Screen: August TV Roundup

There's been a lot to watch this summer, squeezing episodes of TV series in between the movies and stage shows. It's been a nice combination of serious stuff along with less demanding entertainment. I'll start here with new shows, specifically the one that was the most unexpected fun...

Ride or Die
Hannah Waddingham and Octavia Spencer are having so much fun that it's impossible not to enjoy this freewheeling action comedy. As Debbie comes to grips with the fact that her best friend Judith is an assassin, they find themselves on the run across Europe, chased by the Albanian mob and various ruthless killers. Bill Nighy and Ed Skrein have notably strong supporting roles. And while the tone is resolutely jaunty, the show never shies away from the gruesome violence. So the story takes some very, very dark turns along the way, as it delves into Judith's shady past on its way to a showdown with an angry ex-colleague (Sylvia Hoeks). All of this is finely produced, shot in gorgeous locations with impressive action choreography that's genuinely intense. (Prime)

Tip Toe
Alan Cumming and David Morrissey star in this pointed drama from Russell T Davies, which we know from the start is heading to an unspeakable crime. They play long-time neighbours caught in a tense tug-of-war relating to friends and family. The title refers to how queer people must again lie low as society slides into right-wing bigotry. So it's very hotly charged, with riveting conversations and terrifying confrontations. Even if the writing isn't very subtle, the performances are. Cumming and Morrissey find fascinating complexities, as do members of the strong supporting ensemble. Jackson Connor gives a breakout turn as Morrissey's 16-year-old son. The themes are urgently important, but the story's so grim that it's not easy to watch. Or forget. (C4)

Widow’s Bay
This nutty series throws every creepy seafaring tale at a small community living on an island off the coast of New England. Despite growing up here, Mayor Tom (Matthew Rhys) somehow doesn't know any of this folklore and is thoroughly sceptical. Then everything starts happening to him at once. Everything is rather bonkers, with an offbeat pace and a surrounding cast of colourfully amusing characters. There's also a wide range of horrific nastiness on display, including a particularly grim episode set in the early 18th century. And with its haunted town premise, the show sometimes feels like a goofier variation on Stranger Things. So even if the various plot strands seem rather contrived, we wouldn't mind coming back for more. (Apple)

Spider-Noir
While you can choose to watch this in shimmering black and white or saturated colours, the main joy of this Spider-Man variant series is Nicolas Cage's woozy performance as Ben Reilly, a middle-aged private eye in a cartoonish 1930s New York. He's also secretly the Spider. He's such a broken mess that it's impossible to take our eyes off him, especially with Ben's earthy emotional chaos and a relentless charisma honed from watching vintage James Cagney movies. The back-story, revealed in extensive flashbacks, is far more engaging than the plot of this series. Likeable side roles include Lamorne Morris' snappy journalist, Karen Rodriguez as Ben's sassy secretary, Li Jun Li as the femme fatale and Brendan Gleeson's ruthless mobster. (Prime)

Not Suitable for Work
Created by Mindy Kaling, this New York comedy features two 20-something women living across the hall from three 20-something men, Friends-style, as they kickstart their careers. It may not feel terribly realistic, with money issues treated as a bit of a joke and career opportunities coming along right on cue, but the actors are terrific as they spiral around each other and pursue work in banking, journalism, acting and styling. Ella Hunt, Avantika, Will Angus, Jack Martin and Nicholas Duvernay have so much charisma and chemistry that we happily become involved in their amusing personal dramas. And the cast includes the terrific Jay Ellis, Constance Wu, Greg Germann and a hugely enjoyable Victor Garber, plus lots of starry cameos. (Hulu) 

Maximum Pleasure Guaranteed
A comical sensibility sits at odds with this violent thriller about a single mum entangled with a trail of dead bodies. The title is a tease because the first victim is a camboy, and while there are intriguing ideas in here about the messiness of divorcing couples and lingering desire, none of that is dealt with meaningfully. Still, it's played to the hilt, so Tatiana Maslany's central character Paula is such an idiot she's impossible to like, impulsively making everything worse with each decision and reaction. But then, if anyone in this show behaved like a real person, the murderous monster (a terrifyingly chilly Murray Bartlett) would be caught in episode 2. It's almost worth watching just for him, and the fabulous Dolly De Leon as a no-nonsense detective. (Apple) 

