Critical Week: Family values

I've been in America's Deep South for a week and finally managed to get to a cinema yesterday to see Incredibles 2, which opens next month in the UK. I really enjoyed the way Brad Bird recaptures the family dynamic in the superhero genre, deepening the characters of the children in the process (Jack-Jack steals the show). The dialog is hilarious, and the action sequences are hugely thrilling (Marvel take note). Although I wish the plot and the villain were a bit more fully formed. Still, it's enjoyable enough that it makes us hope Bird doesn't wait another 14 years to make the next one.

Last week, I watched two films on the flight over here. Del Shores' Sordid Lives expanded universe has had a place in my heart since I spent two weeks with him at a film festival where the first movie premiered. So I was happy to find A Very Sordid Wedding in the fight's entertainment system. It's as wacky as the previous films and TV episodes, with the same messy humour, depth of feeling and a proper edge of religious and political themes woven through the nutty characters. The awesome Beth Grant was sorely missed (although Dale Dickey was great), but the film is a lot of fun, and actually has something important to say.

The other thing I watched was the two-and-a-half hour conclusion to Netflix's Sense8, basically the third season mashed together. Fans will love this epic adventure, which has plenty of twists and turns and carries on the Wachowskis' staggeringly inventive visual style. Although there's perhaps a bit too much gunplay than was necessary. And the emphasis on violence leaves the more interesting, engaging interpersonal drama feeling kind of wedged in at the end with two massive montage sequences that give the series' devoted followers just what they wanted to see most. More of that ebullience woven throughout each episode might have helped it gain a wider fanbase. But at least cast and crew were able to wrap up the story in style.

There's only one other movie in cinemas here that I'm interested in seeing (the comedy Tag), and only one coming out this weekend (the sequel Sicario: Day of the Soldado). But I don't know if I'll have a chance to see them before flying back home to London. Watch this space.

Shadows on the Screen: Summer TV roundup

So many shows, new and returning, converged this spring that it was a relief that this year's season of Game of Thrones was delayed. It's been intriguing to see the convergence of so many political shows tackling the same themes: Homeland, Veep, Scandal and House of Cards at times felt like the same show, struggling to be more outrageous than what was actually happening in Washington. And then The Handmaid's Tale (ahem!) trumped all of them. 

SOMETHING NEW

Twin Peaks

To get ready for this, I binged the 1990-91 series, plus the 1992 movie Fire Walk With Me, chilled each time "25 years later" was mentioned. And now here we are. The new shows have a different tone, more fragmented and much drier. But David Lynch is cleverly maintaining the open-ended mystery, dropping clues everywhere without explaining anything, giving just enough plot to make it riveting. Most of the returning cast members are appearing in cameos, but Kyle McLachlan has even more work to do as Dale Cooper tries to, well, put himself back together after a quarter century in red-curtained limbo (although his duality is beginning to feel draggy). The show is also still very funny, although not quite as silly as the original shows were. It's also just as magnetic, impossible to look away. This season continues until September, and Lynch says there's more to come after that.

The Handmaid's Tale

Margaret Atwood's novel is more than 30 years old, and yet its premise feels chillingly relevant in this creepy series set in a very near future ("When they blamed terrorists and suspended freedom temporarily, we let them") ruled by a theocratic government that brutally enforces "traditional" values. Produced with artistry and anchored by yet another riveting performance from Elisabeth Moss, this is a punchy exploration of human nature and the dangers of subverting it for whatever reason. It's somehow shocking to hear Offred's fiery internal thoughts as she plays such a passive role on the outside, a rare fertile woman in a polluted world, assigned to bear children for a wealthy commander (Joseph Fiennes) and yearning for her stolen daughter (Jordana Blake). What this says about fanaticism and resilience is astonishing. And it's emotionally riveting. A second season is coming, praised be.

