Screen: September TV Roundup

Because I watch most of these shows on press links, I have already jumped ahead to series that aren't out yet, most notably advance episodes in new seasons of Only Murders in the Building, The Morning Show and Peacemaker. I'm loving these shows, although I am waiting impatiently to get the rest of the episodes. I'll start here with this summer's new series...

Chief of War
Jason Momoa stars in and cowrote this epic Hawaiian historical series. Set in the late 1700s, the thunderous plot centres around Momoa's Maui warrior Ka'iana, caught between two outrageously violent kings (Temeura Morrison and Cliff Curtis) and the benevolent Kamehameha (Kaina Makua). It's a robust show with hugely thrilling moments and beefy dramatic beats. Characters are vivid, including some superbly strong women (especially Luciane Buchanan and Te Ao o Hinepehinga). There's also a lot of grisly violence, although the show flinches away from romantic elements, leaving some sequences rather unfinished. This series leads to a staggeringly intense battle on an active volcano. And plenty of nastiness is still lurking for season 2. (Apple)

The Institute
Based on the Stephen King novel, this conspiratorial mystery series centres on a top-secret facility run by the creepy Sigsby (Mary-Louise Parker), who kidnaps, exploits and possibly kills children with telepathic abilities for some nefarious reason. Meanwhile, drifter Tim (Ben Barnes) takes a job in a local police station and begins investigating. The intrigue levels are high, largely because the scripts give so little away, centred on the smart teens (including Joe Freeman, Fionn Laird, Simone Miller and Viggo Hanvelt) trying to escape from this shady prison-like facility. The scrappy filmmaking approach makes it riveting to watch, because it feels so unpredictable. Although it takes a long time to get around to supplying the answers. (MGM)

Smoke
This is about as Dennis Lehane as a TV show can be, a thriller packed with conflicted and often downright loathsome characters that give the actors a lot to chew on. Taron Egerton stars as an arson investigator teamed with a local cop (Jurnee Smollett) to solve two sets of serial fires. Meaty support comes from Rafe Spall, Greg Kinnear and John Leguizamo. Each of these tough-talking characters has at least one key moral failing, and they interact in ways that are as fiery as the blazes that are burning everything down around them. The plot takes a series of seriously grim twists and turns. And not a moment of what's on-screen feels remotely plausible. If you don't get too frustrated by this, the show is still entertaining. (Apple)

Leanne
Comedian Leanne Morgan leads this sitcom about a Southern woman who is thrown when her husband (Ryan Styles) suddenly leaves after three decades of marriage, children and grandchildren. She puts her life back together with the help of her tearaway sister (Kristen Johnson), two hilariously sparky siblings against the world. It's fairly standard TV stuff, with the usual children (Graham Rogers and Hannah Pilkes), parents (Blake Clark and Celia Weston) and nosey neighbour (Jayma Mays) on hand to spike the one-liners. Plus a new suitor (Tim Daly) for Leanne. It's also warm and funny, with strong characters and a steady stream of laugh-out-loud moments. But the laugh track feels oddly old fashioned, and more than a little distracting. (Netflix)

Stick
With heavy Ted Lasso vibes, but a more formulaic story arc, this sports comedy-drama stars Owen Wilson as disgraced golf pro Pryce who finds new purpose in life when he discovers talented 17-year-old Santi (Peter Dager) and offers to help launch his career. The character-based storytelling is hugely engaging, most notably in the long-time relationship between Pryce and his caddy Mitts (Marc Maron). And Mariana Trevino (as Santi's mother) and Lilli Kay (Santi's love interest) add superb textures as this offbeat makeshift family travels around middle America in an RV. Big story elements arrive with a thud, mainly in the form of unnecessary conflicts, but the show maintains its warm, brittle sense of humour. (Apple) 

Olympo
From the producers of Elite, here's another show about an exclusive school, this time an academy for, yes, elite athletes. It's of course populated by sex-obsessed students and over-serious teachers, all of whom who are stupid or vile, often both. Of course, this makes it just as watchable as Elite, because all of these absurdly super-fit, clothing-averse people are deeply conflicted about the contrived nastiness the writers continually throw at them. With multiple mysteries, scandals and conspiracies for these eye-catching hotties to grapple with over the course of eight episodes, the show is a full-on guilty pleasure. It also makes some gestures toward confronting big issues in sport, such as doping, homophobia and corporate sponsorship. (Netflix)

