Shadows on the Screen: Autumn TV roundup

Still clearing my head by watching TV, which feels like a vacation from work (ie, the movies) to me. Here's what I watched over the summer...

DISCOVERIES 

Stranger Things

It seems like everyone was talking about this show this summer. And rightly so! This is a fiercely clever 1970s-style blending of the storytelling and character detail of a Stephen King novel with the childlike wonder and effortless magic of a Steven Spielberg movie. The show also cleverly works on three layers: with young boys discovering a strange girl with unusual abilities, teens looking into some freaky goings on, and adults investigating suspicious government activities. All of this was wrapped up in a period-style production that clicked together seamlessly. Gripping television that didn't need a second season, but we'll sure be looking forward to it.

The Night Of

A remake of the British series Criminal Justice, this forensic thriller has extremely sharp writing and direction and often astonishing performances. So even if the premise isn't terribly original - the criminal case, courtroom scenes and prison drama all feel rather standard - the show remains relentlessly gripping. It helps that scenes are full of contrasting characters played by the gifted Riz Ahmed, John Turturro, Peyman Moadi, Glenne Headly, Michael Kenneth Williams and more. Each actor invests so much detail into his or her role that it almost doesn't matter where the twisty plot takes them. And at the centre, Ahmed is excellent as a complex hero we wanted to cheer for even when things get very dark for him. 

Boy Meets Girl

I hadn't seen the first season of this short BBC sitcom, so I watch both series together and was pleasantly surprised. Set in Newcastle, the first six episodes trace the unlikely but warmly charming romance between the 26-year-old Leo (Harry Hepple) and his 40-year-old girlfriend Judy (Rebecca Root), who happens to be male-to-female trans. With that out of the way, the second series follows their somewhat wacky wedding plans. What's surprising is that even with a cast of standard sitcom characters (their families are deeply silly), the show manages to dig beneath the surface and uncover some much bigger themes about respect and human engagement. It's also so beautifully written and played that it can't help but charm the audience. A real gem.

CARRY ON

Chelsea

After her trio of Chelsea Does Netflix docs, Chelsea Handler has now reinvented the chat show with her new series. Appearing three nights per week, she sets a theme for each episode (some are looser than others) and then explores it with experts, celebrities and general silliness with her team of skilled writers and producers. Each episode is an entertaining collection of interviews, to-camera pieces, playful stunts and packaged clips shot all over the world as Handler interacts with a variety of people on a very wide range of topics. As her dog Chunk roams around the studio, Handler's refreshingly irreverent style (posing as the idiot who needs to learn something) is engaging, her observations telling and her delight in being free from censorship hilarious. She also has a knack for getting the very best out of her guests, putting them at ease like no one else on television at the moment.

Wayward Pines: series 2

This went from being an intriguing, mind-bending mystery in its first season to a rather standard thriller this year. The cast is up to the challenge, but the writing is much more formulaic, complete with annoying flashbacks and revelations. Jason Patric was a strong protagonist, but his foils were less complex (and no one could match the only occasionally appearing Hope Davis, Melissa Leo and Toby Jones in the reasonable villainy stakes). Intriguing themes were raised then abandoned for more violence-based plotting and hyper-grisly action, none of which was remotely compelling. So even though it ends on a hopeful note, it might be better to let sleeping dogs lie, as it were.

Younger

From Darren Star (Sex and the City), this high-concept sitcom imagines a 40-year-old divorced mother (the engagingly generic Sutton Foster) implausibly posing as a 26-year-old to return to her publishing career. The only person who knows about this deception is her artist best pal (Debi Mazar). Everyone else is in the dark: new best friend (Hilary Duff), hot young boyfriend (Nico Tortorella), comically stern boss (Miriam Shore). The show is funny and silly, with strong characters well-played by the likeable cast. But it never pushes the boundaries of its premise, remaining safe and badly far-fetched, with some truly terrible plot turns. It also has a simplistic view of the publishing world, relationships and ageing.

