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Showing posts with label henry cavill. Show all posts
Showing posts with label henry cavill. Show all posts
Thursday, 16 May 2024
Critical Week: Baby you're a firework
Thursday, 1 February 2024
Critical Week: Hold that thought
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| BEST OUT THIS WEEK: The Zone of Interest • Skin Deep American Fiction • Disco Boy How to Have Sex • Blue Giant ALL REVIEWS > |
Wednesday, 2 August 2023
Screen: August TV Roundup
T H E S A G A C O N T I N U E S
The Bear: series 2
There's a different energy this season, as the characters rally around a sense of purpose, looking to the future rather than simply trying to stay afloat. But the hope is tinged with a real sense of fear that makes each of the characters powerfully sympathetic. This allows the still-naturalistic performances to feel more relaxed and introspective, with stellar work once again from Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach. Generously, each member of the ensemble (plus astonishing guest stars) is given the chance to shine brightly in a nuanced, specific journey as part of the larger effort to reinvent and relaunch the restaurant in an insanely short period of time. Where this goes is funny, thrilling and unusually bittersweet, as the gifted cast and crew refuse to dodge the difficult stuff. (Hulu)
This unspeakably warm and involving series picks up right where it left off, following a group of 16-year-olds who feel like they don't quite belong for one reason or another. The romantic storylines continue to add textures this season, most notably as Nick and Charlie (Kit Connor and Joe Locke) face some very big issues as they grow closer. And Elle and Tao (Yasmin Finney and William Gao) finally confront the unspoken feelings they have. Terrific adult roles remind us that these questions aren't limited to adolescence. The range of serious topics this series deals with is impressive, offering layers of hope to viewers without ever pushing a point. It's also played to perfection by a seriously gifted cast who play teens with all their messiness in tact. Plus the fabulous Olivia Colman. Unmissable. (Netflix)
series 3
The amusing tone of the first season is an increasingly distant memory as everything turns almost ludicrously serious, the mythology becomes woefully dense, the plot splinters all over the place and everyone begins to speak in raspy whispers rather than their actual voice. This dialog is also packed with more wacky names than any mere mortal can keep track of. The central plot is still involving, despite the sideroads, layers of villainy and hyper-violent, over-staged battles. Oddly, the romance between Henry Cavill's Geralt and Anya Chalotra's Yennifer is a nonstarter; more involving is the complex link between Jaskier (Joey Batey) and Radovid (Hugh Skinner). While it's rarer now, the offhanded banter still holds the interest because it highlights engaging relationships over dully uninteresting lore. (Netflix)
It's another bone-dry dose of pointed humour from Tim Robinson, taking aim at pop culture with lacerating satire about a range of worthy targets, from dating shows to pharmaceutical adverts, with a special emphasis on squirm-worthy office politics. These are short, sharp sketches with often absurd flourishes, and they're produced impeccably. The way they interweave, reference each other and sometimes overlap is both hilarious and often unnerving. It's the kind of show that provokes nervous giggles rather than hearty laughter. We can see ourselves in these exaggerated characters, which is both amusing and terrifying. (Netflix)
The Other Two: series 3
Increasingly wacky, this show has been written and performed from the first episode with lightning-sharp wit. The jokes seem to get broader with each episode, heading in sometimes ridiculous or even surreal directions as the writers ramp up their satirical take on the authentically insane world of celebrity and fame. Helene York and Drew Tarver are excellent as the desperate siblings who are unlikably ambitious but still sympathetic. Molly Shannon continues to steal the show as their now uber-famous mother. And a collection of hilarious side characters (including many A-list cameos) livens up scenes with astute gags and exaggerated absurdities. This show often begins to feel like it will spin out of control at any moment, which makes it unmissable. (Max)
For its fourth and final season, this series follows the bright but impulsive Devi (Maitreyi Ramakrishnan) through her fourth and final year of high school, continuing to trace the trail of carnage she generates in both in her friendships and romantically. And it's still inexplicably narrated by a wryly hilarious John McEnroe. The whole point of this series is to watch Devi growing up and forming increasingly serious relationships, and its her connection with her single mother (Poorna Jagannathan) that becomes the strong focal point here. A range of sometimes wildly nutty side characters maintain their own enjoyable trajectories while interacting with Devi's, and there are superbly dramatic, romantic and sexy moments scattered through these episodes, plus a lot of very witty writing. (Netflix)
The Crowded Room