Santa Clarita Diet

A witty, original approach to the zombie genre, this sitcom is thoroughly engaging thanks to the likeable central performances of Drew Barrymore and Timothy Olyphant as estate agents in suburbia dealing with her sudden appetite for human flesh. The carnage is played for laughs, and since this is Netflix the grisliness and language are pretty full-on. It's all rather broad, and the short episodes never really go anywhere. Indeed, the 10-episode first season feels very slight. But there are hilarious moments dotted throughout every episode, and the side roles are pretty fabulous, from teens Liv Hewson and Skyler Gisondo to the likes of Portia De Rossi, Patton Oswalt, Nathan Fillion, Ricardo Chavira, Thomas Lennon and the great Grace Zabriskie.

Thirteen Reasons Why

There's a loose realism to this series that continually takes the viewer by surprise. Corny but involving, it holds the interest with dramatic intensity and the seriousness of the teen-suicide theme. Dylan Minette is excellent as a highschooler trying to understand why one of his classmates killed herself then left him a set of old-fashioned cassette tapes to explain herself and to lead him on a kind of scavenger hunt. It's all a bit gimmicky, contriving to drag things out over the 13 stretched-out episodes that turn every character (including the dead girl) into someone who isn't remotely likeable. There are some important points, but it's not as truthful as it pretends to be.

THE DRAMA CONTINUES

Sense8: Series 2

After nearly two years, this ground-breaking, earth-shattering series returns, and it kicks off with a fierce attack on endemic bigotry in society - a seriously complex, thoughtful and provocative exploration of sexism, misogyny and homophobia. This is a show about what binds humanity together in the face of various man-made divisions. And it's staggeringly well written, acted and assembled as a ripping thriller this time, with stronger characters and a punchy momentum that grabs hold and doesn't let up. Sadly, after this enormous set-up, Netflix has decided not to continue the story. Although it definitely needs some kind of conclusion, please.

House of Cards: Series 5

It seems impossible that this show could get any darker, but here we are. This season is so bleak and nasty that it's not easy to watch, but we're kind of afraid that the Underwoods might hunt us down and kill us if we stop. Kevin Spacey and Robin Wright are astounding as always, offering a terrifying portrayal of a couple clinging relentlessly to power through sheer force of will. And as they subtly begin turning on each other, this becomes must-see drama. The nastier gyrations of the plot may feel exaggerated and contrived until we remember what's happened in the so-called civilised world over the past year. Our political landscape might not be quite this violent, but it's not as far removed as we'd like to think. And where this is going for future seasons is more than a little scary.

Fargo: Series 3

The almost freakishly talented Noah Hawley (see also Legion) continues this anthology series with a new scenario in snowy 2010 Minnesota, quickly spinning events out of control over the first few episodes, then deepening characters and intrigue in fiendishly inventive ways. Some of the flourishes are a bit gimmicky (and one episode seems to have snuck in here from Twin Peaks), but there's a snaky underlying attitude that keeps it riveting. And the cast is simply wonderful, anchored by the superb Carrie Coon and a double dose of Ewan McGregor. Produced to a very high standard, it's also a rare show that allows for unnerving complexity in its themes, including the moral questions about who's good and evil. Fiendishly clever.

The Get Down: Series 1b

The second half of Baz Luhrmann's groovy and stylish 11-episode dramatisation of the birth of hip-hop in 1978 continues in the same exhilarating style, anchored by the engaging central performance from Justice Smith. This is bold television, exploring a range of issues with intelligence, humour and real insight, plus a terrific use of old and new songs that makes Empire look feeble by comparison. Some of the excesses are a bit overused (there's far too much animation, oddly including key plot moments). But the impressionistic approach is fascinating, even if it's perhaps too artful for purists who want to see the gritty details of this period of history, both for New York and for music. 

JUST A LAUGH

Veep: Series 6

The writing is as good as ever in this sixth season, even though the characters are spread out in a variety of places around the political world. Which just proves the resilience of the characters and the actors playing them. No one's anywhere near the White House this time, which somehow makes everything even funnier. Julia Louis-Dreyfus has the best comedic timing on television, period. And what makes this show so unmissable is that she's happily playing such a self-absorbed buffoon, while everyone around her is even more appalling. We really should hate all of these idiots, and the chaos they bring to US government, but their relentless cynicism makes them likeable. And also frighteningly authentic.

