cinephobia)

S T A R   P O W E R

The Curse
This story about a couple (Emma Stone and Nathan Fielder) trying to change their community for the better is squirm-inducing, because it challenges viewers about what's correct. Transgressions come in all sizes, from throwaway comments to deliberate deception, as this duo creates eco-homes and jobs for the unemployed while making a reality show with a producer (Benny Safdie) whose morals are rather slippery. The many observations are fascinating, although the episodes are too long, which makes them feel indulgent. Still, the sheer originality and daring make this worth a look. (Showtime)

The Regime
This is a camp, bonkers satire about political manoeuvring in a fictional middle-European nation. Kate Winslet is fabulous as the self-centred leader, with ace support from Mathias Schoenaerts and Andrea Riseborough (plus a fabulous Hugh Grant). At its core, this is a pointed depiction of how people who think they're smart can be so easily manipulated. It's rather absurd that Winslet's Elena maintains power when literally everyone is against her. But the coup episodes are genuinely heart-stopping. And the show says clever things about political wrangling and the reach of history. (Max)

Expats
Thoughtful and intriguing, this swirling series spins between three intertwined foreigners in Hong Kong after a young child goes missing. Nicole Kidman leads a fine cast, bringing understated steeliness to the frazzled mother, although like all of the characters she becomes difficult to sympathise with. Only a few people on-screen are remotely kind. It's impressive that the writers properly go for it, revealing dark insecurities and entitlement of wealthy migrants as well as the vulnerabilities of less well-off people caught in their orbits. But the show feels drawn-out and somewhat indulgent. (Prime)

Fantasmas
Julio Torres' boundless imagination is on full display in this fanciful show in which he plays a goofy variation on himself in fantastical settings that are packed with wildly inventive supporting characters. A steady stream of great cameos includes producer Emma Stone, Tilda Swinton, Bowen Yang, Paul Dano, Steve Buscemi and Dylan O'Brien. The way Torres tells stories is endearing, funny and constantly surprising. So while the central plot about a missing earring is a bit absurd, the hand-made approach to sumptuous visual effects makes this well worth watching. (Max)

GUILTY PLEASURES: Drag Race All Stars (9), The Boyfriend, Don't Hate the Player.

NOW WATCHING: Time Bandits, Lady in the Lake, Decameron, Snowpiercer (4), Sausage Party: Foodtopia.

COMING SOON: Only Murders in the Building (4), Heartstopper (3), The Umbrella Academy (4), Kaos, Agatha All Along.

Previous roundup: JUNE 2024 >

Screen: August TV Roundup

After the disruption of the pandemic, we're finally getting to see several delayed series (with more still to come). These long gaps between seasons continue the shift in the way TV shows roll out, so the old network schedule of launching new episodes every autumn feels like it's becoming rare. There's been plenty for me to watch in between my film and theatre work, both enjoyable returning shows, original series and several that are adaptations, spinoffs, reboots or based on existing properties. And that's definitely a trend that is continuing...

Stranger Things: series 4 
With its epic-sized episodes and ramped-up plot, this series powers straight through to set things up for the final fifth season. Since the actors have all aged significantly, they perhaps seem a bit older on-screen than written, but this allows for intriguing nuances in the evolving relationships between them, superbly played by a tremendous cast. Splintering the story into three main strands is sometimes annoying, especially as the Russian plotline, as wildly entertaining as it is, clings to several coincidences. Otherwise, various set pieces produce proper thrills as everything builds to an enormously cathartic intake of breath, then leaves us gasping for more. (Netflix) 

Hacks: series 2  
Pushing these characters further into their rather tense working relationship, this series feels like it gets stronger with each episode. And this is largely due to the towering performance from Jean Smart as Joan Rivers-style comic Deborah, straining to kickstart her career with the help of messy writer Ava (Hannah Einbinder). This series also spirals out to follow Deborah's assistant Marcus (Carl Clemons-Hopkins), which isn't strongly enough developed yet to be involving. But this season's central idea, putting the characters on the road for a series of warmup gigs, is inspired. And having Laurie Metcalf turn up (too briefly) is a stroke of genius. (HBO)

The Umbrella Academy: series 3
This rather madcap action show continues to play with both alternate realities and the end of the world, as the Umbrellas have returned to the present and find themselves replaced by the Sparrows. Clashes, romances and lots of mayhem ensue, as reality begins collapsing in on itself and these oddly supercharged antiheroes need to once again rescue humanity. The actors are what makes this unmissable, as each character is such a bundle of nutty quirks that it's a wonder they get anything done at all. There isn't a weak link in the excellent ensemble, and the writers make sure each gets plenty of chaotic development along the way. Bring on a fourth season. (Netflix)

