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| BEST OUT THIS WEEK: Kokuho • Romeria PERHAPS AVOID: Mortal Kombat II ALL REVIEWS > |
Showing posts with label leo woodall. Show all posts
Showing posts with label leo woodall. Show all posts
Thursday, 7 May 2026
Critical Week: Reach out and touch me
Monday, 13 April 2026
Screen: April TV Roundup
Beef: series 2
This anthology show's new season has an excellent cast and a gripping narrative that builds to a frankly astonishing final episode. Expertly shot and edited, it stars Oscar Isaac, Carey Mulligan, Charles Melton and Cailee Spaeny as two couples who get into a tangled mess connected to the exclusive golf club where they work and a new Korean owner (the great Youn Yuh-Jung) who's more than a little shady. The way the interpersonal relationships spiral and weave is breathtaking, with a continual stream of surprises, shifting loyalties and ratcheting tension. In the end, the show has profound things to say about love and loyalty, and also takes a startlingly astute swipe at where the world is right now. (Netflix)
Company Retreat
The astonishing improv comedy is back, this time set around a small family business' getaway at which everyone is an actor except one person who has no idea they're on a sitcom. Like the first season, this is hilariously outrageous television, expertly set up and assembled to hone in on how Anthony responds to the absurd things thrown at him, including several moral dilemmas. So it's funny but also very sharply pointed, commenting on the changing landscape for small companies while also offering provocative "what would you do?" scenarios. This one sometimes feels a bit sillier than the first courtroom series, but it is packed with terrific moments. And as before, the casting is genius. (Prime)
Diving back into this colourful period fantasia is such a delight that we never want it to end. So of course Netflix divides the series into chapters to further torment us. Things are both spicy and comforting, as another Bridgerton sibling, wild child Benedict (Luke Thompson), is tamed by the feisty Sophie (Yerin Ha). Meanwhile, there are more antics for Nicola Coughlan's Penelope, Adjoa Andoh's Lady Danbury and Golda Rosheuvel's Queen Charlotte, plus a parallel romance for Lady Bridgerton (Ruth Gemmell) and her swarthy Lord Marcus (Daniel Francis). There's never much doubt where these plot threads are headed, but this kind of frothy/steamy nonsense is simply delicious. (Netflix)
This season opens outside the city-in-a-bunker with a superb Graceland-set narrative featuring a new role for Shailene Woodley. Then Sterling K Brown arrives and we're off on a steely cross-country adventure. The show splinters in now-typical second-season style between a sometimes bewildering range of story threads in timelines that inside, outside and before the bunker. The writing feels a little heavy-handed, pushing apocalyptic themes while searching for signs of humanity. But the expanding cast is solid (including puppet-master Julianne Nicholson), and the plotlines are involving enough to keep us hooked. Where this season ends up is properly brain-bending, which bodes well for series 3. (Hulu)
Carrying on with its various narrative strands, which are even-more fragmented than before, this show is packed with fascinating scenes that seem to exist in isolation, even as some of the threads vaguely begin to merge. With all of this jumping around in both place and time, we are never quite sure which events are happening concurrently with others. But it doesn't really matter yet. This season is largely set around New Vegas, and the nutty mayhem offers particularly strong moments for Ella Purnell, Kyle MacLachlan, Aaron Moten, Moises Arias and of course Walton Goggins. With added Justin Theroux as a pre-apocalypse brainiac and Macauley Culkin as a cos-playing Roman general. (Prime)
Jon Hamm is back for some more somewhat far fetched criminality, as a wealthy investment manager who turns to robbing his neighbours to make ends meet. His character's relationship with his ex-wife (Amanda Peet) and ex-girlfriend (Olivia Munn) are far more complicated now, as are his friendships and work connections. As a billionaire who moves into the community, James Marsden stirs everything up exponentially, further straining the credibility. But it's entertaining to watch these obscenely privileged people get taken down a peg or two (or more), even if the splintered plot feels a bit deliberately structured simply to make space for another season. (Apple)