Grace and Frankie: Series 3

It was impressive to see the cast and writers push these characters in some bold directions during this season. Instead of the gentle holding pattern of Series 2, this year was packed with challenges, and the writing was sharply funny as well as more intelligent and introspective, which drew superbly textured performances from Jane Fonda, Lily Tomlin, Martin Sheen, Sam Waterston and others. Some elements felt a bit farcical, in a sitcom sort of way (namely Bud's hypochondriac girlfriend), but there were plenty of clever surprises along the way. And everything touched on much bigger themes about various forms of bigotry, along with the general indignities of getting older.

The Trip to Spain:
Series 3

This hilarious improvised comedy directed by Michael Winterbottom sends Steve Coogan and Rob Brydon on another wacky road trip, taking in the sights and tastes while engaging in stream-of-consciousness repartee. Once again, these six half-hour episodes are engaging and packed with witty gags, delicious food and lovely landscapes. This time it also feels rather grumpy and deliberately self-indulgent, overdoing the starry impersonations to the point of exhaustion (they seem to notice this as well). As before, there are a few side characters to add some narrative continuity, and of course a string of smart running jokes. Plus a nice wave of Cervantes-style surrealism popping up now and again. But if they travel somewhere else, it would be nice to freshen up their banter.

Unbreakable Kimmy Schmidt: Series 3

Because of the breakneck pace and relentless goofiness, this third season takes awhile to find its feet. But once it sets up the story arcs for its central characters, the series takes off into a series of riotous, astute directions. The rapid-fire dialog is flat-out hilarious, played broadly by gifted actors who are able to turn their dim-witted, oblivious characters into people who are surprisingly loveable. And along the way, there are some serious issues that gurgle quietly in the background, cleverly remaining fodder for jokes rather than preachy messaging (such as racist sports franchise names or the gentrification of quirky neighbourhoods). So even if everything is utterly bonkers, there's an edge to this show that makes it irresistible.

I GIVE UP

There were three shows that I just couldn't stick with. Generally I try to give a show at least three episodes before I tune out... 

• American Gods: A bewildering melange of fantasy, mythology, comedy and thrills, this hyper-violent series is so smug that it never lets the viewer into what's going on. I struggled through three episodes. 
• Dear White People: Justin Simien cleverly adapts his provocative film for TV, using an inventive structure that focusses on different perspectives. I love the complex, witty exploration of race issues, but it feels oddly ingrown, and far too pleased with itself.
• I Love Dick: Jill Soloway brings the brilliant Kathryn Hahn with her from Transparent to this cynical comedy about a bunch of unlikeable artists. Even with the terrific cast and some surprising storytelling, I didn't make it past episode 5.

Coming up: Game of Thrones, Master of None, The Carmichael Show, something new?

Shadows on the Screen: Autumn TV roundup

Summer is a great time to binge-watch television series, offering a nice escape from film critic work: I don't have to pay close attention to plot gyrations or characters names, or assign a star rating. And I can watch what I want, so I tend to avoid violence-based series for more character-centred ones. Best of all is the ability to squeeze in a half-hour comedy between writing reviews and watching a movie for work. Here's how I cleared my head over the summer...

NEW DRAMA

Sense8

Beautifully shot and edited, with a powerful emotional kick, the Wachowskis' ambitious 12-part drama weaves together eight plots involving people around the world who have a sentient connection with each other. It was all rather elusive, only barely explaining what was going on as the eight storylines plus an overall Heroes-like supervillain plot inched along at an infuriatingly slow pace. More interaction between the characters might have made it even more engaging, as each central figure was strikingly well played by actors we'd like to see a lot more of on either the big or small screen. Particularly, Miguel Angel Silvestre shines in the most complex, interesting role; Max Riemelt reveals a remarkably magnetic screen presence; and Tuppence Middleton was terrific in a devastating role. But it would be nice if the plot increases its pace in the second series.