While series creator Akiva Goldsman works far too hard to obscure the story with a fragmented narrative, this show is involving thanks to lead performances from Tom Holland and Amanda Seyfried as a criminal suspect and the psychiatrist trying to work out how his mind ticks. The plot's big secret is obvious very early on, and it's a mistake to wait until the sixth episode to confront it. If you stay with it, the show gets much better as it begins grappling with bigger themes about childhood abuse and mental trauma, which makes the second half of the series properly resonant and powerful. Holland and Seyfried play their complex roles beautifully, and the production is packed with clever visual touches that add to the internalised impact. (Apple)
Kim Cattrall gets a superb starring role as the founder of a high-end cosmetics brand who is trying to reconnect with her loyal customers. Her friendship with perky overachiever Marco (Miss Benny) is refreshingly offbeat and uneven, nicely refusing to progress as expected. Scattered through 10 sparky episodes are plenty of nice surprises in the interaction, narrative and relationships. The show plays out like an updated variation on Ugly Betty, and it feels perhaps a bit pointed in its gender politics, but the underlying ideas are important. This adds a hint of depth to a show that's otherwise unashamedly cartoonish. These are characters who are able to grow and change, so by the end most have taken a proper journey. Bring on season 2. (Netflix)
Yet another Marvel product that can't decide whether to focus on big action set pieces or character drama, so it isn't satisfying on either front and it ends up feeling like a plot transition between other movies and series. When the people are at the centre of the scene, this is riveting, played to perfection by the likes of Samuel L Jackson, Olivia Colman, Ben Mendelsohn, Don Cheadle, Emilia Clarke and Kingsley Ben Adir. But each episode seems to require a bombastic action set-piece that's efficient enough but also painfully uninteresting (super-powered people bashing each other is so boring!). And the overall plot, about an alien race warring with itself over whether to annihilate humans to take over Earth, carries absolutely no tension in a Marvelised universe. (Disney)
There's a dopey charm to this silly action comedy starring Arnold Schwarzenegger as a CIA spy who is sent on one last mission before he retires, during which he discovers that his daughter (Monica Barbaro) is also an ace operative. The banter is sharp and goofy between protective father, independent daughter, oblivious family, goofy colleagues and absurdly handsome villainous mastermind (Gabriel Luna). It's one of those shows in which no other spies seem to exist in the agency, so both spycraft and romances are limited within this ensemble. Amid some rather oddly nasty violence, there's plenty of comic relief (mainly from sidekicks Fortune Feimster and Travis Van Winkle). All of which leaves this show as a bit of mindless fun. (Netflix)
Kaley Cuoco, Chris Messina and Tom Bateman are a solid enough central trio to overcome this crime comedy's outrageously contrived story points. The idea is so absurd (struggling couple launches a true crime podcast with a real serial killer) that it's impossible to take anything that happens remotely seriously. Which is fine for a comedy, but becomes a problem when events take some properly serious turns. All of this is assembled and performed with such a chirpy blast of energy that it's easy to simply sit back and enjoy each ridiculous predicament these people get themselves into. The red-herring fantasy sequences are so overdone that they undermine any attempt to get into the groove of the story. But the actors sell it. (Peacock)
Somebody Somewhere: series 1-2
I arrived late to this series and found it to be my kind of vibe. The writing and performances are delightfully unforced, creating characters who bring the audience into each scene so we can laugh with them at the absurdities of their lives. Bridget Everett shines as Sam, whose sardonic wit is a survival mechanism in rural Kansas. Her connections are the heart of the show, played out in mini-adventures that bristle with humour and emotion. Sam's interaction with sister Tricia (Mary Catherine Garrison) is played with unusual complexity and texture. And Jeff Hiller is wonderfully bemused as her new best pal Joel. This is a gorgeous show that could run and run. (HBO)
Having lost my interest in zombies a few seasons into The Walking Dead, I avoided this show when it first came out. Then it was nominated across the board in the Dorian Awards, so I decided to take a look before casting my vote. The first two episodes were as tedious as I thought they'd be, and then episode three came along, deepening the dawning connection between the fabulous Pedro Pascal and Bella Ramsey while tracing a gorgeous decades-spanning subplot featuring the great Nick Offerman and Murray Bartlett. The banter between Pascal and Ramsey is what kept me watching the series, plus some terrific guest stars (who knew Melanie Lynskey could be so gleefully vile?). This is far more involving than the action nonsense that consumes far too much screen time. (HBO)
GUILTY PLEASURES: Drag Race All Stars, Too Hot to Handle, Love Island.
