Showing posts with label ashton kutcher. Show all posts
Showing posts with label ashton kutcher. Show all posts

Monday, 9 February 2026

Screen: February TV Roundup

I haven't had quite as much time to watch television series over the past few months, largely because of all the movies I need to catch up with during awards season. But I've fit quite a few episodes in between films, a wide range of things that have mostly been a lot of fun. I've even been able to attend a few enjoyable TV premiere events (documented on Instagram). But on my flights over the holidays, I stuck to the classics, mainly watching episodes of the classic sitcom Cheers, which never gets old. I'm starting this roundup with new shows...

The Beauty
A bonkers premise makes this an instant guilty pleasure, as creator Ryan Murphy throws us into a grisly mystery in the world of fashion and cosmetics. Evan Peters and Rebecca Hall are terrific as conflicted FBI agents in Europe, trying to get to the bottom of a series of seriously nasty deaths that are linked some sort of miracle anti-ageing substance, while Ashton Kutcher, Anthony Ramos and Jeremy Pope lurk in the shadows. Starry guests gleefully pop up everywhere, most notably the fabulous Isabella Rossellini. And the story evolves to encompass elements of body horror, international intrigue and vampy nuttiness, all with an underlying point about the fear of ageing and the quest for physical perfection. And the cliffhanger ending only reminds us that we're completely hooked. (Disney)

Heated Rivalry
The first episode of this virally popular show leaps through time to trace the romance between two hockey stars, Canadian Shane (Hudson Williams) and Russian Ilya (Connor Storrie), who meet occasionally over several years. Then the plot settles into much more engaging groove. Episode 3 kicks everything up a gear, taking more time to breathe as it traces the complex romance between rival player Scott (Francois Arnaud) and nice guy art student Kip (Robbie GK). Their involving story adds layers to this knowing depiction of the closeted world of professional sportsmen. The point is simple but important. Then as both relationships develop and intersect, the show and the cast become flat-out irresistible. It's a rare thoroughly uplifting show that leaves us wanting more. (Crave)

Wonder Man
Lately, the best Marvel productions have been half-hour TV shows that allow filmmakers much more creativity than the oversized, overcrowded movies do. This one is thoroughly enjoyable, populated with sparky, messy characters who quickly get under the skin. Yahya Abdul-Mateen II brings his charisma to bear on the lead role as Simon, an aspiring actor who may be getting the chance of his life. And Ben Kingsley is having fun getting back into the skin of Trevor, the slippery actor who played the Mandarin in previous Marvel blockbusters. The show is a little gimmicky, over-pleased with its starry cameos and witty sideroads. But because it hones in on complex characters who are desperate to get their lives on track, the mix of comedy and drama is thoroughly involving. (Disney)

Agatha Christie's Seven Dials
Set out as a limited whodunit series with three tightly packed episodes, the key question was how they would adapt Christie's 1929 novel The Seven Dials Mystery into a series that can keep running. And they've done it very cleverly indeed, thanks to the ingenious casting of the wonderfully charismatic Mia McKenna-Bruce as a feisty young aristocrat in 1925 London who can't help but start investigating when her closest friends start dying one by one. Clues lead to a shadowy secret society, alondside complications involving her hermit-like mother (a terrific Helena Bonham Carter) and sparky competition with a police detective (Martin Freeman). The show's pacing is quick and twisty, and also great fun even with the rising body count. And the jolly old setting adds intriguing angles. (Netflix)

The War Between the Land and the Sea
I've never managed to get into Doctor Who, but I enjoyed the more grown-up spinoff Torchwood a decade ago, and this spin-off is also cleverly aimed at a more sophisticated viewership. It's the cautionary tale of the first encounter between humans and an aquatic species that has lived deep in Earth's oceans for millions of years. Advanced and self-sufficient, they have finally become fed up with us dumping so much rubbish into their home. Russell Tovey is terrific as the everyman hero, drafted in as ambassador to negotiate with Gugu Mbatha-Raw's hot water-realm emissary. Their romance is corny but sweet, and the show's slightly cheesy production values, toned-down themes and overly pointed tone are thoroughly watchable. (BBC)