From Belgium, this show wallows in compelling melodrama between wildly wealthy and working class families in a rural seaside town. The first season centred on the teens, then the wonderfully overwrought soap-style stories spread to the parents too. Most of the characters bullheadedly charge through each situation without listening to anyone else, with a storm of alcohol, sex, drugs and violence. Even the few likeable or sympathetic people continually do awful things to each other, mainly because of the barrage of trauma they are all carrying around. But even if it's all faintly ridiculous, it's impossible to look away, partly because the European cast goes for it in ways American actors would never dare. (Netflix)
S O M E T H I N G N E W
It's nice to see a Star Trek series that is actually trying something new that fits within its remit, even if some of these episodes reach perhaps a bit too far thematically, and the direction is sometimes shockingly inept. Set in the officer training school, the show features a collection of hot young cadets who improbably find themselves in a momentously urgent situation every single week. But because their teachers include Holly Hunter, Robert Picardo, Tig Notaro and Gina Yashere, plus Paul Giamatti as a recurring baddie, the show also has wonderfully offhanded gravitas. And students Sandro Rosta, Karim Diane, Kerrice Brooks, George Hawkins and Bella Shepard have star-making presence. (Paramount)
Riz Ahmed created and stars in this comedy about a British actor with Pakistani heritage who auditions to play James Bond, setting off a barrage of online hatred from all sides (is he too Asian or a sell-out?), and unfiltered excitement from his colourful friends and family. Ahmed is extraordinary in the meta-role, finding all kinds of layers as his character becomes increasingly unlikeable but somehow holds on to our sympathy. Sheeba Chadda is especially strong as his mother, and Guz Khan and Aasiya Shah add wonderful layers as his cousin and sister. There are also terrific guest roles for Himesh Patel, Nabhaan Rizwan, Rafe Spall and even a wonderfully absurd turn from Patrick Stewart. (Prime)
A TV series about grief may seem like it'll be heavy-going, but writer Taylor Sheridan includes plenty of brittle humour and a riveting focal performance by Michelle Pfeiffer as a woman dealing with loss while trying to manage her messy adult daughters (Beau Garrett and Elle Chapman). The expansive Montana scenery is another key character here, and Sheridan weaves in several powerful narrative kicks over the course of six intensely emotive episodes. A side role for Rebecca Spence is complex and engaging. And there are meaty male characters too for Kurt Russell, Patrick J Adams, Ben Schnetzer, Kevin Zegers and Matthew Fox. It may get a bit mopey, but it's well worth a look. (Paramount)
Steve Carell ably anchors this warm-hearted comedy in which he plays a blockbuster novelist (the title refers to his repeating lead character) who takes a job teaching at the university where his estranged daughter (Charly Clive) works. Their relationship is fun to watch, even if both of the characters are sometimes hard to like. They share rather complex broken-marriage issues (with Connie Britton and Phil Dunster as their respective exes), which add layers of connection to the spiralling silliness. And everything is grounded by the astute writing and earthy performances. Terrific support from Danielle Deadwyler and John C McGinley in roles that will benefit from more development in series 2. (HBO)
From Derry Girls creator Lisa McGee comes another riotously astute Irish comedy, although this one is rather a lot darker, mixing the jagged humour with thriller elements as three old friends (Roisin Gallagher, Sinead Keenan and Caoilfhionn Dunne) reunite 20 years after a traumatic event to solve a mystery centred around their fourth classmate (Natasha O'Keeffe). Snappy dialog and hilarious characters keep us chuckling even as things get increasingly nasty. The plot veers in directions that are contrived, absurd and properly punchy. And there are terrific roles for Darragh Hand (as a dreamy garda), MobLand's Emmet J Scanlan and the always fantastic Bronagh Gallagher and Michelle Fairley. (Netflix)
