Critical Week: Another nosey novice

Hot on the heels of Sydney Sweeney in Immaculate, here comes Nell Tiger Free investigating another sinister female-centred Catholic conspiracy in The First Omen, a 1971-set prequel that's strong on atmosphere and gothic grisliness but never feels hugely original. The events around setting up the notorious 2019 Newsnight interview with Prince Andrew is dramatised in Scoop, an interesting if straightforward account starring Gillian Anderson, Billie Piper and Rufus Sewell.

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And then there's Woody Allen's latest, the sparky French comedy-thriller Coup de Chance, which maintains an entertaining tone even when it gets rather dark. Viggo Mortensen wrote, directed, composed the score for and stars alongside the always-superb Vicky Krieps in the Western dramatic thriller The Dead Don't Die. It's gorgeously shot and strongly involving. The faith-based drama Someone Like You is sunny and beautiful and almost painfully sudsy and predictable. And the Mongolian drama If Only I Could Hibernate is a fascinating glimpse into a complex culture, through the eyes of a stressed-out teen.

This coming week I'll be watching the Amy Winehouse biopic Back to Black, the biblical epic The Book of Clarence, Irish horror All You Need is Death, Spanish mystery Close Your Eyes, Congolese thriller Omen and the Japanese anime Spy x Family: Code White.

Screen: December TV Roundup

There's been a lot on television to distract me from work over the past few months, and as always I particularly enjoy mindless fun to reset my brain in between serious movies. Obviously, I can't watch everything, and I do tend to avoid gritty police/hospital dramas in lieu of shows that keep me smiling. Although occasionally I like to be challenged on the small screen, I usually leave that for the big one...

Only Murders in the Building
Smart and witty, this comedy-mystery series reteams dynamic duo Steve Martin and Martin Short, plus Selena Gomez, as murder podcast obsessed neighbours who team up for some amateur sleuthing when someone is killed in their apartment block. While the pacing is quaint and silly, there are deranged twists galore. Martin and Gomez play their characters with a straight face, leaving Short to expertly steal every scene. While starry guests (Nathan Lane, Jane Lynch, Amy Ryan, Sting) provide plenty of pizzazz as the mystery unfolds. And the final moments are either a massive cliffhanger or a teaser for the second season. (Hulu)

Nine Perfect Strangers

Timing wasn't kind to this series, which came out too close to The White Lotus, a more astute, grounded drama set in a resort. But this show is worth a look, with its adept cast including Nicole Kidman, Melissa McCarthy, Michael Shannon, Manny Jacinto. It's set at a wellness retreat with guests who have been mysteriously curated by the owner (Kidman), who experiments with microdosing acid to push psychological buttons. It's slightly over-constructed, which makes things far less surprising than they should be, but the general nuttiness of the story holds the interest, as the actors bring offbeat layers to each character. (Prime)

Acapulco

Drawing on the nostalgic comedy traditions of shows like The Wonder Years or Young Rock, this lively comedy-drama features Eugenio Derbez reminiscing about his time as a chirpy teen (Enrique Arrizon) working in a fancy resort in the Mexican seaside town. Each of his adventures has a little moral message, which feels a bit pushy, as does the way the script somewhat simplistically depicts rich people exploiting locals who in turn are conning them. But the show's flamingo-coloured approach is thoroughly charming, and the cast is fresh and likeable, hinting at all kinds of secrets and revelations that are still to come. The bilingual approach is also superb. (Apple)

The Big Leap

A lively drama set around a dance-based reality show, this series features terrific characters in a tangled mess of over-egged soap-style storylines as a group of wannabe dancers try to stage a new production of Swan Lake. It's concocted and safe, including the romances, dark dramas and sassy challenges involving both the dancers and the crew members. But the actors are solid, anchored by Scott Foley as the semi-ruthless show-runner. Each of the interlinked plot threads is deeply silly, the kind of mindless nonsense that's perfect for escapist television, which the script knowingly acknowledges. And the dancing is strikingly good, especially Raymond Cham Jr's spinning, popping Justin. (Fox) 

Invasion

Yet another series that kicks off with a bunch of random, disconnected scenes, characters who mean nothing to the audience and forced suspense based only on the musical score. It looks great, and the excellent international cast manages to draw out some interest in a wide range of people facing a mysterious worldwide alien invasion. But the lazy, indulgent writing and directing make no attempt to pull a viewer in, allowing the story to unfold in out-of-sequence flashbacks that are both repetitive and inadequate. Even the random moments of insight are simplistic. I only barely resisted giving up. Set up for season 2, I doubt I'll return for more. (Apple) 