Adults
While it's snappy and engaging, there's an annoying whiff of artificiality running through this comedy about five lively 20-somethings, starting with the fact that they live rent-free in a friend's house in Queens. This makes their whiny complaints about adult life feel astonishingly shallow and self-indulgent. The dialog is edgy and entertaining, well delivered by the central ensemble even if they're overplaying these likeable idiots. Frankly, there isn't one person on-screen who doesn't seem in dire need of a firm slap. And it doesn't help that every twist of the plot is painfully contrived, while the issues the show pretends to explore are little more than cliches addressed with jokes that aren't particularly funny. (FX)

The Wild Ones
Former commando Aldo Kane and intrepid camera operators Declan Burley and Vianet Djenguet take on some jaw-droppingly intense projects in these six episodes. They travel into inaccessible spots around the globe in an effort to document endangered species and help make sure they don't go extinct. Looking for tigers in Malaysia, bears in Mongolia and whales in the North Atlantic, these guys come up with ingenious ways to capture footage of seldom-seen animals. The situations they get into are astonishing, beautifully filmed to reveal the rarely seen settings and wildlife. It's also a little surreal to realise that they are accompanied by an equally intrepid camera crew that's filming this series, and perhaps could have a show of their own. (Apple) 

C A T C H I N G   U P

Wednesday: series 1-2
Having never watched this Addams Family reboot before, I binged the first season before the second arrived. This is a wonderfully deranged and stylised comedy from the mind of Tim Burton, centred around Jenna Ortega as a dark-minded teen in a nutty boarding school for outcasts. The second season is instantly gloomier, with a stronger sense of violent nastiness woven into the storylines. Thankfully, it's also still hilarious, with the added nuttiness of Steve Buscemi's over-eager headmaster. Everything about this show is delightfully ghoulish, from the bonkers plotting to the thoroughly up-for-it cast. These could easily be one-note characters, but they're full of witty nuance. And at its core this is a terrific celebration of individual quirks and offbeat family bonds. (Netflix)

Fisk: series 1-3
As a Kath & Kim fan, this show has often been recommended, but it took me awhile to catch up with it ahead of the recently dropped third season. This is another riotously bone-dry comedy from Melbourne, populated by amusing characters who are instantly unforgettable. In the title role, Kitty Flanagan has impeccable timing as the intelligent but vaguely clueless probate lawyer Helen Fisk, whose colleagues (Jilia Zemiro, Marty Sheargold and deadpan genius Aaron Chen) never say or do anything that isn't ridiculous. There's even an outrageous recurring role for Glenn Robbins (Kath & Kim's Kel). Each season pushes these people to the breaking point, but they hang on resiliently. And hilariously. Unmissable. (Netflix) 

T H E Y ’ R E   B A C K !

Dexter: Resurrection
The killer who can't be killed returns once more for another gritty series of episodes. Michael C Hall is back in his signature role, as Dexter now moves to New York to keep an eye on his son Harrison (Jack Alcott), who has some demons of his own. But of course, Dexter can't resist getting caught up in murderous shenanigans of his own. After tracking down a serial killer, he finds himself on a collision course with deadly puppet-masters (Uma Thurman and Peter Dinklage) who run a club for murderers. Fabulous cameos liven things up considerably, including Neil Patrick Harris, Krysten Ritter, David Dastmalchian and Eric Stonestreet. And the tension between Dexter and Harrison is beautifully well-played. (Showtime)

Single, Out: series 3
Still endearingly awkward, this low-budget queer series set in Melbourne continues the adventures of magazine photographer Adam (Will Hutchins), with new wrinkles provided by younger brother Ethan (Joel Nankervis). Even if the direction is rather clumsy, series creator Lee Galea continues to have fun with an ensemble of lively characters who are likably played by a bright young cast. Everyone falls in and out of love in an instant, slutty one day and chaste the next. But it's easy to ignore the corny plotting and implausible details (can any free gay magazine support such a large staff?), thanks to thoughtful issues that pop up here and there. And it's especially nice to see characters who are so relaxed about sexuality. (Cinephobia)