Straining for that wry Fleabag-style to-camera vibe, this comedy-drama instead becomes rather arch as Rachel Weisz's English professor narrates her own fantastical crush on her new colleague Vladimir, played with offhanded dreaminess by Leo Woodall. Complications include her husband (John Slattery), their open marriage and accusations against him of sexual impropriety. And then there's Vladimir's wife (Jessica Henwick), who ends up in the thick of it as well. Where the story goes is foreshadowed right from the start, so it's not hugely surprising. But the show manages to drum up some terrific lustiness, highlighting female sexuality in an unusually complex way. (Netflix)
From Germany, this cartoonish comedy is relentlessly silly, with one of those plots in which everything continually goes wrong at the worst possible time. Amid the amusing stupidity, there are quite a few genuinely witty gags, plus some pointed satire about both German society and the global music industry, as the plot centres on loser Toni (Anton Schneider) dealing with both his big break to become a rap star and the discovery that he has a teen son (Sky Arndt). While the performances are deliberately way over the top, there are moments of real emotion that keep us watching. And one of the most enjoyably ridiculous touches is a running gag about the 1998 classic Armageddon. (Netflix)
J U S T F O R V A R I E T Y
With just one half-hour episode, this proves to be the show we need right now. Even 50 years later, the format feels fresh and engaging, with Kermit, Piggy and friends spiralling into their own delightful brand of chaos as they try to revive their theatre show. Guest star Sabrina Carpenter offers plenty of musical and comical fun, with added goofy cameos from Maya Rudolph and Seth Rogen as themselves. It's such an engaging mix of songs, sketches and generally silly mayhem that we can't help but fall in love with these characters all over again. And the all new cast of Muppet performers beautifully captures the souls of these iconic characters. Surely this proves that we need more of this. (Disney)
While the original version is in the midst of its 51st season, a UK clone has taken to the airwaves slightly earlier on Saturday nights from London. The fresh cast of comics is very strong, diving headlong into the topical silliness, with the usual collection of sketches that are alternately inspired or oddly flat-footed. But the cheeky energy keeps things afloat. The most notable emerging star is Jack Shep, who has an innate gift for characterisations, from Princess Diana to the former Prince Andrew. The odd thing about the show is how it already feels like it's been around for too long. More variation from the US formula could help make this feel like something new. So let's hope it develops its own personality. (Sky)
GUILTY PLEASURES: The Traitors Ireland, Celebrity Race Across the World, Britain's Got Talent.
NOW WATCHING: Big Mistakes, The Testaments, Euphoria 3, Hacks 5, The Boys 5, Scrubs 8.
COMING SOON: Half Man, Margot's Got Money Problems, Man on Fire, The House of the Spirits, Alpha Males 4.
Previous roundup: FEBRUARY 2026 >
Thursday, 6 November 2025
Critical Week: Ready to run
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| BEST OUT THIS WEEK: Belen • Train Dreams • Odyssey Peter Hujar's Day • The Choral The Marbles • Love + War ALL REVIEWS > |
Monday, 17 March 2025
Screen: March TV Roundup
The Residence
Nodding immediately to Agatha Christie, Sherlock Holmes and Benoit Blanc, this snappy whodunit is gloriously anchored by Uzo Aduba as Cordelia Cupp, aka the greatest detective in the world. And it has a killer premise, spiralling around a murder in the White House on the night of an Australian state dinner (complete with Kylie!). The terrific cast includes Giancarlo Esposito, Susan Kelechi Watson, Randall Park, Bronson Pinchot and Ken Marino. The show's tone might be a bit glib for its own good, which leaves everything feeling somewhat pointless and silly. But it's so much fun that we end up hoping that Cordelia will be back for an all-new mystery very soon indeed. (Netflix)