Mr Corman 

An inventive mix of comedy, drama and satire, this show centres on the terrific Joseph Gordon-Levitt as a fifth grade teacher who is feeling squeezed in by his day-to-day life, something very easy to identify with. Gordon-Levitt (who also writes and directs) is so likeable that he makes the title character deeply sympathetic even when he makes terrible decisions. The episodes are hugely uneven, spinning off into unexpected and sometimes indulgent directions that include long sideroads, fantasies and some darkly provocative twists. It's tricky to engage with it as a series, but it maintains a nicely provocative tone. I almost gave up, but stuck with it to the end. (Apple)

B A C K   F O R   M O R E

Ted Lasso: series 2 
Instead of repeating the breezy comedy of the first season, Jason Sudeikis goes deeper with his now-iconic American football coach in London, pushing him with a team psychologist (Sarah Niles), unexpected conflicts and corporate issues, plus the slow transformation of his protege (the brilliant Nick Mohammed) into a supervillain. And in most of these areas, his down-home aphorisms don't quite have the intended effect. This season has featured a few inventively themed episodes, but instead of being gimmicky they've maintained the same open-handed but earthy emotionality that pushes the story and characters further and further. It's a rare show that manages to balance realism and optimism. (Apple)

The Morning Show: series 2 

Going even darker, this drama starts exactly where the first season ended, with everyone in chaos following the revelations of harassment at a big network. Then it cuts to January 2020, as the breakfast TV show's cast and crew are blithely unaware of what sporadic reports about a virus in China might mean. This adds an underlying tension to everything, as do the chaotic US presidential primaries and the increasing melodrama between characters finely played by Reese Witherspoon, Jennifer Aniston and Billy Crudup, with added Steve Coogan who's in hiding with Valeria Golino in Italy. Where it all goes is perhaps a bit too shocking. (Apple)

The Other Two: series 2

It's been two and a half years, but this superbly written and played comedy is finally back for a second season, and this time siblings Brooke and Cary (Helene Yorke and Drew Tarver) find themselves in the shadow of their talkshow host mum (Molly Shannon), in addition to their popstar little brother Chase (Case Walker). The comedy feels a lot broader this time around, which makes it sillier and perhaps less endearing. But the central theme is still strong, playing on how frustrating it can be to watch seemingly untalented people succeed while you struggle. And once again, the pop culture gags are continual and skilfully right on the nose. (HBO)

Love Life: series 2

William Jackson Harper takes over the central role as this gently comical drama returns to follow another person's romantic rollercoaster journey. Opening with some bad decision-making that quickly leads to a divorce, Harper's Marcus is a likeable guy who struggles to get his life back on track. This includes some painfully awkward encounters, stressing out his friends and family and launching himself into a series of relationships. All of this happens while he's circling around the hugely likeable Mia (Jessica Williams), who is clearly too good for him, but we can't help but hope they work out their messiness. Harper is particularly terrific in a demanding role. (HBO)

Succession: series 3

Continuing without taking a breath from the last episode, this intense media family drama never gives the audience break from these intense people who circle around each other like sharks. Patriarch Logan (Brian Cox) is now in all-out war with his son Kendall (Jeremy Strong), with siblings Roman and Shiv (Kieran Culkin and Sarah Snook) vying for control and everyone else trying to cling to what little influence they may have. It's absolutely brutal, and riveting, to watch this family so aggressively engage in vicious power games. And the complexity of the roles gives each actor a lot to chew on along the way. Once again, the ending is a stunner. (HBO)

Sex Education: series 3 

This show continues to broaden its scope by bringing more characters into the focal zone, and it works because all of them are fierce, strikingly well written and played individuals. The spiralling relationships between family, friends and lovers are thoroughly entertaining, even if the careful plotting makes it fairly clear where things are heading. And the sparky cast, led by Asa Butterfield and Gillian Anderson, is hugely engaging. With added Lola Kirke as the villainous new headmistress of the season. Even she is given a bit of perhaps uncharacteristic shading under her relentless nastiness. (Netflix)

What We Do in the Shadows: series 3 

Things continue to ramp up in this season, as this household of four clueless vampires take the place of the council that was taken out by their vampire-hunting familiar Guillermo (Harvey Guillem), who continues to take care of them without them noticing. This adds a whole new angle to their relentless obliviousness, and each episode mines ridiculous situations for genuinely hilarious laughs. But even more important is how the writing and acting make us care about these idiots, especially as the final few episodes of this season change things so drastically. Any future episodes will feel very different indeed. (FX)