Long Way Home
Ewan McGregor and Charley Boorman are back for a fourth epic motorbike odyssey, this time riding reconditioned 50-year-old vintage bikes in a huge arching circle around Europe from Ewan's Scotland hometown to Charley's house outside London. They spend much of this series in Scandinavia, which is particularly fascinating as they discover glorious scenery, offbeat sports and several astounding places to camp or rent an unusual room. Their camaraderie is infectious, because they come across as endearing chuckleheads who are simply enjoying the unexpected things they discover along the road. And their families feature as well this time, which makes it even more involving. We'd love to go travelling with them. (Apple) 

O V E R   A N D   O U T

The Sandman: series 2
Grim and almost oppressively dark from the opening moments, this show digs further into its elaborate mythology while majoring in shadowy sets and black-intensive costumes. The overwhelmingly grey imagery and tone are hugely indulgent and not terribly original. But there are a huge crowd of terrific characters along the way, and some churning surprises in the way the story unfolds its tale of gods and spirits and faeries and such. Best of all are the evolving relationships between the mopey Dream (Tom Sturridge) and his friends, siblings, parents and foes. This offers beefy roles for superb actors who manage to hold things together despite seemingly being directed to do everything in slow motion. (Netflix)

Acapulco: series 4
For its final season, this refreshingly bilingual series doubles down on its fractured narrative approach, excessively spinning out sideplots for supporting characters while stretching out the present-day framing device into a separate story strand of its own. And visually, current scenes and those set 40 years ago look increasingly similar, which oddly blurs everything, lowering the stakes because the storylines seem to be warring with each other for our attention. Still, the writers have fun with versions of the characters while also tying up the various threads. The show continues to have plenty of Latin-fuelled charm, with hilarious gags peppered throughout the script. And Eugenio Derbez is engaging as always. (Apple)

Upload: series 4
There are only four half-hour episodes in this final season, and it feels much more plot-driven than before, rushing to tie up a range of loose threads in thankfully unexpected ways. While the tone leans further into the more slapsticky elements, the story itself is surprisingly dark, touching on issues of grief and loss in intense ways that sit at odds with the silly comedy. It helps that Robbie Amell is as charming as always in his now-dual role as two versions of Nathan, even if one of them is very mopey this time around. And as before, he's ably supported by Andy Allo, Allegra Edwards, Kevin Bigley and Zainab Johnson, plus Owen Daniels as the mass-produced AI Guy. Hopefully we'll see these actors in new gigs soon. (Prime)

GUILTY PLEASURES: The Great British Bake Off, Last Week Tonight, The Late Show, Destination X, Battle Camp, Final Draft, South Park.

NOW WATCHING: The Paper, Peacemaker 2, Star Trek: Strange New Worlds 3, The Morning Show 4, Only Murders in the Building 5

COMING SOON: Black Rabbit, The Savant, Chad Powers, Boots, Gen V 2, Loot 3

Previous roundup: JULY 2025 >

Critical Week: It wasn't me

It's been a momentous week in the UK, with a general election on Thursday that delivered on its expectations to completely upend the nation's government. On the 4th of July, no less. Meanwhile in the movies, Eddie Murphy returned for a fourth time for Beverly Hills Cop: Axel F, an overly retro sequel that feels like a movie we saw 40 years ago (we did). But Murphy is still great on-screen in this role. Also on Netflix, Nicole Kidman and Zac Efron reteamed for A Family Affair, which is as silly as it looks, and also an amusing guilty pleasure.

BEST OUT THIS WEEK:
Kill • The Conversation
Orlando, My Political Biography
Unicorns • The Nature of Love
ALL REVIEWS >

I saw two horror creep-outs: Mia Goth is back for MaXXXine, the third film in Ti West's series about young women seeking fame, this time a pornstar going mainstream while yucky violence breaks out all around her. Also very yucky, Longlegs stars Nicolas Cage in perhaps his most bonkers role yet (which is saying a lot). It's a relentlessly unsettling freak-out. And I was also delightful stressed out revisiting one of the finest thrillers ever made, Francis Ford Coppola's 1974 gem The Conversation, followed by a terrific Q&A with legendary sound and film editor Walter Murch.