NOW WATCHING: Star Trek: Strange New Worlds (2), Minx (2), Good Omens (2), And Just Like That (2), The Afterparty (2), What We Do in the Shadows (5), Black Mirror (6).
COMING SOON: The Continental, Ashoka, Only Murders in the Building (3), The Morning Show (3), Physical (3), Sex Education (4).
Previous roundup: JUNE 2023 >
Sunday, 6 February 2022
Screen: February TV Roundup
Hawkeye
Due to my general exhaustion about Marvel-world, I was planning to skip this series. But the clips revealed a lively comical sensibility, so I've been sucked back in. And this is an enjoyable romp, with sparky turns from Jeremy Renner and Hailee Steinfeld as arrow-shooting heroes who bicker because the script insists that they must. The story is enjoyably convoluted and a bit out of control, packed with characters who are rather too sure of themselves based on flawed information. As Kate, Steinfeld's refusal to be the usual brooding hero is hugely refreshing. And the best surprise is the sizzling action-banter between Steinfeld and Florence Pugh's Yelena. Please give them their own movie. (Disney)
Jamie Dornan is terrific as a guy who wakes up in an Australian Outback hospital with no memory of who he is or how he got there. He makes a connection with Danielle Macdonald's rookie cop, while she intrepidly investigates his identity against all advice. Details about who he is and the trouble he's deeply into dribble out slowly over six episodes, maintaining a ripping sense of mystery while throwing in some heart-stopping action here and there. It's more violent than was strictly necessary, with one villain to many. But the variety of the baddies (from Olafur Darri Olafsson's man-beast to Alex Dimitriades' swaggering billionaire to Damon Herriman's wheezy cop) keeps things very lively. (BBC)
Kristen Bell somehow maintains a straight face all the way through this thriller pastiche, which deploys every imaginable cliche of the mystery thriller genre with gusto. Although because those movies are essentially spoofs themselves (they never resemble anything like real life), this show really needed to go much further than this. Even the requisite steamy sex montage is oddly undercooked, as it were. Still, it's hilarious to watch Bell guzzle litre-sized glasses of wine as she gazes out her window, so emotionally wounded that no one believes she's witnessed a murder. As the whodunit takes some silly turns, more arch, over-the-top satire might have set this apart from the shows it's poking fun at. (Netflix)
Claire Foy and Paul Bettany are terrific as the real-life Duke and Duchess of Argyll in this three-part drama about a 1963 court case that caused a seismic shift in Britain's tabloid coverage. There's a problem woven into the fact-based narrative, because it's impossible to end this story on a satisfying note. But the writers bravely refuse to embellish anything, so all of the events are deliberately left as hazy or undefined as history has recorded them, which is also slightly frustrating. Still, the entire cast is excellent, and the period is recreated with understated flair. It's also an eye-opening exploration of gender roles, centring on a woman who simply refused to be bound by the rules. (BBC)
Lavishly produced on a remarkable scale, this grand adventure stars David Tennant and Ibrahim Koma as Phileas Fogg and Passepartout, with Leonie Benesch as a gender-swapped Fix, who's now a feisty journalist rather than a tenacious detective. Switching characters around isn't a problem, but the writers have essentially abandoned Jules Verne's novel completely, with big set pieces that feel contrived to add thrills at specific intervals. And the plot contrivances that have been inserted are surprisingly lazy and underdeveloped. Thankfully the actors are terrific, creating a nice sense of camaraderie between the bickering-but-loyal trio. And the landscapes are spectacular, augmented by above-average effects work. (BBC)