Brooklyn Nine-Nine: series 8

I was very late to this show, catching up with the first seven seasons during lockdown, and I enjoyed these final 10 shows as they appeared two per week. This is the kind of comedy I love, with nutty character-based humour that simply never pauses to let the audience catch their breath. It's silly, sharp and even has some political resonance, and the jagged relationships between these police precinct colleagues add engaging angles to the jokes. A few characters feel a little muted by time, but each of them has the power to surprise us. And the show's anchors Andy Samberg, Andre Braugher and Terry Crews are fabulous. (CBS)

GUILTY PLEASURES: The Great British Bake-Off (C4), Strictly Come Dancing (BBC), RuPaul's Drag Race UK (BBC), We're Here (WoW), I Like the Way U Move (BBC).

I GAVE UP: Foundation (Apple) was just too dense and choppy for me.

NOW WATCHING: Hawkeye, Landscapers, The Great (2), The Witcher (2), Star Trek: Discovery (4), The Conners (4), And Just Like That (7), Dexter: New Blood (9).

COMING SOON: The Woman in the House Across the Street From the Girl in the Window, The Book of Boba Fett, Pam & Tommy, Euphoria (2), Killing Eve (4).

Screen: November TV Roundup

I'm still watching a bit more television than usual, thanks to lockdown - basically filling the time I would normally be travelling into central London for film screenings. There's been a lot on, and I'm behind with a few series, trying to take them one by one and getting easily distracted when something new pops up (The Crown!). Here's what I've been watching over the last few months, starting with a timely treat...

The Lego Star Wars Holiday Special
This animated 45-minute mash-up is an inventive mix of silly comedy and thrilling action. It's set after the nine-film saga as Finn and Poe plan a bustling Life Day party, and a magical Force Key sends Rey on a wildly chaotic journey through space and time, jumbling up the entire franchise. The mayhem is packed with knowing nods to fans, plus hilarious Lego-style gags as that black caped gang (Darth Vader, Kylo Ren and Palpatine) squares off against Rey, Luke and others. The holiday touches are amusing too, including Christmas jumpers, Poe's sentimentality and an unexpected snowfall. It's a lot of nutty fun, but not nearly as daring or ridiculous as the notorious 1978 Star Wars Holiday Special. (Disney)

We Are Who We Are
With the pungent subtitle "Right Here Right Now", this strikingly current series by Luca Guadagnino centres around teens living on a US military base in italy. The show has a loose-limbed exuberance to it that's engaging and freeform, allowing it to circle themes and deepen considerably as it spirals in unexpected directions. It also deliberately blurs lines of gender and sexuality in almost every character, which is fascinating as these young people take circuitous routes into their grown-up selves. The central friendship between Fraser and Caitlin is played with unapologetic complexity by Jack Dylan Grazer and Jordan Kristine Seamon. And their parents have their own messy journeys. (HBO)

Lovecraft Country
This ambitious series could have been this year's Watchmen, exploring history and major issues through story infused with fantasy. But it's not nearly as focussed or coherent. Jonathan Majors leads an above-average cast, holding attention even as the characters and plotting become increasingly opaque. Each episode is a combination of intrepid action and mind-bending supernatural freak-outs, all of which feels strangely random, especially as it never comes together to illuminate the bigger mystery. The themes are powerful, but the expository dialog is too dense, the dramatics exaggerated, and whole episodes are extraneous. Curiosity keeps us watching, but interest wanes. (HBO)

The Third Day 
With echoes of The Wicker Man, this series initially follows a man (Jude Law) to the island of Osea, off the Essex coast, where he runs into a freaky ancient cult that's up to something nefarious. And he's the person they're after. The perspective then switches to another woman (Naomie Harris) who arrives in Osea months later on her own private mission. These two plot threads are quickly revealed to be one, and the filmmaking approach skilfully keeps dropping creepy details into scenes, including wonderful performances from Law and Harris, plus Paddy Considine and an on-fire Emily Watson. It's uneven and not terribly convincing, but enjoyably chilling. (HBO)

Tehran
A twisty plot makes sure that this espionage thriller holds the attention over eight nail-biting episodes. It's about an Israeli agent (Niv Sultan) trying to complete her mission in Tehran while an Iranian security official (Shaun Toub) tries to stop her. Telling the story from both perspectives adds some unnerving nuance, which means that we don't want either side to succeed. Some of the plot points leave gaping holes here and there, and a tit-for-tat kidnapping tilts the story toward melodrama. As does a genuinely sweet romance that might just be part of a spy's job. But it's sharply well made and superbly acted, and it gets increasingly thrilling the events unfold. (Apple)