Three films use surrealism to address big themes: Julia Louis-Dreyfus stars in the eerie dark drama Tuesday, as a mother confronting death (in the form of a parrot) about her daughter's life. Ewan McGregor and Ellen Burstyn lead the offbeat and intense Mother Couch, about a woman who forces her adult children to grapple with her mortality. And Paul Raci is a guru teaching The Secret Art of Human Flight in an quirky comedy-drama that's bleakly emotive. And then there were father and son Stellan and Gustaf Skarsgard teaming up for the gloomy and haunting Scandinavian mystery What Remains, and fiercely inventive Chinese drama Black Dog, which deservedly won a couple of prizes at Cannes. I also attended Carlos Acosta's breathtaking stage production of Carmen at Sadler's Wells.

This coming week isn't looking quite as crazy as this one was. I'll be watching Scarlett Johansson and Channing Tatum in Fly Me to the Moon, Sandra Huller in Sisi & I, Korean thriller Sleep, Iranian drama My Favourite Cake and the British animated adventure Kensuke's Kingdom. In live theatre, I'm attending Dorian: The Musical and the opening cabaret for Soho Theatre's Clown Festival.

Screen: June TV Roundup

It's astonishing how much TV you can watch if you just slot in episodes in between doing other things. I'm astonished that I got through all of these shows in the past two months or so. Because I vote in a few TV awards, this is the season when everyone is sending me links to watch their shows and consider them for votes. This allows me to get ahead on several series, although it's impossible to watch everything. Or to even watch everything I want to see. Let's start here with the dramas...

Ripley 
Steve Zaillian takes a highly stylised approach to this adaptation of Patricia Highsmith's iconic novels, writing and directing in a way that evokes 1950s-era Hitchcock. It's moody and gorgeous, even if it sometimes feels mannered and forced. And Andrew Scott's central performance as the opportunistic, conscience-free Ripley is utterly riveting from start to finish, often chilling in the way it sidesteps expected emotions. Supporting performances (including Dakota Fanning, Johnny Flynn and a superb John Malkovich cameo) also ripple with intrigue, while cinematographer Robert Elswit gives the Italian settings a monochromatic beauty. (Netflix)

Bridgerton: series 3
Things turn steamy very quickly, as Colin (Luke Newton) returns to London as a sweaty, hairy muscle hunk at odds with his former best pal Penelope (Nicola Coughlan). Romcom rules make it clear that these two will work out their differences, and they do so in an intensely entertaining, sexy way. Meanwhile, there are several more hugely engaging storylines swirling around, including more for siblings Eloise (a scene-stealing Claudia Jessie) and Benedict (Luke Thompson), which bodes well for future seasons. This is one of the most delightful guilty pleasures streaming anywhere. It's impossible not to binge the episodes the moment they land. (Netflix)

True Detective - Night Country: series 4
Jodie Foster is riveting in this fascinating anthology thriller, which this season includes hints of supernatural intrigue. This tale ripples beautifully, and very darkly, with the local politics and folklore in rural Alaska, set during the winter when the sun only barely peaks over the horizon. And the murder mystery at the heart of the show is both horrific and infused with an intriguing dose of magical realism. It's also filmed with some astonishingly outrageous visual flourishes, adding both picturesque and seriously grotesque moments. Superb costars include Kali Reis as a haunted local cop and the great Fiona Shaw as a rather otherworldly loner. (HBO)

Baby Reindeer
Cleverly mixing comedy into the darkest of dramas, this series is based on the life of writer and lead actor Richard Gadd, who boldly bares his soul while reliving a seriously harrowing series of experiences. He plays an aspiring comic who becomes the target of a relentless stalker (Jessica Gunning), a situation exacerbated by a previous sexual assault. The fact that he has written about this stirs controversy, but also makes the story even more honest and important than expected. So where these events go is staggeringly intense, and also so skilfully written and played that it's movingly cathartic. Essential. (Netflix)