Clearly straining to be the new Game of Thrones, this over-serious epic about ancient lands and terrible wigs is bursting with convoluted mythology about the nature of fate (see the title) and how various people tap into power for good or evil, represented as white or black swirls, of course. The costumes designs are just as cliched, but at least the production is splashed with some bright colours to liven up the usual drab beige-greyness. Rosamund Pike produced the show, so it's surprising that she's wasted in an underdeveloped role (including two episodes in which she's unconscious). The rest of the cast has a fresh-faced intrigue that bodes well for a second series. Just give Pike more to do, please. (Amazon)
T H E Y ’ R E B A C K !
This reunion show catches up with three of the central characters: Carrie, Miranda and Charlotte, played by Sarah Jessica Parker, Cynthia Nixon and Kristin Davis (Kim Cattrall's Samantha has moved to London). It works best when it's exploring how the characters have maintained their spark into their mid-50s, although packing so many momentous life events into these 10 episodes feels rather artificial. It also feels awkward as it tries to tick a series of trendy and politically correct boxes, while the darkly emotive sequences are rather soggy, as if concocted by writers to add depth on cue. That said, revisiting these characters is fun, and the lively and engaging new cast members add a fresh perspective. (HBO)
All these years later, we catch up with our favourite blood-spatter expert Dexter (Michael C Hall), who's now calling himself Jim and working in a weaponry shop somewhere very snowy. He's also being haunted the ghost of his snarky sister Debra (the great Jennifer Carpenter). Of course he's managed to fall in love the local police chief (Julia Jones). Then his now-teen son (Jack Alcott) turns up, triggering a series of momentous events that churn into a powerful finale. This has never been the most tightly scripted show, with its gaps in logic and continuity, but its characters have been so indelible that we hate to miss a single episode. And this limited series has clearly been created for the fans. (Showtime)
A N O T H E R S E A S O N
Even more raucous than the first season, this historical romp continues to play loose with the facts while unpicking deeper truths about humanity. Everyone in the story is somewhat cartoonish, and the plots are bonkers, but that's the point, as present-day attitudes and dialog are overlaid on the 18th century Russian court. Now that Catherine (Elle Fanning) has seized control of the Russian Empire, her lovelorn husband Peter (Nicholas Hoult) languishes in house arrest. Although he can't be contained at all. The surrounding characters come into their own this season, orbiting hilariously around these bickering rulers. And then there's Gillian Anderson's riotous appearance as Catherine's mother. (Hulu)
While this show still has some self-effacing wit, this season is far more serious than the lively, scruffy first set of episodes. This time it's much more about politics and power, as the characters jostle for position and engage in a lot of soapy melodrama that just seems silly because everyone maintains such a straight face. Which is even more astonishing since everyone is wearing an appalling wig. Thankfully, Henry Cavill knows how to rock a terrible weave, and his costars have plenty of tetchy energy as they circle each other. What makes this show so engaging is the fact that everyone is trying to find their place in this crazy world. But the writers need to have a lot more fun with it next time round. (Netflix)