T H E   S A G A   C O N T I N U E S

Sugar: series 2
After pulling the rug out with a that season-finale twist, this noir mystery could only deepen. And these episodes are even more assured and focussed, produced with a cinematic liquidity that's pure heaven on-screen. Driving the coolest car on television, Colin Farrell gives a staggeringly smart, understated turn as the otherworldly John Sugar, a philanthropic private eye whose current case involves a boxer (Jin Ha), his wayward brother (Raymond Lee) and a deeply corrupt cop (Tony Dalton). But John's playing a longer game, working with old pal Tom (Shea Whigham), flirting with Charlotte (Laura Donnelly) and hiring an assistant (Sasha Calle). The stories unfold with a gorgeous attention to detail, constantly surprising us with lovely emotional resonance. (Apple) 

The Vampire Lestat: series 3
Previously titled Interview With the Vampire, this season finds a new musical vibe as it follows swaggering rock-god Lestat (Sam Reid) and his band on tour, dredging up stories from his past as he's interviewed for a backstage doc by journalist Dan (Eric Bogosian). Meanwhile, Louis (Jacob Anderson) is taunting Lestat, whose mother (Jennifer Ehle) arrives to spice things up. There's also a waitress who looks eerily like the late Claudia (Delainey Hayles). More outrageously over the top than before, and featuring several terrific original songs, this year's storyline is packed with enormous twists and astonishingly grisly violence, although the rowdy sexuality feels more strait-laced, so to speak. Still, the writing digs deeply into the characters, and the cast is well up for the challenge. (BBC)

Fake Profile
[Perfil Falso]:
series 3
Subtitled Killer Honeymoon, this Colombian potboiler kicks off its third season with the usual mix of sexy encounters, mysterious new characters and of course murder. The writing is even more absurd than before, largely because of the convolutions needed to keep things going. And the show's eye leans further into leery misogyny, featuring glistening tough guys and girl-on-girl action. It's also a guilty-pleasure, combining uber-sleek visuals with the trashiest plotting imaginable. Poor Camila (Carolina Miranda) is still at the centre, with her dubious boyfriend Miguel (Rodolfo Salas) and evil nemesis Angela (Manuela Gonzalez), somehow in the thick of the action even though police know that she's the mastermind behind all of this chaos. (Netflix) 

H A I L   A N D   F A R E W E L L

The Bear: series 5
The first nine episodes of this season are set over a single night, returning this series to its earlier style of storytelling, piling a range of outrageous situations onto a group of already frazzled characters, then watching them rise to the challenges. It's breathtaking to watch, because it's so superbly written and directed, and performed to perfection by this deservedly award-hoovering ensemble cast. The ninth episode is one of the very best in this show's extraordinary run, which is saying something, as everything comes to a head. Oddly, this leaves the final episode feeling a little disappointing, as it works overtime to wrap up each dangling plot thread in a way that isn't strictly necessary. And the final scenes are focussed on the wrong characters. (Hulu) 

Heartstopper Forever
Essentially a condensed version of the show's fourth season, there's a nicely cinematic quality to this film, which wraps up the series about teens grappling with issues around sexuality and identity. They're young adults now (led by the terrific Kit Connor and Joe Locke), so the film must strike a balance between childhood and more grown-up thoughts and feelings. And while the script tends to steer things in rather cute directions, there are darker and, yes, sexier things going on that make the story resonate strongly
(Netflix) ... FULL REVIEW >

Good Omens 3
Michael Sheen and David Tennant are back as an angel and demon who rather like each other, with the third season playing out in the form of an overstuffed 90-minute movie. The wacky antics continue, with the theft of the Book of Life throwing heaven, hell and earth into chaos. And then Jesus (Bilal Hasna) goes missing just before the second coming. As before, the goofiness contains rather a lot of existential intrigue, questioning the nature of good and evil, as well as humanity's need for supernatural explanations of earthly realities. There's a lot going on, not all threads are tightly tied, and quite a few details needed to be more fleshed out, as it were. But it's always great to see Sheen and Tennant having fun, and Derek Jacobi and Toby Jones too. (Prime)