The first episode of this thriller series is beautifully constructed, presenting the show's premise right at the very end with a twist that confirms our queasiest suspicions. From here the tension builds steadily, growing increasingly suspenseful until the climactic showdown in episode 8. Sterling K Brown is superb as the thoughtful, tough-minded hero, squaring off against the formidable control freak played by Julianne Nicholson. Plus a wonderfully steely and charismatic turn by James Marsden as the US president. Surrounding characters also have plenty of spark and energy, even if the plot can't help but dip into cliches along the way. And the ending is great. Bring on season 2. (Disney)
A veneer of intelligence lifts this thriller above the fray, and it helps that the cast is so good. Leo Woodall is a terrific lead, diving into his role as Cambridge maths nerd Edward, who can't quite understand why his research is threatening the entire world order. Neither can we, for that matter. But never mind! It's fun to watch these people run around trying to discover a new mathematical system while various vicious shadowy baddies try to stop them. Standouts in the cast include plucky young spy Quintessa Swindell, dodgy boss Martha Plimpton, tenacious scholar Sidse Babett Knudsen and floundering mentor David Morrissey. Plus ace veterans Stephen Rea and Joseph Mydell. (Apple)
Produced in the style of the classic series, this prequel traces the young Dexter (Patrick Gibson) as he plots his way through his new life as a vigilante killer and police forensics officer. It's all rather bound to the original show's mythology, often straining to pay unnecessary homage to it, especially in younger versions of larger-than-life characters and the setting up several already iconic moments. It's still gripping enough to paper over the many plot and logistical holes. Excellent actors include Christian Slater as Dexter's dad Harry and Molly Brown as his hothead sister Debra. So having Sarah Michelle Geller and Patrick Dempsey on hand feels like a bonus. (Showtime)
Colman Domingo offers a towering performance in this limited series about a news-network pundit who is thrown into a convoluted mess when he witnesses a grisly murder and then is framed for it. The central idea here is disinformation, as shady powers behind the scenes are manipulating the media, public attitudes and elections. And while there are some strong points here about the imbalance of influence billionaires can have, this is little more than the plot's MacGuffin. Domingo is the reason to watch this, along with terrific supporting roles for Marsha Stephanie Blake, Gabrielle Graham and Thaddeus Mixson, plus the superb John Ortiz and Alison Wright. (Netflix)
With its snappy plotting, messy characters and slick production values, this British spy series is a lot of fun as it follows sleeper agent Helen (Keira Knightley) while she tries to unpick the knotted truth about the death of her lover (Andrew Koji). Her cohort is the always fantastic Ben Whishaw, who adds all kinds of witty detail to his fixer character, while Sarah Lancaster provides her own unnerving steeliness as Helen's puppet-master handler. This is also a slickly made thriller, with pulse-racing action, humour and a glorious use of London locations. So even if the plot feels rather familiar, the show is hugely watchable, keeping us hooked through each Killing Eve-style twist and turn. (Netflix)
Squid Game: series 2
The way the writers get back into this story is ingenious, although how they choose to end this seven-episode run feels like a cheat. Rather than set up a cliffhanger, they simply cut away in the middle of a scene, leaving us hanging until the concluding third season this summer. But they've got us hooked. This show is a riveting thriller that isn't afraid to get seriously nasty. Lee Jung-jae is a superior lead actor, sympathetic and often startlingly unpredictable, while both Wi Ha-joon's cop and Lee Byun-hun's puppetmaster get a chance to deepen their roles intriguingly. Best of all, it's impossible to predict where things might go next, as this game-to-the-death keeps throwing brutal twists into the mix. (Netflix)
Even sharper than the first season, this comedy rockets forward with much more complex plotting and characters who are layered and thoroughly engaging. Everyone in the cast is first-rate, with particularly strong storylines for leads Jason Segel, Harrison Ford and Jessica Williams, each of whom gets the chance to add depth to their therapist character, both in sessions with clients and in their often absurdly ridiculous personal lives. This allows the show to blend nutty humour with some earned emotions, and it also brings to life some strong supporting characters, most strikingly the one played by show creator Brett Goldstein. (Apple)