The American Civil War is now raging, and the Dickinson family continues to battle among themselves, comically butting heads on all sides as poetry-minded Emily (Hailee Stanfield) tries to make sense of things in her askance, observant way. The narrative unfolds in a flurry of modern-day expressions mixed in with period detail in a way that's sometimes oddly jarring. But there's an important point being made here about the power of poetry to heal both a family and a society that are torn in half. And while the bigger issues may be rather overly pointed, and given rather a lot of artistic licence, the show does draw some well-deserved attention to the iconic poet and the challenges she faced. (Apple)
M O R E T O C O M E
Things get very dense very quickly this season, with yet another undefined "anomaly" causing catastrophe and confusion across the galaxy. The crew's various attempts to investigate this are rather tiresome, distracting from the much more intriguing interaction between them, which leaves their personal journeys to develop more slowly than usual. Sonequa Martin-Green is still a tremendous presence at the centre, complex and fascinating, and her connection with David Ajala's Book is at the show's heart. Also terrific are characters played by Anthony Rapp, Wilson Cruz and the excellent Blu del Barrio. But the departure of Mary Wiseman's Tilly feels like a mistake, as her fresh vibe is badly missed. (Peacock)
It hardly seems possible, but this saga turns even darker this season, as the Byrdes find themselves increasingly squeezed between the FBI, the Mexican drug cartel and local suppliers. As if the show needed another psychopath, the kingpin's nephew Javi (Alfonso Herrera) is perhaps even more wildly unpredictable than terrifying opium farmer Darlene (Lisa Emery). Meanwhile, Marty (Jason Bateman) keeps a level head, and Wendy (Laura Linney) is properly losing a grip on reality, especially where their daughter Charlotte (Sofia Hublitz) and 14-year-old son Jonah (a series-stealing Skylar Gaertner) are concerned. And it leaves things set up for even more carnage in the final run of episodes. (Netflix)
C A T C H I N G U P
I defiantly refused to watch this Korean show when everyone else did, then finally gave in when I was in covid isolation over Christmas. It's an entertaining thriller packed with terrific characters and some gasp-worthy violence as society's losers are given a chance to make a fortune, or die trying. Colourful visual flourishes also make it stand out from bleak American thrillers. Although some more sharply pointed satire might make it more memorable. (Netflix)
I find Renee Zellweger mesmerising, even with her oddly pinched physicality. She's the driving force in this series, but remains mainly in the background as the central plot follows a young couple (Jane Levy and Blake Jenner) drawn into the gravitational pull of Renee's billionaire. The show is slick and prudishly sexy and, aside from the melodramatic reveals, it makes some nice observations about the power of greed and the strength of real relationships. (Netflix)
NOW WATCHING: The Book of Boba Fett, Peacemaker, The Afterparty, Pam & Tommy, Murderville, Euphoria (2), Snowpiercer (3), The Connors (4), This is Us (6).
COMING SOON: Severance, Star Trek: Picard (2), Star Trek: Discovery (3b), Killing Eve (4), The Marvelous Mrs Maisel (4).
Wednesday, 23 September 2020
Critical Week: Mommie dearest
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| BEST OUT THIS WEEK: Little Girl • Monsoon PERHAPS AVOID: Ava FULL REVIEWS > |
Tuesday, 11 August 2020
Screen: August TV Roundup
As the lines blur between how we watch television and the movies, I continue to use series to break up my feature film watching. Here's what I watched over the past month or so...