Star Trek - Discovery: series 5
This final season unfolds with an limited series-style plot around which the excellent ensemble of actors gets to play out their own personal journeys, led by the superb Sonequa Martin-Green and David Ajala, plus terrific new crew member Callum Keith Rennie. There seems to be even more technical mumbo jumbo than before, and the plotting feels very corny, sending the crew on an implausible scavenger hunt leading to a mind-boggling tech, with scary baddies on their tail. Plus rather a lot of series-finale sentimentality. But it's easy to put that clunky writing aside because the characters and relationships are so strong. (Paramount)

Eric
With a deliberately twisty script by Abi Morgan, this missing-child thriller cleverly uses a children's TV show to add imaginative touches, including the title character, a man-sized monster puppet. Set in 1985 New York, it stars a seriously committed Benedict Cumberbatch as puppeteer Vincent, whose young son (Ivan Morris Howe) disappears, the final fracture in Vincent's marriage to Cassie (the superb Gaby Hoffman). But the best story thread involves the investigating detective beautifully played by McKinley Belcher III. With inventively detailed production design and salient social themes, the story is gripping even if it's naggingly over-controlled. (Netflix)

A Gentleman in Moscow
Ewan McGregor oozes charm in this gently amusing drama that spans the decades of the Soviet Union, as an aristocrat is spared the firing squad during the Russian Revolution due to his connection with a pro-communist poem. So he is instead placed under house arrest in a grand olde-worlde hotel. Over the years he befriends a young girl then becomes surrogate father to her daughter. He also has a decades-long fling with a sexy actress (played by McGregor's wife Mary Elizabeth Winstead). It all feels rather fable-like, but it's lavishly produced and warmly engaging. And there's a nice mix of earthy realism and dreamy wistfulness. (Showtime)

Supersex
Sadly not as controversial as the internet outrage suggests, this series is less explicit than most, timidly shot through a disturbingly misogynistic perspective: women are naked objects, men are carefully concealed heroes. "Loosely based" on Italian pornstar Rocco Siffredi, it's skilfully produced to recreate the 1970s and 80s, and the actors are solid, particularly Alessandro Borghi as Rocco and Adriano Gianni as his thug brother Tommaso. Among the women, only Jasmine Trinca's vivid Lucia registers. But for a show about sex, it's never actually sexy, there are no likeable characters, and a current of homophobia runs through everything. (Netflix)

J U S T   F O R   L A U G H S

Hacks: series 3
Blisteringly well played by Jean Smart and Hannah Einbinder, this comedy continues to push barriers with its story about ambition and creativity in show business. As Smart's established comic Deborah Vance pursues her dream of hosting a late night talk show, her relationship with Einbinder's writer Ava is stretched in ways neither of them expect. Episodes layer in fascinating details at every turn, even if some plot points feel a bit stale (such as Ava discovering what she thinks is an engagement ring in her girlfriend's things). But expanded roles for Deborah's family members add texture, as do starry cameos. And the performances are unstoppable. (Max)

Dead Boy Detectives
There's a nicely sparky tone to this offbeat series, which offers a mystery per week for likeable British teens Edwin and Charles (George Rexstrew and Jayden Revri), who died some 70 years apart and have chosen to remain on Earth as supernatural problem-solvers. The over-arching story is more than a little annoying, trapping the boys in the Pacific Northwest as two comically vile villains (Ruth Connell's Night Nurse and Jenn Lyon's witch Esther) send things nonsensically spiralling. But there are terrific side roles for Lukas Gage and Michael Beach, and some clever touches and themes amid the silliness. (Netflix)

Loot: series 2
Maya Rudolph is terrific in this show about an obscenely wealthy divorcee who is trying to devote her life to something more important through her charity foundation. But she also still enjoys living the very high life. Michaela Jae Rodriguez is excellent as the head of the charity, and their evolving relationship adds some bite to this season, as do expanded journeys for fabulous costars Joel Kim Booster, Ron Funches and Nat Faxon. There's a guilty pleasure element to this show, watching people spend absurd money in an attempt to do the right thing. And some new characters add additional spark, and a lot of laughs, this season. (Apple)