What We Do in the Shadows: series 6
After the writers strangely copped out in last season's ending, this nutty comedy hits the ground running as these Staten Island vampires face a range of crises with their usual overconfident ineptness. The superb Kayvan Novak is at the centre this time as he struggles with his identity as an alpha-vampire, while Natasia Demetriou, Matt Berry and Mark Proksch shamelessly steal scenes as his constantly disruptive and outrageously dim-witted makeshift family. Enjoyably, Harvey Guillem's Guillermo is even more quietly in control this season. This is the kind of show that could run forever, so it's notable that they opted to go out on a high. (FX)
The great Margo Martindale stars in this series about maple syrup farmers in Canada who go to war over their sticky product, leading to an elaborate heist that plays out like something from a Coen brothers movie, mixing jagged humour with vicious violence and general unpredictability (enter Jamie Lee Curtis!). Based on a true story, it's packed with colourful characters who are wonderfully untrustworthy, so the whole show feels like it will explode into chaos at any moment. It often does, simply because these people think with their emotions. And as a story of little people taking on a big, bad conglomerate, it's easy to know who to root for. (Prime)
Industry: series 1-3
With a fresh, unblinking approach, this British series came highly recommended, and I have enjoyed catching up on the episodes. While the writing is far too dense, and often downright smug, the cast adds nuance to the characters, bringing them to life amid the messy goings on in a London financial office, plus a blinding flurry of drugs and sex out of hours. Most intriguing is that no one is remotely likeable, but they manage to be sympathetic even if pretty much everyone tips way, way over the top along the way. Notably strong work from Marisa Abela, Ken Leung, Harry Lawtey, Myha'la and David Jonsson, with great guest turns by Kit Haringon and Jay Duplass. (BBC)
series 1-3
I'd never watched this Spanish series, but a new season coaxed me to start from scratch. And the half-hour episodes zip along amiably. Each character is somewhat cartoonish, but this allows the writers to explore gender issues without taking things too seriously. They also offer some surprising nuance, puncturing political correctness as everyone becomes increasingly confused about how they are meant to treat each other. Both the male and female leading characters are likeable, funny and so deeply flawed that they're almost frighteningly easy to identify with. The rapid-fire dialog is hilarious, and the plotting is gleefully bonkers. (Netflix)
series 1-2
The first season of this Colombian thriller is compulsive viewing, a properly sexy guilty pleasure about a Las Vegas dancer (Carolina Miranda) who falls for a too-perfect businessman (Rodolfo Salas). Then when she pays a surprise visit to see him in Cartagena, all kinds of truths are revealed, leading to a twisty mess of nutty plotting, terrific characters and an outrageous climax. The second season, subtitled Killer Match, is very different as it settles into a serial killer thriller that's utterly preposterous. Characters lose all sense of coherence, and a feeling of both misogyny and homophobia creep in (women are tied up, gays are murdered). It's juicy but not much fun. (Netflix)
I GIVE UP: Severance 2
I am sure this show is a work of genius, but my patience simply ran out with its indulgently knotted plotting, out-of-sequence storytelling and generally mopey pace. The actors are so good that I really tried to keep watching, but the way this is put together makes it impossible to care about anything that happens. We can only admire it. Getting through the first season was a chore, and I only managed three episodes of the second. (Apple)
GUILTY PLEASURES: The Traitors (UK/US), Britain's Got Talent, Fool Us, Drag Race (17/Down Under), Dancing on Ice.
NOW WATCHING: The White Lotus 3, Adolescence, The Studio, Your Friends & Neighbours, Wolf Hall: The Mirror and the Light
COMING SOON: Mid-Century Modern, MobLand, Andor 2, The Last of Us 2, The Handmaid's Tale 6, The Conners 7.