BINGE IT

Love

The generic title certainly won't help anyone discover this show (it's virtually unsearchable anywhere). But it's well worth a look for the relaxed performances of Gillian Jacobs and Paul Rust as two loners who have given up on love, then reluctantly drift into a relationship. Their friends are from the wacky sitcom mould, and the entire premise feels like a kinder-gentler version of the frankly amazing You're the Worst. But what the show lacks in originality or nerve it makes up for with enjoyably messy characters and awkward situations. Indeed, much of the comedy here comes from humiliation, usually where something intimate is brought out into the spotlight. This makes the show feel oddly timid and a bit smug. But its heart seems to be in the right place.

Supergirl

This DC superhero adventure has all the hallmarks of a Greg Berlanti production (see also Arrow and The Flash): edgy comedy, romantic triangles, a handy uber-talented hacker, badly staged action and a combination of breezy comedy and extreme violence. It also has a very likeable hero in Melissa Benoist's Supergirl Kara, plus strong support from veterans David Harewood, Calista Flockhart and Peter Facinelli. Plus Mehcad Brooks and Jeremy Jordan in the aforementioned triangle. It's enjoyable enough as action fluff, although the plotlines need to be a lot more original to make it unmissable. And the show can only be improved by adding a more prominent recurring role for Kara's younger cousin Superman (Tyler Hoechlin). 

Jessica Jones

This is definitely an original approach to the Marvel superhero universe, although it's also gloomy, relentlessly violent and it badly stretches a relatively thin story over its 13 hour-long episodes. Kristin Rytter is good in the title role, although the character is relentlessly unlikeable. This is the point, but it's not easy to engage or sympathise with her. Surrounding characters played by Rachael Taylor, Carrie-Anne Moss and Eka Darville are far more interesting, while David Tennant's villainously cruel Kilgrave steals the show. In other words, it's an intriguing idea that feels rather out of balance, mainly due to its slavish adherence to TV cliches even as it tries to be something new. Why they're spinning off Mike Colter's Luke Cage into his own series is anyone's guess; he's one of the best things about this show.

ONE EPISODE WONDERS

After just about enjoying the first season, I watched one episode of the 2nd season of Ballers and, as much as I like Dwayne Johnson and Rob Corddry, I simply couldn't stomach any more of the macho idiocy that infuses everything about this show. I also only made it through one episode of Versailles. I know it was acclaimed and beloved, but I found it turgid, trying far to hard to be scandalous and trashy.

At the moment I'm watching Victoria, The Get Down and the 13-years-later 6th series of Cold Feet, just about deciding to stick with this new season of Masters of Sex, and looking forward to Easy and several series with new seasons this autumn...

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.

Critical Week: Everyone play nice

It's been an odd week of screenings for London critics, with a variety of offbeat movies that probably have very specific audiences. The starriest one was A Late Quartet, in which Philip Seymour Hoffman, Christopher Walker, Catherine Keener and Mark Ivanir play a long-time string quartet whose tenuous bond is shaken by a few unrelated events. It's beautifully made and acted, although a bit dull. And if you have a problem with actors pretending to play instruments, look away now. The other semi-mainstream offerings were the Halloween-themed Fun Size, a resolutely unfunny comedy romp, and the somewhat better For a Good Time, Call...,  an underdeveloped friendship comedy-drama. At least the films were livened up by Chelsea Handler and Justin Long, respectively.

Further afield, we had Shock Head Soul, an artful, ambitious but utterly impenetrable doc-drama about psychoanalysis, and London: The Modern Babylon, Julien Temple's dazzling look at the psyche of Londoners - it's utterly essential viewing for anyone interested in history or social culture. Or London, of course. And finally, I turned off all the lights in my flat and stayed in one evening all alone to rewatch Stanley Kubrick's The Shining, which is being reissued in UK cinemas this week. I hadn't seen it in 32 years, and it was even scarier than I remembered!

Next week is another random collection of screenings, including Anthony Hopkins as Hitchcock, the British black comedy May I Kill U, the long-awaited award-winning Romanian film Aurora, the Indian drama The Pool,the musician doc Hit So Hard, and the photojournalist doc McCullin.