The Duchess 
London-based Canadian stand-up comic Katherine Ryan based this sitcom on autobiographical elements as a single mother who puts her daughter above everything else. There are some very funny and astute moments scattered throughout this show, and some terrific dialog, especially as Katherine storms around being brutally honest with everyone she meets. But she's not hugely likeable, and she mistreats the people in her life until they snap; and when they do something nasty, they're suddenly the villains. It's a bit frustrating to watch her fail utterly to learn anything from her errors. But it's blackly hilarious, and rather bleak fun. (Netflix)

Someone Has to Die [Alguien Tiene Que Morir]
From Spain, this three-part melodrama centres on a wealthy Spanish family that's infused with outrageously cruel bigotry. This latest conflict starts when prodigal son Gabino (Alejandro Speitzer) returns to Madrid from Mexico after 10 years away, and his father instantly exerts control, furious that Gabino brought a friend (Isaac Hernandez) home with him. The plot is simply bonkers, not only making very little sense in its histrionics, but always settling in on the worst possible things people can do to each other. As always, the great Carmen Maura livens things up as the imperious matriarch. But even her character is essentially thankless. (Netflix)

BACK FOR MORE

The Boys: series 2 
Diving straight back in with an all-new pile-up of decapitations, betrayals and Billy Joel tunes, this mis-titled rowdy series barely pauses for breath. The high-energy superhero characters are a mess from the very start, caught in spirals of inner turmoil and frustrated megalomania, which of course gives the actors a lot to work with and provides plenty of interpersonal fireworks. Literally. The various plotlines move in fits and starts, compromised by some soapy story points and sequences that strain to be over-cool. But there are plenty of intriguing wrinkles to the characters that catch us off guard, most notably whenever the engaging Hughie (Jack Quaid) is on-screen. (Prime)

The Crown: series 4 
Peter Morgan continues to mine the royal family for dramatic morsels, and as always his writing has the ring of truth to it even though it's pure fiction. Centring this season around Margaret Thatcher (Gillian Anderson) and Princess Diana (Emma Corrin), the show is immaculately produced, as each episode contains heart-stopping moments alongside the throwaway bits that make it feel so real. Even if the takeaway this year is that Prince Charles is a monster. And the cast deserves all the awards: beautifully anchored by Olivia Colman with Josh O'Connor, Tobias Menzies and Helena Bonham Carter, each of whom gets a chance to shine very brightly indeed. It'll be all-change for the next season. (Netflix)

ONGOING

Star Trek: Discovery: series 3 (in progress)
This season's opener sends this series into yet another whole new direction, and where it continues from here is beautifully crafted, reinventing the entire show once again with a very different set of tensions and intentions. The superior cast (led by Sonequa Martin-Green, Anthony Rapp and the awesome Michelle Yeoh) bridges all of this expertly, deepening their roles as they go while finding clever ways to reinvent the wider franchise for today's audience. Like the original series almost 60 years ago, this show continues to ask enormous moral and ethical questions in provocative ways, and it grapples with hot-potato issues using stories that are easy to identify with. (Netflix)

The Conners: series 4 
(in progress)
The astute writers on this sitcom have always reflected the times, and this new season is no exception. Embracing the pandemic and the economic carnage it has brought to the working class, the scripts are putting this already bedraggled family through the wringer with issues of health, work, finances and immigration flaring up in earthy, thoughtful ways. And throughout even the most serious stuff, this great cast (Laurie Metcalf continues to steal the show) manages to drop smart punchlines all over the place, reminding us that laughter can ease the pain, for a few moments at least. It's rare to have such a long-running show that actually feels like it's still going somewhere. (ABC)

CATCHING UP

Huge in France 
Acclaimed comedic actor Gad Elmaleh plays a version of himself in this amusing comedy about a top French comic who moves to Los Angeles to be closer to his teen son (Jordan Ver Hoeve), an aspiring model with his own issues. The show focuses on how Gad struggles with the fact that he's not famous in America and can't get a grip on the local sense of humour. With his identity in crisis, he's certainly in no shape to help his son pursue his dream, although his contacts come in handy (cue a terrific Jean Paul Gaultier cameo). Everyone in this show is struggling wildly with who they are, which gives the writers a chance to astutely satirise various aspects of show business.  (Netflix)