Physical: series 2 
Carrying on with the story, this new season continues the extremely slow evolution of Sheila Rubin (Rose Byrne), an intelligent wife and mother who keeps her personal demons secret, then punishes herself by becoming a fearsome 1980s aerobics expert. The narrative focusses on tiny shifts rather than momentous changes, and the cast goes all-in to each twist and turn, most notably Rory Scovel, Paul Sparks and Murray Bartlett, who arrives with a lot of promise but never gets to fully deliver on it. That's kind of how the whole show feels, as so little seems to happen. But the underlying thoughts and feelings make it entertaining and even important. (Apple)

The Boys: series 3 
Things continue to escalate for the rather awful people who populate this show, and this time the eponymous superhero-battling team dabble with their own temporary powers, ramping up clashes enormously. The writers cleverly put key characters in real danger, although we have to wait quite a while to see if they'll bump anyone off. It's a rare show in which both the good and bad guys are abrasive and often unlikeable, and most of them have the ability to kill someone without trying too hard. So it's violent and nasty, but also wry and knowing. And all of the lead actors are terrific at layering vulnerabilities and emotions in unexpected ways. (Prime)

The Marvelous Mrs Maisel: series 4 
A huge step up from the uneven third season, this new series is much more sharply focussed on both the characters and the overarching themes. So Rachel Brosnahan is able to both broaden and deepen Midge, while also remaining genuinely hilarious in her stand-up performances. Meanwhile, the side roles aren't merely spiralling aimlessly this time around: each narrative thread weaves together cleverly to offer meaty scenes for the actors while pushing this extended family further forward. And Alex Borstein just gets more intriguing with each episode, building her business on hilariously fragile foundations. And you can never go wrong with the fabulous Jane Lynch. (Netflix)

M O S T L Y   N E W

Ms Marvel 
Lively and engaging, this Marvel origin series has Pakistani culture and history engagingly woven through it, similar to Moon Knight's Egyptian connection. But this one's an American high school sitcom, as lively junior Kamala (Iman Vellani) engages in banter with her goofy friends and hilariously insistent Pakistani parents. Then a bangle taps into her grandmother's ancestral power, sending Kamala on an odyssey as she realises that she's a superhero connected to ancient folklore. The comical vibe helps make the more violent plot elements easier to take, and the characters are so vivid that we can't wait to see more of them on either big or small screens. (Disney) 

Obi-Wan Kenobi 
Filling in a gap in the Star Wars timeline, this six-episode series returns Ewan McGregor to his eponymous role as the now-jaded Jedi, while Hayden Christensen's Darth Vader marauds across the galaxy trying to finish him off. It feels oddly ill-imagined from the start, focussing on edgy action scenes that are bereft of tension due to the usual prequel issue: we know none of the main characters is in any real danger. A more dramatic approach and some more central (expendable) new characters would have given the series a much stronger sense of intrigue. Still, it's produced to a gloriously high standard, and McGregor and his ensemble of costars are excellent. (Disney)

Uncoupled
Essentially writer-creator Darren Star has created an out-gay remake of his earlier show, Sex and the City, this time starring three New York men grappling with love-life issues. It's equally underwritten and over-designed, but it's also hugely likeable, thank to the up-for-it Neil Patrick Harris as Michael, newly single after a 17-year relationship. His pals (Tisha Campbell, Emerson Brooks and Brooks Ashmanskas) offer the usual mix of good and bad advice/support, mainly for comical effect. Plus the great Marcia Gay Harden as another new singleton who worms her way into Michael's life. It's also actually funny, even if the humorous edges are superficial. (Netflix)

Loot 
Maya Rudolph is terrific in this comedy about a pampered, newly single billionaire who hasn't a clue how to engage with the real world, but wants to try by getting involved in her foundation. Many of the jokes are rather ridiculous, but the Rudolph is so good at playing endearingly naive that we can't help but love her, especially as she begins to connect with others. The wonderful Michaela Jae Rodriguez is terrific as her main foil, plus the absurdly endearing Joel Kim Booster as her hyperactive assistant and Adam Scott as her smarmy ex. The range of subplots are a bit uneven, but if one isn't working the attention quickly shifts to one that is simply genius. (HBO)

Star Trek: Strange New Worlds 
Now that Discovery has leapt into the distant future, this spin-off reverts to the past to follow Captain Pike (Anson Mount) in the years before the original series, complete with a younger Spock (Ethan Peck) and a rookie Uhura (Celia Rose Gooding). The idea here is to mimic the first series' exploratory episodic style, although the showrunners can't resist wallowing in those murky over-arching plot threads. This allows for some character depth, but it also makes the show feel a bit gimmicky, never fully diving in to the adventure of the week because everyone is preoccupied with their larger stories. Thankfully it's sharply well made, and very watchable. (Paramount)

