Spooks comes to an end with a shortened series 10 which, while not perfect, is effective in many ways
“Wait Harry, this can’t be the end”
And so after a decade, it comes to an end. Series 10 of Spooks, a shortened order of six episodes, sees the writers flip from the Lucas North show to the Harry Pearce show. This naturally makes more sense, with Harry being the head of Section D after all, but I’m not 100% sure that it completely works as it goes against the ensemble ethos of the show at its best.
The argument here is that Harry is the heart of the show and given the jib of his recent decision-making at this point, you have to wonder if this is all that wise. Given all that transpires, the final scene of the show hardly inspires confidence. That said, the memorial is a beautiful touch and Lara Pulver’s new chief Erin Watts proved a strong addition to Thames House.
A tough one this, Walker rises brilliantly to the challenge of essentially co-leading the series as a result of the Harry focus. But her treatment in the final moments of the series can’t help but feel a little unnecessary, essentially cheapened by her reduction to nothing but an adjunct to Harry. She only gets killed because of the personal connection rather than a heroic act of Queen and country she deserved (if she had to die at all). Continue reading “Lockdown TV Review: Spooks Series 10”
“Hanna, what did your mum die of?
I have a deal of affection for Joe Wright’s Hanna, a film I saw at the cinema as part of a birthday treat back in 2011 and so watching it again for the first time has that special layer of extra memory attached to it. Which it kind of needs as I’d forgotten how loopy the revenge thriller is. Saoirse Ronan’s Hanna has been raised as a crack assassin since birth by her ex-CIA father Eric Bana but hidden away in the isolated Arctic tundra as current CIA supremo, Cate Blanchett’s insanely fruity Marissa, wants them both dead to protect a secret they possess.
One day, Hanna declares that she’s ready to take on their nemesis and the ensuing cat-and-mouse chase takes our characters from Finland to Morocco, Spain to Germany, all to the beats of a thumping soundtrack from The Chemical Brothers. Wright folds in elements of The Brothers Grimm into the story too to evoke a very dark fairytale feel. And it’s one that works intermittently, the hyper-stylised violence hits hard and provides the energy that is sorely needed in some of the quieter sequences. Ronan is a mesmeric screen presence as this impossible girl and proves a dab hand at doing her own stunts. Continue reading “DVD Review: Hanna”
“Were you waiting for me to walk through the door? This isn’t Jane Austen’s England, Susie, you could’ve walked through it too.”
Bringing a much welcomed shot of sharp comedy to a dull January, Becky Shaw is the first play of 2011 for Islington’s Almeida Theatre. Written by American Gina Gionfriddo and directed by Peter DuBois, also over from the States and who directed this show there too, it really is a breath of fresh air and one of the funniest shows I have seen in ages.
Newlyweds Suzanna and Andrew set up her adoptive brother Max with a new work colleague Becky Shaw in an attempt to break his run of three-month relationships, but their matchmaking has huge consequences as a disastrous first date leads to a series of events that causes everyone to seriously question the relationships they have built up with each other and wonder what the future could, or should, hold for them. The play questions their moral obligations to everyone, strangers and family alike. Continue reading “Review: Becky Shaw, Almeida Theatre”