Signs of staleness start to creep in Series 11 of Silent Witness as Nikki ends up in ‘mortal’ peril for the second time in four stories
“Please, you’re letting this become personal”
There’s an easy chemistry that flows between William Gaminara, Tom Ward and Emilia Fox as the core team in mid-career Silent Witness that it seems churlish to criticise. I find their gentle banter and dad jokes just a delight to watch in their office scenes, but sadly that’s not enough to hang a top-rated BBC series on.
So as it is, Series 11 finds itself tackling such wide-ranging topics as military secrecy and medical bureaucracy, neglect of the traveller community and asylum seekers, abuse in both the Catholic Church and in African religious groups, even mad cow disease. The less said about Leo’s white saviour moment the better. And of course, there’s a pronounced divergence from their remit as forensic pathologists. Continue reading “TV Review: Silent Witness Series 11”
Is Silent Witness the new The Bill in terms of most actors having a credit on their CV? I start a rewatch of the last 24 years with Series 1…
“They say a victim dies only once, but a scene can be murdered a thousand times”
As it approaches its 25th anniversary, and since the BBC have kindly put all 219 episodes on the iPlayer, my infinite wisdom has decided that I’m going to do a watch/rewatch of Silent Witness. I can’t be fully precise because I don’t really remember exactly when I started watching the show – it arrived on BBC1 in 1996 but my first clearest memory is actually of the brilliant, and sadly not online, French and Saunders spoof Witless Silence. (Seriously, if anyone can point to where I can watch it again, get in touch!)
Creaated by former police officer Nigel McCrery, Series 1 introduces us to the world of forensic pathology through the eyes of the Northern Irish Dr Sam Ryan, Amanda Burton getting her name above the title in the iconic leading role. And as she moves to Cambridge to take up a position aiding the police with their enquiries and also to be closer to her mother who is ailing with dementia, there’s something really quite bold in just how chilly and spiky Ryan is as the central figure. Uber-professional to be sure but defiantly uncompromising with it. Continue reading “TV Review: Silent Witness Series 1”
A cast led by Michaela Coel, Noma Dumezweni, John Goodman and Lucian Msamati make Hugo Blick’s complex Black Earth Rising watchable if not quite essential
“That is why I made a deal like that”
A tricky one this. At this point, you know what you’re getting with a Hugo Blick drama (qv The Shadow Line, The Honorable Woman), weighty complex dramas with amazing casts tackling inscrutable global conspiracies. And Black Earth Rising is no different, as it puts the Rwandan genocide and its aftermath under the microscope, examining Western colonial and capitalist attitudes towards Africa along with the role of the Iinternational Criminal Court.
And with a cast led by Michaela Coel, Noma Dumezweni, Harriet Walter, John Goodman and Lucian Msamati to name just a few, it is naturally eminently watchable. Coel plays Kate Ashby, a young woman with a complicated relationship with her barrister mother Eve (Walter). Eve adopted Kate from Rwanda years back but her decision to take on a case prosecuting a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo, outrages Kate who is also Tutsi.
Continue reading “TV Review: Black Earth Rising”
I end up a little disappointed after an excellent first half of Man in an Orange Shirt
“You didn’t think we could set up home together like man and wife?”
I wanted to love Man in an Orange Shirt , I really did. A BBC two-part mini-series from 2017, it was written by Patrick Gale using elements from his own family history. And featuring a cast that is both suitably impressive -James McArdle, Vanessa Redgrave – and pretty – newcomers to me Julian Morris and Oliver Jackson-Cohen.
The first half is by far the stronger. Set in the 1940s, old schoolmates Michael and Thomas find themselves stationed together in WWII Italy. An unexpected connection blooms between the pair and once war is over, Michael searches out Thomas and they spend a blissful weekend together. Only trouble is, Michael also has to eventually reunite with his fiancée too. Continue reading “TV Review: Man in an Orange Shirt”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“This is not life”
Released last year, Victor Frankenstein has the ignominy of being something of a flop, a little surprising when you consider it is loaded with Brit talent like James McAvoy and Daniel Radcliffe and was directed by Sherlock alum Paul McGuigan. But as many have learned, not least Dr Frankenstein himself, reanimating old things doesn’t always go smoothly.
Writer Max Landis’ new spin on Mary Shelley’s classic is that the story is told from (the non-canonical) Igor’s perspective, reframing the ‘hunchback assistant’ as something much more nuanced and offering a fresh set of eyes on their scientific endeavours. Here, McAvoy’s Victor is a manic medical student who rescues Radcliffe’s Igor from an undignified life as a circus freak and quite literally gives him a new lease of life as his collaborator. Continue reading “Hallowe’en DVD Review: Victor Frankenstein (2015)”
“Is there something you’d like to tell me?
‘Is there something you’d like to know'”
Though it is the striking image of Eddie Redmayne as transgender pioneer Lili Elbe that dominates the publicity for this film, it is actually Alicia Vikander who emerges as the star of The Danish Girl. As Gerda Wegener, a mildly successful painter in mid-1920s Copenhagen, her emotional journey as a woman coming to terms with her husband’s Einar’s realisation that she’s a transgender woman offers the film’s most fully rounded character and in Vikander’s hands, a sense of raw, unpredictable emotion that is gorgeous to watch as the very limits of her tolerance and understanding are tested.
After a year where transgender issues came to the fore, it seems only natural that a film about Elbe, one of the first known recipients of sex reassignment surgery, should be an apparent front-runner for this year’s award season. At the same time though, one can’t help but wish that Tom Hooper’s film hadn’t been made with two eyes fixed on the Academy Awards. His glossy and ultimately quite superficial approach – based on David Ebershoff’s novel which is a fictionalised version of Lili’s life – thus feels like a missed opportunity, as artificial an image as Caitlyn Jenner’s Annie Leibovitz-assisted cover. Continue reading “Film Review: The Danish Girl”
“You want me to respect the law? Then make the law respectable”
Directed by Sarah Gavron and written by Abi Morgan, Suffragette offers a rather striking perspective on the women’s suffrage movement, inventing a working class character and following her political awakening at a key moment in the fight for women’s rights. Carey Mulligan’s Maud Watts is a dutiful wife and mother, working long, thankless hours at a Bethnal Green laundry whose chance encounter with a riotous group of suffragettes slowly rouses something within her.
This is where Morgan and Gavron’s approach pays dividends, in seeing the movement through working class eyes away from the privilege and relative freedom of the leaders. Even on a shop-floor full of much-put-upon women, suffragette is spat as a dirty word and in the close-knit neighbourhoods too, the leap that Maud has to make to merely stand up for what she believes is right is that much more difficult, more life-changingly dramatic and Mulligan is truly superb in tracing this transformation. Continue reading “Film Review: Suffragette”
Best Actor In A Play Sponsored By Radisson Blu Edwardian
David Tennant – Richard II
Mark Strong – A View From the Bridge
Richard Armitage – The Crucible
Tom Bateman – Shakespeare in Love
Tom Hiddleston – Coriolanus