Queer as Folk
Russell T Davies' landmark show gets a second reboot, this time set in New Orleans. The writing cleverly captures present-day attitudes, as sexuality is much blurrier than it was in the 1999 British original or 2000 American remake. Even as characters echo earlier versions, the plot strikes out in new directions, with a group of people whose lives are entangled in the wake of a nightclub shooting. The cast has a sparky freshness, anchored by the Devin Way as likeable disaster Brodie. The range of characters around him feels a bit overly curated, but each one engages with their messy decisions as they try to both fit in and find someone to love. (Peacock)

T H A T ’ S   A   W R A P

Love, Victor: series 3 
With its final season, this warm-hearted teen sitcom carries on with the likeable Victor (Michael Cimino) and friends. In these episodes, Victor ping-pongs between three smart, adorable guys -- Benji (George Sear), Rahim (Anthony Keyvan) and Nick (Nico Greetham) -- as he faces the usual foibles of the dating scene. It ends in the expected bearhug, but along the way, the story veers through some remarkably open-handed themes. Each cast member is particularly strong at playing vulnerability, especially in the face of genuine obstacles, so the pointed explorations of religion (both Catholicism and Islam) and sexuality feel inspiring and important. (Hulu) 

NOW WATCHING: Surface, Black Bird, Only Murders in the Building (2), Kevin Can F**** Himself (2), Never Have I Ever (3), What We Do in the Shadows (4).
COMING SOON: Andor, House of the Dragon, The Rings of Power, Reboot, She-Hulk, The Handmaid's Tale (5).

Critical Week: A big buddy

London critics saw two big effects-based movies this week featuring young kids interacting with huge digital costars. Steven Spielberg brings his usual sense of wonder to The BFG, based on the Roald Dahl classic. The excellent cast features Mark Rylance, newcomer Ruby Barnhill and Penelope Wilton, and the story is involving and lovely, although it does feel very animated. Surprisingly, Pete's Dragon feels rather more tactile and grounded, with its loveable giant green furry puppy dog-like dragon. It's just as wondrous, with fine acting from Bryce Dallas Howard, Oakes Fegley and Robert Redford.

Off the beaten path, we had screenings of Things to Come, a clever, thoughtful French drama starring Isabelle Huppert; the moving documentary Jim: The James Foley Story, about the American journalist kidnapped and executed by Islamic State; and the artful portmanteau movie Confessions, exploring issues of love and sex through rather actorly monologs.

This coming week I have rescheduled screenings for both Jason Bourne and Hell or High Water, plus that other Chris Pine movie Star Trek Beyond, Viggo Mortensen in Captain Fantastic and the new film version of the British classic Swallows and Amazons. Then I'm off on a short holiday for five days, hurrah! My first proper break since last November.

Requisite Blog Photo: Feeling furry

Critical Week: London's burning

London was the centre of the Star Trek universe last week with the first press screenings of JJ Abrams' Star Trek Into Darkness, an epic press junket at City Hall looking over the river at the skyline (not burning in real life but glistening in the spring sunshine) and a mammoth world premiere in Leicester Square. I attended two press screenings and hugely enjoyed the film both times. It's definitely one for the fans, as those who don't know the back-story will struggle to understand the significance of the plot and characters, but the cast is terrific. Benedict Cumberbatch, Chris Pine, Zachary Quinto, Simon Pegg, Zoe Saldana, Karl Urban and Alice Eve were all on great form at the press event.

Also last week, we had Paul Walker in the rather implausible but involving Johannesburg road thriller Vehicle 19, Tim Roth and Jack O'Connell in the darkly comical British crime thriller The Liability, Alexey Balabanov's violent and pointed black comedy The Stoker, and the Belgian-Turkish culture clash drama-romance Mixed Kebab. I also planned a Madeline Kahn marathon over the long weekend with friends who had never seen her best work. We thoroughly enjoyed the genius of What's Up Doc and Young Frankenstein, but the warm sunshine tempted us to put off Blazing Saddles for another day. Frankly, those are three films I could happily watch on a loop.

This coming week, we have Baz Luhrmann's The Great Gatsby, the uber-reunion sequel Fast & Furious 6, Michael Shannon in The Iceman, the animated adventure Epic, the German fable The Wall, the acclaimed doc Blackfish, and a second attempt to see the Brazilian doc Tropicalia after a projector issue cancelled last week's screening. I also still have to see those reissues: Theorem, The King of Marvin Gardens and Billy Liar - let's hope for bad weather this weekend!