I N   P R O G R E S S

I'm halfway through the 4th season of Ted Lasso (Apple) and Ryan Murphy and Bret Easton Ellis' The Shards (Hulu). Obviously these are very different shows, but Ted Lasso's smart brand of comedy continues to be utterly winning as he returns to England to coach Richmond's rising-star women's team. The ensemble cast is on peak form. And Murphy's uber-lurid approach feels a bit timid here, even as The Shards remains an entertaining slasher horror romp through an early 1980s drugs-and-sex-filled high school. I'm patiently awaiting for the press to be given the remaining episodes; full comments will be in the next roundup.

ALSO WATCHING: Star Trek: Strange New Worlds 4, One Hundred Years of Solitude, Sterling Point

GUILTY PLEASURES: The Traitors Canada, Race Across the World, Pop Culture Jeopardy, Funny AF

COMING SOON: Lanterns, Brothers, The Celebrity Traitors 2, Mobland 2, Chad Powers 2, The Gentlemen 2, Leanne 2, Adults 2

Previous roundup: JUNE 2026 > 

Screen: July TV Roundup

While several high-profile shows are back with new seasons, it's been the new series that have captured the buzz over the past couple of months. It's always fun to discover something new, whether it's a limited series or something that is likely to go on for a few more seasons at least. Not that anyone is willing to let a hit simply pass into memory without milking at least one more collection of episodes. I've had time to catch up with a few things, starting here with new shows...

Too Much
Lena Dunham is back as writer-director (and occasional costar) of this sparky London-set comedy starring the awesome Megan Stalter and Will Sharpe. As with Girls, the show explores ambition, friendship and romance in ways most TV series would never dare, remaining honest and jaggedly funny while never shying away from the way real people interact both professionally and personally. Over the course of 10 episodes, Dunham crafts a perfect romcom that breaks every rule in the book. She also pokes fun at the American-in-London trope. And she peppers scenes with top-tier support from Richard E Grant, Naomi Watts, Andrew Scott, Andrew Rannells, Adele Exarchopolous, Rita Wilson, Rhea Perlman and many more. (Netflix)

Your Friends & Neighbors
Jon Hamm stars in this darkly comical series about a bigwig Wall Street trader whose wife (Amanda Peet) leaves him for his best friend (Mark Tallman). Then he's sacked by a greedy boss. So he decides to burgle his wealthy neighbours' homes to keep his head above water, as you do. It's all rather implausible and smug, only pretending to lampoon the lifestyles of the wildly wealthy while secretly revelling in them. And the overall story arc feels extremely constructed, with little air for real-life honesty to interfere. But Hamm is hugely watchable as always in an unusual role that combines comedy and drama, and the ensemble cast around him have strong moments of their own. The question is whether we'd watch a second season. (Apple) 

Sirens
This limited series is like a mashup of The White Lotus, Nine Perfect Strangers and The Perfect Couple, set at a New England island retreat run by the imperious Michaela (Julianne Moore). The action centres around her over-efficient assistant Simone (Milly Alcock), who is not happy that her distinctly working-class sister Devon (Meghann Fahy) has dropped in unannounced to ask for help in caring for their dad (Bill Camp). Wrinkles abound in relationships and connections, as secrets and mysteries emerge from the shadows to engulf everyone. And where it goes is refreshingly unexpected. Moore is hilarious as the earnest Michaela, like Gwyneth Paltrow with cult-leader vibes. Terrific costars include Kevin Bacon and the ubiquitous Josh Segarra. (Netflix)

Overcompensating
With its lively writing and likeably chaotic characters, this half-hour comedy is entertaining even if it's one of those shows that spins its wheels and never quite gets anywhere. The premise is clever: university freshman Benny (played by the show's creator Benny Skinner) has always exceeded expectations as an athlete and student, and is suddenly challenged to be his true gay self for the first time. But old habits die hard, and the closet isn't easy to escape. Characters are well-written and vividly played by a fresh cast, and the writing has hilariously knowing insight into the power of expectations and peer pressure, especially with the frat house antics. But over eight episodes, the story only takes baby steps, ending just as things begin moving. (Amazon)