Previous roundup: DECEMBER 2024 >
Friday, 7 February 2025
Critical Week: Campfire stories
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| BEST OUT THIS WEEK: The Seed of the Sacred Fig September 5 ALL REVIEWS > |
Thursday, 1 August 2024
Screen: August TV Roundup
The Bear: series 3
Bold and riveting, this intense drama continues to be classified as a comedy, perhaps due to its snappy characters. These are often outrageously messy people who struggle to communicate as they work together to run a fine-dining restaurant in Chicago. Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach are as bracing as always, surrounded by an ace ensemble. It's a rare show that continually catches us off guard with surprising details. Episode 6, directed by Edebiri and starring Liza Colon-Zayas, might be one of my favourite half-hours of TV ever. (Hulu)
Leo Woodall and Ambika Mod are excellent in this complex adaptation of the beloved novel, with each episode set on the same day in the following year. Their characters Dexter and Emma are an oddball couple, but they have a strong connection that creates a vivid friendship. The highs are light and funny, and the lows are powerfully emotional, sometimes downright devastating. Yes, there are quite a few tear-inducing moments, largely because the writing, acting and direction are so astute. It's a properly involving show with strong underlying resonance. (Netflix)
Lavishly produced on an epic scale, this is a beautiful adaptation of James Clavell's novel about an Englishman in 1600 Japan. The storytelling may sometimes feel dense, but it is packed with riveting details about the inner workings of the culture. Cosmo Jarvis is excellent in the focal role, holding his own opposite magnetic stars like Hiroyuki Sanada, Tadanobu Asano and Anna Sawai. The quality of the sets, costumes and historical detail is astounding, and the story is utterly riveting as it builds to a series of astonishingly grotesque battle sequences. This is exceptional television. (Hulu)
With director Park Chan-wook's visual flair, this story has both a large scale of geography and history and quirk-filled characters who are massively entertaining to watch. Hoa Xuande is terrific in the lead role as the Captain, a communist spy during the Vietnam War who is hiding as a refugee in California. His reality is incredibly nuanced, from his on-off girlfriend Sofia (a fantastic Sandra Oh) to the various Americans (all played by a scene-stealing Robert Downey Jr) wh keep an eye on him. When he ends up on a film set shooting a Vietnam War movie, the film's expert meta-storytelling really soars. (Max)
With sleek and stylish direction from Fernando Meirelles, this centres around a strikingly cinematic performance from Colin Farrell in the title role as a private eye looking for a missing heiress. The snaky and splintered storytelling weaves in classic movies that flicker through Sugar's mind. So while the case itself is the usual twisty, nasty messiness, there are surprising character layers. And several set-pieces are thrillingly well staged and played, even if it's sometimes over-heightened. First-rate support from Amy Ryan, Nate Corddry, Alex Hernandez and others. Earns extra points for short episodes. (Apple)
C R O W D - P L E A S E R S
Continuing the outrageousness, this show doubles down on its razor-sharp political satire, as the vicious patriots leave a trail of destruction behind them but have never been more beloved by the public, whom they manipulate with the media. Meanwhile, the scrappy "boys" trying to take them down struggle to stay together while facing mind-boggling setbacks. Stakes get steadily higher as the action unfolds, adding strong subtext to lively characters played by Karl Urban, Jack Quaid, Erin Moriarty and especially Anthony Starr, even more unapologetic this season as the absolutely vile Homelander. (Prime)
Breaking free from the main Star Wars narrative, this prequel is set a century before The Phantom Menace, a fascinating female-based story from the Jedi heyday. It's an intriguing premise, but characters are written so specifically that there's little room for actors to add personal tweaks, so it feels a bit concocted. It's entertaining thanks to lead actors Amandla Stenberg and Lee Jung-jae, while Dafne Keen and especially Manny Jacinto stand out in complex roles. But the structure feels indulgent, especially with extended repetitive flashbacks that overstate plot points and mythology. (Disney)
Based on a videogame, this action fantasy is packed with outrageous effects and nutty details. Set in an alternate reality two centuries after nukes destroyed a wacky 1960s-style America, the show follows three figures across a desert that used to be Los Angeles: a plucky but naive young woman (Ella Purnell) who grew up in an underground bunker, a nervous young soldier (Aaron Moten) who works for a warmonger and a vicious 200-year-old mutant cowboy (Walton Goggins) with shadowy motivations. There's enough going on here to keep pretty much everyone entertained. (Prime)