I Love LA
Scrappy and very silly, this comedy features a group of frankly pathetic people who somehow manage to navigate life in Los Angeles, largely due to dumb luck. All of them are rather exasperating, in a cartoonish sort of way, but most also manage to remain somewhat endearing in the way they lean on each other. Toxic connections abound, chiefly between actor-creator Rachel Sennott's insufferable central character Maia and her almost as obnoxious best pal Tallulah (Odessa A'zion). The show's arc centres on how they work together to propel Tallulah's influencer brand. Thankfully, there are also terrific roles for Josh Hutcherson, True Whitaker and scene-stealing charmer Justin Firstman. They provide some badly needed positive energy. (Max)

O N E   L A S T   S H O T

Stranger Things: series 5
Leaning into the increasingly epic sensibility, these final eight episodes feel seriously momentous, and a couple of them have feature-length running times. This isn't the child-based 1970s-style adventure thriller of the early episodes; it's now full-on monster horror that comes complete with the now seemingly requisite blandly digital settings. Thankfully, the characters remain strong, with those kids now grown into plucky young adults determined to end the chaos that has engulfed their town for years. Aside from the monsters, Linda Hamilton is on hand as a vicious military villain. And each regular actor gets a full story arc, although the growing spectacle kind of overwhelms the more involving relationship dramas. Still, it's a must-see for the show's fans. (Netflix)

B A C K   F O R   M O R E

The Night Manager: series 2
A decade after the hit limited series, we catch up with sexy spy Tom Hiddleston for another edgy thriller. Although it's much more work and less play this time. The plot feels both dense and relentless, but that helps make it gripping as it snakes through six propulsive episodes to a cliffhanger ending. Hiddleston's agent Jonathan finds himself in the middle of a complex arms-trade conspiracy with stakes that grow bigger by the minute. Much of the original cast is back, including Olivia Colman, Hugh Laurie, Douglas Hodge and even Noah Jupe, plus excellent newcomers Diego Calva, Hayley Squires and Indira Varma. Annoyingly, the script fumbles several promising subplots, but it's still involving, and the show uses its Colombian settings beautifully. (BBC)

Industry: series 4
Set in London's financial world, this show gets both darker and soapier with each season. Oddly, these eight episodes feel like they are straining to push the boundaries when it comes to sex and drugs while instead timidly cutting away from anything properly provocative. That dense barrage of jingoistic dialog is just as impenetrable, and it doesn't matter at all. But shifting everything into a more American-style grim melodrama makes the characters less likeable then they were before, even with engaging actors like Kit Harington, Marisa Abela, Myha'la and superb new cast members like Max Minghella, Kiernan Shipka, Toheeb Jimoh and Charlie Heaton. That said, it's still compelling to watch, impossible to look away. (BBC)

Shrinking: series 3
This comedy continues to deepen the characters while leaning into the therapists-in-therapy premise. So each of the roles gets better with each season. Even though the show centres around Jason Segel's single dad, Harrison Ford takes centre stage here as Paul grapples with Parkinson's, retirement and his new marriage to Julie (Wendie Malick), with lovely ripples through the large ensemble. There's also more interesting stuff for Jessica Williams, Luke Tennie, Lukita Maxwell, Christa Miller and Ted McGinley as the writers push everyone forward, whether they want to grow up or not. This is a rare show that features realistic changes in the lives of these people. And the way this season ends makes us wonder where it will go in the already promised fourth series. (Apple)

A Man on the Inside: series 2
While this new scenario isn't quite as resonant as the retirement home from the first season, Ted Danson is still having a lot of fun with this role as a retired professor who this time goes undercover at a university to solve a mystery. It's all very comfortable and homey, but there are sparky elements to each of the characters that keep the actors on their toes. New cast members include Mary Steenburgen and David Strathairn, plus more action for Mary Elizabeth Ellis, Stephanie Beatriz and Stephen McKinley Henderson. The twisty blackmail/conspiracy plot is extremely silly, but the characters (including a more terrific cameos) as so entertaining that it's very easy to binge the whole series in one sitting. And when it ends, we want more. Yes, series 3 is coming. (Netflix)