Murderbot
Alexander Skarsgard is terrific in this comical sci-fi thriller series, which packs a lot of humour, suspense and barbed interaction into each of its half-hour episodes. He plays a sentient security robot who hacks the programme that limits his actions, which triggers an odyssey in which he explores who he is and what he means in the face of humanity. His opinions about people are hilariously astute, and it's a lot of fun to see how he awkwardly bonds with his oddball crew (including the terrific Noma Dumezweni and David Dastmalchian). This offers a terrific look at the nature of emotional interaction, while also lampooning the genre with amusing scenes from shows within the show. (Apple)

B A C K   F O R   M O R E

The Bear: series 4

Still not a comedy, despite winning all the awards, this bracing show boasts some of the best acting and writing on television. So while the never-ending miserable chaos sometimes feels exhausting, there's plenty of depth to it. The seriously first-class actors grow more riveting each series as talented people trying to keep a top tier restaurant from failing. Jeremy Allen White and Ayo Edebiri should win every prize going. And the supporting cast too, for that matter. Although showrunner Christopher Storer does love achingly cool montages (sometimes entire episodes are assembled this way). This season was packed with memorable elements, with a constant flurry of surprises. And that wedding episode. (FX)

The Last of Us: series 2 

Jumping ahead five years, this season kicks off with riveting episodes that set up powerful storylines and complex interactions. With shocking twists, the show feels far more propulsive than the first series, adding a proper sense of urgency that drives the action forward on a larger scale. As Ellie, Bella Ramsay continues to be a force of nature on the screen, one of the most complicated young people on television. Ellie's rippingly intentional character drives the action alongside Isabela Merced, Young Mazino and Gabriel Luna. Kaitlyn Dever has terrific presence as this season's villainous figure, alongside a taut Jeffrey Wright. And Catherine O'Hara takes no prisoners. But the departure of Pedro Pascal's thoughtful Joel was hard to watch. (HBO) 

Nine Perfect Strangers: series 2 

Now in an Alpine spa in Switzerland, Nicole Kidman's Masha assembles another group of mysteriously connected people for more psychedelic treatment that's just beyond what might be considered ethical. The ensemble cast is once again excellent, superbly playing people with dark secrets who are pushed into exploring their own minds. Standouts here include Annie Murphy, Murray Bartlett, Dolly De Leon, Henry Golding, Mark Strong, Lucas Englander and the great Christine Baranski. The snowy setting and offbeat old/new architecture offer very cool visuals for this season, but the best thing is the increasingly twisty internalised drama grows between these not-exactly strangers. It's not rocket science, but it's insinuating fun. (Hulu) 

And Just Like That: series 3 

The Sex and the City gang is back for more meandering New York comedy, settling into their new routines with the usual foibles about dating and relationships. Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sarita Choudhury, Nicole Ari Parker and friends are as effortlessly charming as always, so even if the plotting feels as lazy as ever the dialog crackles with witty life and also finds some emotional resonance along the way. Plus a few enjoyably silly plot turns. It may be difficult to identify with the troubles of these almost ludicrously privileged people, but there are enjoyable moments along the way that keep us watching, largely because we've now invested nearly three decades into these characters. (Max) 

Fubar: series 2 

More nonsense ensues with Arnold Schwarzenegger and Monica Barbaro as father-daughter CIA operatives. This action comedy is packed with silly gags and utterly ridiculous plotting, accompanied by surprisingly grisly violence. This season digs a bit deeper into back-stories of the various teammates, pitching Schwarzenegger's Luke against his villainous ex Greta (a raucously camp Carrie-Anne Moss) while Barbaro's no-nonsense Emma is hilariously wooed by her British nemesis Chips (Guy Burnett). The growing ensemble has a lot of fun diving into the increasingly nutty mayhem. So it's entertaining to go along for the ride, in a switch-off-your-brain sort of way. But honestly, these should be half-hour episodes. (Netflix) 