Gothic and almost painfully theatrical, this show is both overwrought and camp, merrily indulging in ghastly violence while shying away from the sexuality that oozes through the characters. This is the epic tale of three vampires, starting in early 20th century New Orleans as the snaky Lestat (Sam Reid) creates companion Louis (Jacob Anderson) and then teen Claudia (Bailey Bass/Delainey Hayles). And it shifts up a gear in the second season set in 1950s Paris. The push and pull between these three makes this compelling viewing, even with so much absurd melodrama. (AMC)
Playfully revising history, this fizzy comedy tells the story of Jane Grey, Britain's queen for only nine days before Bloody Mary deposed (and beheaded) her. In this fantasy version, conflicts emerge due do opposing opinions about people who can transform into animals. King Edward (Jordan Peters) seemingly dies, Jane (Emily Bader) is crowned, and Mary (Kate O'Flynn) plots against her with her advisor/sex slave Seymour (Dominic Cooper). Anna Chancellor steals the show as Jane's manipulative mother, and the romantic plotlines are engaging. But it's very silly, and is set up for more. (Prime)
As goofy and genuinely hilarious as ever, this next-generation show continues to maintain its high energy levels even as it observes a group of teens just sitting around and coming up with ways they can get into trouble. And grandparents Kitty and Red (Debra Jo Rupp and Kurtwood Smith) are still moaning about their own issues. But all of this is very funny indeed, refreshingly willing to take on some edgier ideas about sex and drugs without needing to get deliberately rude. It's a thoroughly enjoyable mix of witty dialog and rousing nostalgia. (Netflix)
From Australia, this snappy show continues the escapades of Adam (Will Hutchins) as he navigates his new life as an out gay man in Melbourne, including his relationships with boyfriend Gabe (Jake Hyde) and various friends and family members. Adam is a likeable guy whose highs and lows are easy to identify with. And everyone around him is hilariously ridiculous, with their own antics at work and a variety of inter-connections. The show's still loose and breezy, but it's also a lot sexier this season, playing energetically with the lustiness these young people are learning to express. (Cinephobia)
S T A R P O W E R
This story about a couple (Emma Stone and Nathan Fielder) trying to change their community for the better is squirm-inducing, because it challenges viewers about what's correct. Transgressions come in all sizes, from throwaway comments to deliberate deception, as this duo creates eco-homes and jobs for the unemployed while making a reality show with a producer (Benny Safdie) whose morals are rather slippery. The many observations are fascinating, although the episodes are too long, which makes them feel indulgent. Still, the sheer originality and daring make this worth a look. (Showtime)
This is a camp, bonkers satire about political manoeuvring in a fictional middle-European nation. Kate Winslet is fabulous as the self-centred leader, with ace support from Mathias Schoenaerts and Andrea Riseborough (plus a fabulous Hugh Grant). At its core, this is a pointed depiction of how people who think they're smart can be so easily manipulated. It's rather absurd that Winslet's Elena maintains power when literally everyone is against her. But the coup episodes are genuinely heart-stopping. And the show says clever things about political wrangling and the reach of history. (Max)
Thoughtful and intriguing, this swirling series spins between three intertwined foreigners in Hong Kong after a young child goes missing. Nicole Kidman leads a fine cast, bringing understated steeliness to the frazzled mother, although like all of the characters she becomes difficult to sympathise with. Only a few people on-screen are remotely kind. It's impressive that the writers properly go for it, revealing dark insecurities and entitlement of wealthy migrants as well as the vulnerabilities of less well-off people caught in their orbits. But the show feels drawn-out and somewhat indulgent. (Prime)
Julio Torres' boundless imagination is on full display in this fanciful show in which he plays a goofy variation on himself in fantastical settings that are packed with wildly inventive supporting characters. A steady stream of great cameos includes producer Emma Stone, Tilda Swinton, Bowen Yang, Paul Dano, Steve Buscemi and Dylan O'Brien. The way Torres tells stories is endearing, funny and constantly surprising. So while the central plot about a missing earring is a bit absurd, the hand-made approach to sumptuous visual effects makes this well worth watching. (Max)
GUILTY PLEASURES: Drag Race All Stars (9), The Boyfriend, Don't Hate the Player.
NOW WATCHING: Time Bandits, Lady in the Lake, Decameron, Snowpiercer (4), Sausage Party: Foodtopia.
COMING SOON: Only Murders in the Building (4), Heartstopper (3), The Umbrella Academy (4), Kaos, Agatha All Along.
Previous roundup: JUNE 2024 >
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