REALITY BITES

Reality competitions are comfort food during this pandemic, and have found clever ways to bubble, distance and so forth. The most comforting of them all, The Great British Bake Off: series 11 (C4), put its cast and crew in a bubble and made the show as normal with another terrific line-up of likeable contestants, plus a new host in the cheeky Matt Lucas. With a more complex style of safe distancing, Strictly Come Dancing: series 18 (BBC) is also back for another spin, with entertaining celebrities and up-for-it professionals. Quarantine measures make everything look very different, but there's plenty of glittery magic. And then there's I'm a Celebrity, Get Me Out of Here: series 20 (ITV), held this year in a superbly creepy castle in Wales, which has added some enjoyable twists for the typically eclectic cast of scene-stealers. And then there were two competitions that delayed their finals until the autumn: Britain's Got Talent: series 14 (ITV) saw the title going to a fitting winner who warms the heart with his witty quintessentially British act, while The Voice UK: series 9 (ITV) came back with two live shows to wrap up its truncated season and crown another seriously talented winner we'll probably never hear from again.

Ewan McGregor and Charley Boorman hit the road again for Long Way Up (Apple), another likeable travelogue, this time from Tierra del Fuego to Los Angeles. The scenery is spectacular, and their stopovers add some pointed meaning. The first and last episodes get a bit bogged down in logistics, but it's a fabulous journey. And in Amy Schumer Learns to Cook: series 1-2 (Food) the comic and her chef husband take us into their lockdown life, teaching how to make cocktails and to recreate favourite restaurant dishes at home. It's loose and funny, with some great tips.

Finally, RuPaul had a few series running through the autumn as well, including Drag Race: Vegas Revue (VH1), following a group of queens as they launch a massive show on the Strip, and God Shave the Queens (WoW), with British drag stars putting on their own UK tour. Both featured plenty of lively backstage clashes, which isn't surprising with these divas. And both stage shows were cut short by Covid. I couldn't find a way to watch Drag Race Holland, and now Drag Race Spain is coming too.

I GIVE UP

• Adult Material: I only made it through two episodes of this broad and contrived comedy-drama before giving up. The premise is solid, a soapy bit of madness set around the porn industry. But it's impossible to believe that these people are wealthy when they make such terrible porn and are so incapable of acting like humans. A waste of the terrific Hayley Squires and Rupert Everett. (C4)
• Truth Seekers: As a fan of Simon Pegg and Nick Frost, I was looking forward to this ghost-hunting sitcom. But while it has a gently scruffy charm, it just isn't funny. Frost and Samson Kayo are a witty double act at the centre, as they face a variety of supernatural activity. And high-profile guest stars add sparky moments along the way. But after three dull episodes, I gave up. (Prime)

NOW WATCHING: The Undoing, Next, The Comey Rule, Des, The Mandalorian (2), His Dark Materials (2), Fargo (4), This Is Us (5), Superstore (6), Mom (8)

LOOKING FORWARD: The Stand, Bridgerton, The Morning Show (2), Dickinson (2), Shameless (11).

Critical Week: Just act natural

It's been another hot week in London, with a heatwave arriving just in time for the weekend. Again. Thankfully, screening rooms are nicely cooled. Films I caught up with this week include the action comedy The Spy Who Dumped Me, a genuinely hilarious romp anchored by Mila Kunis and the riotous Kate McKinnon. With its UK release delayed by the World Cup, Ant-Man and the Wasp was finally screened, and it's a lot of fun. Although it's nothing we didn't expect. And one to watch is the Japanese anime Mirai, a gorgeous, family-friendly story that's bound to cross boundaries.

Off the beaten path, we had the Portuguese arthouse drama The Forest of the Lost Souls, a cleverly twisty story about mortality that shifts into a slasher horror. From Italy, Sicilian Ghost Story is a sumptuously inventive take on a true story, told through the eyes of two pre-teens whose sweet romance is interrupted by a mafia kidnapping. The micro-budget American drama Brotherly Love bravely tackles the issue of homosexuality through the eyes of a young man training for the priesthood. And The Eyes of Orson Welles is a treat for movie fans, a love letter from British archivist Mark Cousins to one of the last century's most iconic filmmakers.

Coming up this next week, screenings include Jason Statham vs a giant shark in The Meg, Spike Lee's acclaimed BlacKkKlansman, Michael Jai White in the thriller Making a Killing, the British animation Sgt Stubby, the British canal-boat drama Tides, the Icelandic comedy Under the Tree, and the Elvis/America doc The King.