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

While the first season left me cold with its emphasis on people dryly discussing political plots in static rooms, this keeps that far more contained. These episodes have a superb driving kick that balances the over-intense discussions with proper dramatic tension and rather a lot of thrilling action and suspense. As the timeline counts down to the events of Rogue One (and of course the original Star Wars), the story wraps itself tightly around the audience, meaningfully grappling with big ideas about heroism, courage and political idealism in an unjust system. The real-world parallels are often chilling, especially because they feel so unintentional. And the cast is first rate, including Diego Luna, Genevieve O'Reilly, Stellan Skarsgard and Denise Gough. (Disney)

Squid Game:
series 3 

Picking up in the middle of the scene that cut out at the end of the second season, this final series continues to follow the messy attempts by those who escaped to get back in and stop these sadistic games. And the games are even nastier this time, starting with a particularly brutal round of Hide and Seek. As before, there's a tendency to over-egg the emotional moments, and the monstrous wealthy patrons are even more cartoonish this time. But the tension between our terrified-but-determined hero Gi-hin (Lee Jung-jae) and game's conflicted leader In-ho (Lee Byung-hun) has a terrific simmer to it. Enjoyably, the ghastly pay-off will divide audiences, as will the A-list cameo that leads into David Fincher's forthcoming American spin-off. (Netflix)

The Handmaid's Tale: series 6 

Elisabeth Moss is back as the fiery June, watchable as ever especially when she squares off against Yvonne Strahovski's glacial Serena. The extended narrative has become rather unwieldy over the past few seasons, with a lot of back and forth between peril and safety, and this season is no exception, adding big twists on several fronts. There's also a shameless overuse of Moss' now-iconic death stare (and others get to glower as well). As the overarching story evolves in some pointed directions, there are smaller details that niggle simply because they feel both unnecessary and unsatisfying. But it's held together by the determined drive of these embattled women to reclaim the just society that was so horrifically turned upside down by religious zealots. (Hulu)

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

NOW WATCHING: The Sandman 2, Single Out 3, Stick, Adults, Olympo, Long Way Home, The Wild Ones

COMING SOON: Chief of War, The Tuesday Murder Club, Dexter: Resurrection, Peacemaker 2, Star Trek: Strange New Worlds 3, Acapulco 4.

Previous roundup, MAY 2025 >

Critical Week: I've got a bad feeling

It's been another unusually busy week for this time of year in the screening rooms, with a steady stream, of movies to watch. I'd been hoping to get a break after awards season, but we are powering forward at full speed. So any down time will have to wait. Big releases are screening late these days, with three that are coming out this week: Ayo Edebiri leads the cast of Opus, a blackly comical horror film that isn't very scary. But Edebiri makes it very watchable, as does a scene-chewing John Malkovich. Cate Blanchett and Michael Fassbender sizzle in the snaky, intelligent thriller Black Bag, which refreshingly isn't about what you think it's about. And Millie Bobby Brown and Chris Pratt lead an offbeat ensemble in The Electric State, a retro sci-fi adventure that's watchable but also forgettable.

BEST OUT THIS WEEK:
Last Breath
Black Bag • Throuple
PERHAPS AVOID:
The Day the Earth Blew Up
ALL REVIEWS >

Other films included the perhaps too-emotional drama The Life of Chuck, with a superb ensemble led by Tom Hiddleston, Chiwetel Ejiofor and Karen Gillan. The Parenting is an amusing meet-the-parents horror pastiche with Brian Cox, Edie Falco and Lisa Kudrow. It's funny and grisly, but never frightening. Infused with music, Throuple is an offbeat indie romance that knowingly bends the rules. And there were two Chinese films: the epic animated sequel Ne Zha 2 is visually dazzling, while the blackly comical thriller Brief History of a Family is riveting and surprising.

There were also two festival films. From South by Southwest, there was the sharply made teen comedy She's the He, and from WatchAUT, I enjoyed the offbeat drama of Peacock, starring the superb Albrecht Schuch. And I also caught two stage shows: Dear Martin at the Arcola Theatre and Drum Tao: The Dream at the Peacock Theatre.