Palm Royale
Sudsy enough to hold the interest, this show is rather frustrating because its central character, Kristin Wiig's Maxine, is so oddly unlikeable. This isn't Wiig's fault; it's the premise itself. We never root for her to triumph in her pointless goal to surmount the social strata in 1969 Palm Beach, using the pedigree of her hapless husband (Josh Lucas) to try to establish her status. We're far more interested in Allison Janney's imperious queen bee, Laura Dern's new age dropout and especially Carol Burnett, who is awesome even when her nutty diva is in a coma. Even Ricky Martin, surprisingly solid as a snarky muscled pool boy, is far more engaging. (Apple)

Acapulco: series 3
Past and present finally collide this season as Maximo (Eugenio Derbez) returns to Mexico with his nephew (Raphael Alejandro), becoming part of the story rather than just bookending it with his narration. There are still flashbacks to the hilariously pink-hued 1980s with young Maximo (Enrique Arrizon) and his lively cohorts, who get up to all kinds of surprisingly complex antics. But this time there is also a much stronger connection with the present day, as plot threads hinge on various revelations that echo through the decades, and we get to see where several of these people end up. It's still a lot of fun, but with a bit more subtext than before. (Apple)

The Big Door Prize: series 2
After the frustratingly vague first season, this show thankfully gains a sense of momentum, with more nuance in the characters and their messy relationships, including some engaging ambiguity. It also feels a lot funnier, as connections between these people have ramped up due to additional discoveries about who they are and who they should become, thanks to this odd fortune-telling machine that throws their lives into chaos. It's a bit cartoonish, but Chris O'Dowd, Gabrielle Dennis, Sammy Fourlas, Djouliet Amara and Josh Segarra continue to shine in the ensemble cast, creating roles that are witty, complex and intriguingly sympathetic. (Apple) 

Abbott Elementary: series 3
A steelier edge kicks off this season with some unexpected textures. It's still relentlessly silly, using that same deadpan camera stare far, far too much. Even if the writers give up on the idea, there are intriguing layers of politics as Janine (Quinta Brunson) is working for the district, complicating her relationships with colleagues who are still struggling with budget cuts in this scrappy little state school. Janine's will-they-won't-they romance with Gregory (Tyler James Williams) is still eye-rollingly farcical. While Sheryl Lee Ralph continues to steal the show as the no-nonsense Barbara, and Janelle James' narcissistic principal gets funnier each season. (ABC)

The Conners: series 6
It seems like this show can simply run forever, with characters aging as their children and grandchildren face new issues in new times. Even back when this was called Roseanne (1988-2018), the generational comedy gave the show its kick, finding as much entertainment in old people moaning as in kids facing their own obstacles. John Goodman, Laurie Metcalf, Sara Gilbert and Alicia Goranson are as strong as ever. And the wider variety of characters allow writers to take on themes without contriving too much. As always, the show presents recognisable realities and absurdities of present-day life without preaching, even if the points are clear. (ABC)

Night Court: series 2
While the scripts for this relaunched legacy series (1984-1992) are relentlessly goofy and a bit too quick to catch, the cast is bright enough to make it entertaining, often acknowledging the absurdity of the show's over-written and deliberately dopey sense of humour. The ensemble is ably led by the likeably offbeat Melissa Rauch and John Larrouquette. And the show makes terrific use of the night court setting, with a continuous parade of nutty guest characters. It's a bit frustrating that there isn't much going on under the surface to hold the interest and make us care about these people, but it keeps us smiling. (NBC)

R E A L   L I F E   V I B E S

Steve! (Martin): A Documentary in 2 Pieces
Thoroughly entertaining, this two-part biographical doc is packed with fantastic clips from this iconic star's singular career. It's fun to be reminded of the many highs, and even his lows (like Pennies From Heaven) are significant artistic achievements. The first part explores his years as a groundbreaking writer and stand-up, leading into scene-stealing appearances on Saturday Night Live and classic comedy films. The second half looks at his more serious side, along with his interest in art, writing, his personal life and now Only Murders in the Building. It's bracingly honest and features a range of terrific interviewees. A must-see for fans. (Apple)