Wayward Pines

This 10-episode series starts out like Twin Peaks, then veers sharply into Lost territory before becoming a more schlocky sci-fi thriller. It's a lot of fun, thanks to first-rate production design and committed performances by Matt Dillon, Melissa Leo, Carla Gugino, Shannyn Sossaman, Hope Davis and especially Toby Jones, seriously unnerving as an obsessive visionary. It's shot and edited very cleverly, maintaining some serious tension even when the story goes completely off the rails. Frankly, as the gunplay increases the show gets less and less enjoyable, so by the end the violence begins to eclipse the more intriguing drama that went before. But the cast makes it gripping.

The Flash

Since Arrow is one of my guilty pleasures, I thought I should catch up with the spin-off series over the summer. It's certainly a lot of breezy fun, lighter and faster-paced than Arrow, but with the same combination of over-complicated characters, contrived plotting and simplified action sequences. Grant Gustin makes a likeable lead, especially in his scenes with the wonderful Jesse L Martin. And the surrounding cast members really grow on us, something we notice when their lives are threatened. Yes, as with Arrow, the series regulars aren't remotely safe. Clearly these producers have a tendency to turn things very dark indeed, but they also work at keeping this show enjoyably buoyant between the big emotional bits.

Stitchers

Yet another TV series with a nutty fantastical gimmick, this show demonstrates the usual screenwriting that pretends to be smart but is actually simplistic and rather silly. It's also a lot of fun to watch, as it throws a handful of likeable characters into a series of mysteries, all centring on the idea that someone can be "stitched" into the fading memories of someone who has recently died. The crime-solving aspects of the show are fun, while the overarching story begins to bog down in coincidences and complications that are clearly designed to drag things on from season to season. The cast is sharp and young and energetic, all ludicrously thin and fit for top scientist nerds. But their relationships are worth rooting for, and these 10 episodes end on a huge cliffhanger guaranteed to bring viewers back for series 2.

NEW COMEDY

Wet Hot American Summer: First Day of Camp

This riotously gimmicky comedy reassembles the starry cast of the 2001 cult hit movie, including Bradley Cooper, Paul Rudd, Elizabeth Banks, Amy Poehler, Janeane Garofalo, Ken Marino, David Hyde Pierce, Molly Shannon, Christopher Meloni, et al. Plus Jon Hamm, Lake Bell, Kristen Wiig, Chris Pine, Michael Cera, Jason Schwartzman and more. The joke here is that they're all playing the same characters - teen summer camp counsellors - on the first day of camp (as opposed to the film, which is set on the last day). And the casting turns out to be an inspired touch, since the pre-teen campers see these 17-year-old leaders as grown-ups, even though they're anything but. Like the movie, the series is packed with random plot threads, throwing jokes and references at the screen constantly in the hopes that some of them stick. And yes, it's hilarious.

The Brink

A terrific cast and some very sharp writing give this political black comedy an entertaining edge, as it focusses on Jack Black's idiotic diplomat causing chaos in Pakistan, exacerbated by two downed pilots (Pablo Schreiber and Eric Ladin) who are captured by a pair of freaky black market antiques dealers (the hilarious Rob Brydon and Michelle Gomez). Meanwhile, Tim Robbins' Secretary of State freewheels through his job, barely managing to just diffuse World War III but never bothering to keep his libido in check. Aasif Mandvi is also superb as the only character who seems to see that all of this is utterly nuts. The events unfold from episode to episode with a random sense of momentum, flickering around to a variety of characters and set-pieces that don't all seem to fit together, but there's always a sense that the writers have a bigger picture in mind. And where it goes is both funny and jaggedly pointed.

Ballers

There's just a hint of underlying honesty to this pro-sports comedy, because otherwise all of the macho posturing would be unbearable. Dwayne Johnson is well-cast as an ex-footballer trying to make a go of things as a sports manager, and his misfit clients (including John David Washington, Omar Benson Miller and Donovan W Carter) are both amusing and endearingly pathetic. As is his accountant partner, the always brilliant Rob Corddry. Oddly, the show seems to not realise that it's main commentary is about uneducated athletes who suddenly earn a fortune and don't have the smarts to deal with it. Instead, the show focusses on their silly decisions as they continually get themselves in trouble, relying on Johnson and Corddry to rescue them. Even though they often need rescuing themselves. But the relentless misogynistic masculinity is ultimately exhausting. Which shouldn't be surprising for a series from the producers of Entourage.