This coming week I'll be watching two films with Pedro Pascal, the adventure Freaky Tales and the comedy-drama The Uninvited, plus Disney's live-action Snow White, Michel Hazanavicius' animated The Most Precious of Cargoes, Alain Guiraudie's Misericordia and the artificial intelligence doc The Thinking Game. In addition, the remake of The Wedding Banquet, starring Bowen Yang, opens BFI Flare film fest on Wednesday.

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 >

Critical Week: Are you my mother?

It was all about animation for me this past week, with two big releases in cinemas as well as my first visit to the premiere animation film festival in the world. I was invited to a crew screening of Netflix's Ultraman: Rising on the UK's biggest Imax screen, and it certainly looks amazing at that size. The story is involving, with terrific action and a lot of adorably childish silliness too. Pixar's Inside Out 2 is finally here, and it's more centred on the plasticky humans than the witty, insightful emotions. It's still good fun, but it feels like it misses a couple of big tricks.

BEST OUT THIS WEEK:
Sorcery • Summer Solstice
Ama Gloria • Tiger Stripes
ALL REVIEWS >

Other films the offbeat comedy Bad Behaviour, which stars Jennifer Connelly and writer-director Alice Englert as an awkward mother and daughter. The engaging queer comedy-drama Summer Solstice is sharp and authentic. 

Over last weekend, I also saw several films at the Sundance Film Festival: London, which have been already covered here. And the Annecy International Film Festival in France us a treasure trove of animation. I was there to cover the first look at DreamWorks' The Wild Robot (more on that soon), and I also managed to see two beautifully animated films: from Spain, Rock Bottom is a dark and trippy drama about a pivotal moment in musician Robert Wyatt's life, while Japan's The Birth of Kitaro: Mystery of GeGeGe is based on such an extensive manga that it's tricky to get into its fantastical, outlandish tale.

This coming week I'll be watching Russell Crowe in The Exorcism, Demi Moore in The Substance, animated adventure The Imaginary, war drama Before Dawn, campground thriller Birder, sci-fi drama Spark and the Taliban doc Hollywoodgate.

Critical Week: You're a winner, baby

Arriving back in London, there's a lot to catch up on, both with writing and movie watching. But I'm working my way through it all, fending off jet lag and surprisingly not too bothered by the cold, wet, dark days here. Awards season is in full swing now, so there are plenty of for-your-consideration films to watch, plus TV series as I am voting in both film and TV categories in this year's Golden Globes. I've only just begun to catch up.

BEST OUT THIS WEEK:
Anatomy of a Fall
The Eternal Memory
ALL REVIEWS >

Films this week included yet another unexpected performance from Nicolas Cage, this time as a hapless nice guy propelled into a surreal social media flurry in Dream Scenario. It's smart and strange, and wonderfully provocative. Brie Larson, Teyonah Parris and Iman Vellani are back as The Marvels, an bonkers action comedy that's funny but vacuous. Ayo Edebiri and Rachel Sennott lead the teen comedy Bottoms, which is rude and amusing, and never quite gets to the point. The important and engaging doc Every Body is a bracingly honest look at life for three intersex people, bursting with humour and music. And I caught up with this one on the plane...

The Covenant
dir Guy Ritchie; with Jake Gyllenhaal, Dar Salim 23/US ***.
Set in 2018 Afghanistan, this remarkably understated thriller may be fictional, but it has a strong ring of truth to its story of an American soldier who feels a moral responsibility for helping the interpreter who saved his life. Director-cowriter Guy Ritchie recounts the story with an edgy authenticity that often feels like a documentary, so even when the bigger action beats emerge, they feel grounded in human experience. And performances have a terrific earthiness that avoids the usual militaristic bombast.

Films this coming week include Joaquin Phoenix as Napoleon, Zac Efron in The Iron Claw, Alexander Payne's The Holdovers, Julia Garner in The Royal Hotel, James Marsh's Samuel Beckett biopic Dance First, Hayao Miyazaki's The Boy and the Heron, Japanese monster reboot Godzilla Minus One, the doc American Symphony and the restored classic The Red Shoes.