Jerrod Carmichael Reality Show
In everything he has done, Carmichael has found laughs alongside sharp commentary about larger issues. And now that he's so dramatically come out of the closet, this approach takes on a whole new range of topicality in this hybrid series, which combines fly-on-the-wall reality moments with confessional stand-up routines based on his experiences. Each brief episode is packed with moments that are breathtakingly honest, as Carmichael delves into both his past and the things he wants to improve about his behaviour. In other words, he is putting himself on-camera in a way that's astonishingly raw, hugely engaging and powerfully important. (Max)

I GIVE UP: The French series Fiasco has a great idea, set around a film production that goes wildly off the rails, plus an ace cast (including Pierre Niney and Francois Civil) and enjoyably full-on production values. But the writing is just too inane. As the show strained for laughs, I was exhausted after two episodes. (Netflix)

GUILTY PLEASURES: Britain's Got Talent (17), Drag Race UK vs the World (2), Selling the OC (3), The Circle (6).

NOW WATCHING: The Big Cigar, Expats, Fantasmas, The Regime, The Sympathizer, Sugar.

COMING SOON: The Acolyte, The Boys (4), Presumed Innocent, The Bear (3), That 90s Show (2), Sausage Party: Foodtopia, Lady in the Lake, Snowpiercer (4), Time Bandits.

Previous roundup: APRIL 2024 > 

Critical Week: Hit the road

I've been taking it a bit easy this week, following the busy weekend I spent organising the 44th London Critics' Circle Film Awards. It was a great event, packed with our terrific nominees and winners, and the coverage continues across the media (I posted several pics on Insta). As for watching movies, there have just been four, all very watchable but not quite there... 

BEST OUT THIS WEEK:
Perfect Days • The Iron Claw
The Taste of Things
Turning Red
ALL REVIEWS >

Clara McGregor stars with her dad Ewan in Bleeding Love, an offbeat father-daughter road movie that's somewhat uneven but has its moments. Kingsley Ben-Adir takes on the iconic title role in Bob Marley: One Love, a biopic that tries far too diligently to create a myth when the man's actual life was amazing enough. The Stone Age thriller Out of Darkness plays with cheap jump scares rather than actual suspense. But it's well-made, even if the hair, makeup and costumes are all wrong. And the dark British drama Hoard has lots of visual style and huge emotional kicks, but struggles to engage the audience very deeply.

This coming week I'll be watching Dakota Johnson in Madame Web, Olivia Colman in Wicked Little Letters and the fantasy Glitter & Doom, among other things. I'll also be flying off to Los Angeles for a family reunion, so I hope there are movies on the flight that I haven't yet seen.

On the Road: Where's the party

Another week of sunshine in Southern California, spending rather too much time in the car driving up and down the 5 from Orange County (where I'm staying with family) and Hollywood (where awards-consideration screenings take place). My main purpose for this trip is to see friends and family, so it's a bonus to be able to take them to screenings with me. The biggest movie this week, screened right on the Paramount lot, was Damien Chazelle's 1920s Hollywood epic Babylon. There's so much going on that it's understandably uneven, but it's also dazzling, with a series of breathtaking set-pieces that need to be seen on the biggest screen possible.

Steven Spielberg is also exploring the nature of filmmaking in The Fabelmans, his autobiographical film about growing up in a messy family while developing a love of storytelling. There's a lot to love about this film. Florence Pugh gives yet another powerfully involving performance in The Wonder, a provocative period drama set in Ireland and directed with style by Sebastian Lelio. The often outrageously over-the-top adaptation Roald Dahl's Matilda the Musical is a lot of fun, with some darkly pointed themes and a scene-stealing Emma Thompson. Guillermo del Toro's Pinocchio is a little more difficult to love, even if its stop-motion animation is wonderfully designed. As artful and passionate as it is, the dark story and dull songs are tricky to engage with. And Iranian-Danish filmmaker Ali Abbasi's Holy Spider is far more than a scary thriller based on the true story of a serial killer in Iran's holiest city; it's also a knowing, almost terrifyingly timely look at power dynamics in a nation where women are sidelined.

Films coming up this week include Noah Baumbach's White Noise, the spinoff-sequel Puss in Boots: The Last Wish, Disney's Strange World and the doc All That Breathes. I'm also travelling back to London next week - annoyingly missing the Avatar 2 screenings both in London (on Sunday) and Los Angeles (on Tuesday). I'll catch up with it later...

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).