The Spoils Before Dying

In the style of the iconic 1982 series Police Squad, this deadpan genre spoof is hosted by Will Ferrell in an Orson Welles-like role as a disgraced filmmaker presenting his lost 1959 masterpiece, the eponymous noir mystery starring Michael Kenneth Williams as a jazz musician who has three days to clear his name. The all-star cast includes Kristen Wiig, Michael Sheen, Maya Rudolph, Haley Joel Osment and Berenice Marlohe, with cameos galore. It's utterly absurd, and far too mannered to work on any real level. But for every broad gag that isn't remotely funny, there's a throwaway line that's deeply inspired. Frankly, it's amazing that they got the money together to make something this ridiculous.

BACK FOR MORE

Inside Amy Schumer: series 3

As she took on her first big-screen writing and starring project with Judd Apatow's Trainwreck, I finally had a chance to binge watch all three series of her TV show, which mixes Chelsea Handler's comical sensibilities with some surprising acting chops. It's a clever combination of sketch humour, chat show and stand-up, with Schumer essentially playing herself (she's always named "Amy", as indeed she is in Trainwreck) in a variety of scenarios, many of which are set in her actual life as a TV comic. And there are big laughs laced through each half-hour episode, bolstered by Schumer's willingness to push the boundaries of what's always been considered acceptable on television. Her frankness about sex is especially refreshing, as is her celebration of things most people would consider deeply wrong. The 12 Angry Men pastiche this season was especially inspired. And delightfully profane.

Vicious: series 2

Produced like a British 1970s sitcom, the retro style of this comedy is extremely jarring, as excellent actors Ian McKellan, Derek Jacobi, Iwan Rheon and Frances de la Tour ham it up mercilessly for an audience that seems willing to laugh at absolutely anything. It's so cheaply made that it's impossible to engage with properly (the dance competition episode was especially inane in this sense, as there were no contestants aside from the series regulars). And yet the script manages to surprise us with moments of honesty that seem to come out of nowhere, especially as Freddie and Stuart legally formalised their tetchy relationship after more than 50 years together. It's written as a stupid, simple-minded farce, but the occasional glimmer of depth makes it watchable.

Masters of Sex: series 3

This show departs from its biopic origins, now heavily fictionalising the lives of William Masters and Virginia Johnson (Michael Sheen and Lizzy Caplan). This has the effect of sidelining their scientific achievements in lieu of more standard television melodrama, which requires the viewer to take a rather enormous leap. Without the underpinnings of real life or science, the show feels oddly uninteresting, as the excellent actors struggle to maintain the intriguing layers of their characters in these more simplistic, formulaic scripts. And the strangest thing is that the show is no longer sexy at all. It's still produced to a very high standard, but without the zing of real-life, it feels rather pointless. We have plenty of dramas about marital infidelity, but not many that are fiercely honest about sex.

True Detective: series 2

With a new cast, story and L.A. setting, this follow-up season has very little resemblance to the first. And that's a problem, because the case it traces is messy but not very interesting, only watchable because it brings three disparate cops (Colin Farrell, Rachel McAdams and Taylor Kitsch) together to solve a murder. Each of them has personal issues that basically stem from self-hatred, which makes them difficult to sympathise with. And the shadowy businessman played by Vince Vaughn is equally unlikeable. So what's left? There are some stunningly staged set-pieces along the way, like the astonishingly awful gunfight in episode 4. And the mystery feels knotted and messy, although it's actually about as complex as a Murder She Wrote episode stretched to 10 hours.

Now it's autumn and we have a slew of new and returning series to distract us. I'm most looking forward to seeing if Empire can maintain its spark, if Fargo can strike gold again, and if Downton Abbey can go out with a bang. Plus more of comedy favourites like Transparent, You're the Worst and Please Like Me.