Loot: series 3
Even funnier than previous seasons, this show is developing in surprising ways that are both entertaining and provocative. Even its goofier excesses have more bite. Maya Rudolph is terrific as the oblivious billionaire Molly, who almost accidentally decides to use her money to make the world a better place. As her work partner, Michaela Jae Rodriguez gets even more complex storylines of her own this time around, as does Joel Kim Booster as her personal assistant. A stint on a not-so-deserted island is absurd but also hilarious. And the way the writers weave meaty themes into corny subplots is a stroke of genius. So as we laugh at the silliness, and especially at the ludicrous luxury of the obscenely wealthy, we barely realise that we're thinking too. (Apple)

Alpha Males:
series 4
This Spanish sitcom seems to get increasingly soapy and slapsticky with each season, poking fun at issues of masculinity as four best pals struggle with their roles as men, husbands and fathers. After being "deconstructed" in the first season, they are floundering. They're also so dopey that it's difficult to feel like there's any genuine insight. And the women are even worse, frankly. These episodes put each relationship under severe strain, with various antics and deception. There's also a nutty trip to a macho military retreat before everyone hits a breaking point on a madcap Caribbean holiday. So there is plenty of opportunity for overacting in both the wacky comedy and big melodrama. Still, it's nice that at least some big issues are being discussed. (Netflix)

GUILTY PLEASURES: The Traitors, Queer Eye 10, Drag Race 18.

NOW WATCHING: Star Trek: Starfleet Academy, Bridgerton 4, Fallout 2.

COMING SOON: The Muppet Show, Paradise 2, Scrubs, Young Sherlock, Vladimir, Jury Duty: Company Retreat, Bait.

Previous roundup: NOVEMBER 2025 > 

Friday, 23 January 2026

Critical Week: The look of love

It's been a busy week for me, catching up on some awards-season movie-watching. And the Oscar nominations were announced on Thursday, with some nice surprises (Delroy Lindo, Kate Hudson) and surprising omissions (Paul Mescal, Wicked: For Good). As for the movies, I was looking forward to Francois Ozon's take on the Camus classic The Stranger, and the film certainly didn't disappoint. It's a luxuriantly gorgeous exploration of disaffection that feels eerily timely today. And Benjamin Voisin and Rebecca Marder (above) are superb. I also caught up with Cal McMau's impressive directing debut Wasteman, an intentive, involving and ultimately moving British prison movie starring the excellent David Jonsson and Tom Blyth.

BEST OUT THIS WEEK:
The History of Sound
H Is for Hawk
No Other Choice • Heavyweight
ALL REVIEWS >
Further off the beaten path, the doc D Is for Distance is an artful cinematic essay by a filmmaking couple exploring their son's health issues with kaleidoscopic skill. It's also a bit indulgent. From Mexico, the observant and mesmerising Copper is an idiosyncratic drama about a man and a moral dilemma. From Germany, Phantoms of July is an enjoyably deadpan comedy that connects characters in unexpected ways. And I caught up with two more documentary contenders: Come See Me in the Good Light is the rightfully acclaimed (and now Oscar-nominated) depiction of a poet's strikingly straightforward approach to mortality, while Liza: A Truly Terrific Absolutely True Story is pretty much what it says: a sparky, hugely entertaining look at the life of Liza Minnelli through her own eyes. 

Beyond movies, I attended the premiere of Ryan Murphy's new grisly, camp, compulsively watchable TV series The Beauty, and chatted with cast members Evan Peters, Ashton Kutcher, Rebeccal Hall, Anthony Ramos and Jeremy Pope at the appropriately gorgeous afterparty (see below). And there was also a live performance of Gecko's wondrous The Wedding at Sadler's Wells East.

Coming up this next week, I'll be watching Jason Momoa in The Wrecking Crew, Olivia Colman in Jimpa, Riz Ahmed in Hamlet, Milla Jovovich in Worldbreaker, James McAvoy's directing debut California Schemin', the Aussie family adventure Kangaroo and Mark Jenkins' new film Rose of Nevada. And Bafta nominations are out next Tuesday.