The Umbrella Academy: series 2
Kicking off with that same slightly out-of-control tone, this show's second season has almost the exact same plot as the first one did. This time, the siblings have found themselves trapped in 1963 Dallas just before JFK's assassination. But the real problem is another impending apocalypse, and once again they need to learn how to work together and get over their daddy issues. The cast is terrific as ever (Robert Sheehan is still insufferable, Aidan Gallagher still annoying), and the swirling mess of their interrelationships are far more intriguing than the overarching story. But the early-60s setting offers some issue-based humour and drama. And the final two episodes are spectacular. (Netflix)
I May Destroy You
Complex and challenging, this is a sometimes very bleak drama that plays out with a blast of fresh, authentic humour. It also occasionally feels almost too real to watch, and the scenes crash into each other to keep us on our toes. Actor-writer Michaela Coel is a serious talent, and she plays the central character Arabella so unapologetically that she's often difficult to like, even as we sympathise with her mental anguish after a sexual assault. It's a shattering performance with a lot to say about human connections. The script is sharp and astute, tackling the idea of consent with no holds barred, dropping in pungent references and mind-spinning twists. It's a rare show that refuses to put anything into an easy box. Essential. (BBC)
Snowpiercer
Set a decade before the events of Bong Joon Ho's now-iconic 2013 thriller, this series has a compelling throughline that holds the interest as it shifts from a murder mystery into a class-based revolution. Even so, the plot feels somewhat over-egged, trying a bit too hard to play up the allegorical layers of the premise, which makes the story feel far too dense and abrasive for its own good. But the show is boosted by a razor-sharp cast led by Daveed Diggs and Jennifer Connelly. It also looks terrific, with inventive sets and effects work. And each episode's twists and turns provide terrific wallops, adding layers to the social dynamics at work in the train, which of course are eerily recognisable. (Netflix)
Homecoming: series 2
Expanding on the first season, these seven tightly contained half-hour episodes cover just a few days in the lives of several characters, but they're seriously momentous. Janelle Monae, Hong Chau, Stephan James, Chris Cooper and the awesome Joan Cusack are excellent in complex roles as people coping with the fallout from experiments relating to an all-natural memory-erasing juice. The story starts, then circles back inventively before moving forward to a fiendish conclusion that has massive ramifications, leaving us with plenty to think about. It's finely written and directed, but it's the actors who make it a must-see. (Prime)
The Luminaries
Set in 19th century New Zealand, this show is far more demanding than it needs to be, swirling somewhat erratically between at least three timelines to recount a complex murder mystery. But paying attention pays off, as the characters develop unexpected depth along the way, leading to a fiendishly intelligent conclusion that solves the case with a wink and a nudge. It's also superbly well-played by a cast that includes Eve Hewson, Himesh Patel, Eva Green, Marton Czokas and Ewen Leslie. And in addition to the pitch-black drama and gloriously picturesque settings, the show is packed with pointed observations about imperialism that are still relevant today. (BBC)
Life Is Easy
From New Zealand, this short-form sitcom follows two best friends from school as they navigate young adulthood with a body-swapping twist. It's fast, sexy and enjoyably silly, even if the snappy pacing and multi-screen editing make it tricky to get a grip on it. But scenes are packed with knowing wit as best pals Jamie-Li and Curtis (Chye-Ling Huang and Cole Jenkins) discover themselves in each others' bodies during an eclipse. Since this is a straight woman and gay man, the show is able to explore all kinds of gender and sexuality issues through wacky comedy, including body image, homophobia, racial issues and various kinds of sexual harassment. Which adds a point to the nuttiness. (Revry)
Brave New World
This series drastically simplifies Aldous Huxley's iconic novel. For example, the gender roles, clothing and styling are far more 20th century than 25th, when it's set. (They're wildly misogynistic even by today's standards.) Basically, the writers have taken the concept and created a cool-looking series that pretends to be edgy and sexy, but isn't at all. The unambitious writing is moralistic and almost childish, sidelining any salient ideas about social engineering or control. At least the cast is excellent, led by Jessica Brown Findlay, Alden Ehrenreich and Harry Lloyd, with added Demi Moore. Each provides just enough nuance to their characters to keep us watching. But it's a missed opportunity. (Peacock)
Down to Earth
Zac Efron gallivants around the globe exploring important issues and trying out local food with vegan friend Darin Olien, who can't eat any of it. The main focus is on environmental themes, particularly sustainability, which is somewhat simplified for American audiences, but that's not necessarily a bad thing. Efron has a nicely unpolished charm as a host, genuinely enthusiastic about what he's discovering, and he has terrific camaraderie with Olien, the crew and everyone they meet along the way. Each episode is gorgeously shot in a spectacular place that's packed with mind-bending ideas and positive approaches to today's world problems, if only someone will listen. (Netflix)
PLAYING CATCHUP
The Plot Against America
Philip Roth's prescient 2004 novel describes an alternate autobiographical history as Charles Lindbergh becomes US president in 1941 and makes an deal with Hitler not to interfere in the European war. Which effectively roots antisemitism into US society. The show is sharply produced, with a solid cast (led by Zoe Kazan, Morgan Spector, Winona Ryder and John Turturro) playing a Jewish Newark family facing this shift in culture. The script is insightful if a bit flabby, padding out each hour-long episode with scenes that don't always feed into the larger story. But it's packed with present-day parallels, and chilling observations about American culture and politics. (HBO)
I Know This Much Is True
Tackling an important topic, filmmaker Derek Cianfrance takes an indulgent storytelling approach with this dark drama, demanding a lot of the audience. It's not easy to watch, as each scene spirals into shouty chaos, often for no apparent reason, and the narrative heaps misery on the characters. That said, Mark Ruffalo is on peak form as twin brothers, one a hothead and the other with schizophrenia, neither of them remotely sympathetic. And the supporting cast is excellent (Rosie O'Donnell is particularly good). But there's barely a moment of peace, as Cianfrance shoots impatient outbursts in gritty close-up. Still, there are undercurrents of raw emotion, and the final episode makes it worth sticking with it. (HBO)
The Witcher
This fantasy series has a fiendishly clever structure that doesn't resolve itself until the final episodes, when the actual timeline comes into focus. It's made up of three connective story strands that have properly epic moments dotted through them. Like Game of Thrones with a sense of humour about itself, it's packed with riveting situations and unusually complex characters, anchored by Henry Cavill in the title role (a deeper performance than it seems on the surface), Anya Chalotra as a rogue mage and Freya Allan as a portentous orphan. It takes the misstep of staging a climactic battle at night, but the show is wonderfully entertaining. Bring on season 2. (Netflix)
UnReal: series 1-4
This show ran for four seasons, but I only just discovered it. It's the kind of premise I love, lifting the curtain on the backstage antics at a lusty reality dating show. The way these producers shamelessly manipulate contestants and each other is probably understated, so every single character is loathsome. The horrible things they do are gripping and blackly funny. Although the show digs into nasty melodrama rather than more entertaining cheesy antics, tipping a cynical nod at some big themes. It's also one of those American series that pretends to be sexy but is actually timid and prudish. (Prime)
NOW WATCHING: A Suitable Boy, Muppets Now, Insatiable (2), You (2), The New Legends of Monkey (2), Eastsiders (1-4).
LOOKING FORWARD: I Hate Suzie, Ratched, The Third Day, Away, The Boys (2).
Wednesday, 4 September 2019
Critical Week: If looks could kill
Off the beaten path there was the sleek, low-budget thriller Empathy Inc, shot in black and white and full of big ideas, some of which go somewhere. Seeds is a brainy freak-out in which yucky monsters menace a flawed man in his old-money family home. Bathroom Stalls & Parking Lots is a lively, raucous night in the streets with two gay buddies. It feels scruffy and a little unfinished. From Argentina, Rojo is a strikingly clever drama exploring 1970s politics with a very dark story. And ee also had the programme launch for next month's London Film Festival, which as always will be a glut of great movies across the city's cinemas.
Coming up this next week, awards contenders are starting to rear their heads, as well as some autumn crowd-pleasers: Renee Zellweger is Judy, Brad Pitt goes into space for Ad Astra, the entire Downton Abbey cast reassembles on the big screen, Jennifer Lopez leads a pack of Hustlers, and Sea of Shadows documents environmental issues surrounding fishing.
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