Reviews

The real success of a documentary is to present a topic in a fresh, exciting and engaging way - regardless of the topic. In this regard 'Welcome to Wrexham' smashes it to the back of the net with a quick paced, witty and emotional documentary about Wrexham FC. HOWEVER, it's about much more than that. It's about social identity, pride of place, working class history, insightful individual stories, as well as the trials and fortunes of a struggling football club taken on by two Hollywood A listers - Ryan Reynolds and Rob McElhenny.

I don't like football - it's never been my bag - I haven't even been to a game - but I love 'Welcome to Wrexham' and the way it has given me a real insight and understanding of the people that do.

The first time I saw Martin Freeman (Love Actually, The Hobbit, Black Panther) in The Responder I was blown away by the transformation of this rather saccharin and restrained actor into a full blown, hard core, dramatic character actor. I couldn't get over the Liverpudlian accent, the grade 2 haircut and the incessant swearing.

So - I wasn't expecting Police Officer Chris Carson - but Freeman totally does the business. Desperate, conflicted, sleep deprived, edgy PC Carson is utterly convincing as he bends the rules on his nightly shifts on the streets of Liverpool.

Certainly reminiscent of 'Happy Valley' - and may I suggest likely coasting on the coat-tail's of its success - The Responder likewise has that vibe of 'copper cut from the same cloth as the community they're dealing with' - with just enough goodness and grace to judge when 'criminals' (Eg: the alcoholics, the mentally ill and homeless, the druggies and 'bag heads') are victims rather than perpetrators and 'act accordingly' (real community policing). "OK - give me the knife", "D'ya wanna burger?", "Come on, haven't you got a home to go to?" And even - "Put the crap down!" - are pretty typical.

The main plot revolves as ever around big bags of drugs and money and who has it and who it belongs to and who is trying to get it. A fairly standard plot trope but one that works and allows for all the other story lines to develop.

The script writing is excellent as the various characters and relationships are allowed to breathe and develop as the story unfolds. PC Rachel Hargreaves (Adelayo Adedayo) and her struggle with domestic violence, Marco (Josh Finan) and Casey (Emily Fairn) - two hapless druggies getting out of their depth in drug dealing, dodging and stealing. Carson's ex-wife and his fractured and 'oh so trying' relationship with his daughter.

In season two there is a fitting swan song from Bernard Hill (Lord of the Rings, Titanic, Valkyrie) who passed away shortly after this series was made. I first became aware of Bernard Hill in the gritty Alan Bleasedale tv drama 'Boys from the black stuff' in the 1980's as Yozza 'giz a job' Hughes - his portrayal of grouchy dad Tom Carson seems an appropriate way to end his illustrious life's work - finishing the way he started.

All in all, it's great writing and acting and a well put together drama - I'd recommend it if you're up for some gritty Police drama that's more street-wise underworld than your conventional crime drama.

I can't say I liked Baby Reindeer - it's a darkly frustrating watch to see so much abuse and self hatred - but it is a well told, powerful (true) story. We have stalking, grooming, rape, sexual deviance, body dysmorphia, self harm... the list goes on. Watching Baby Reindeer is like getting dragged through the sewage of a neurotic therapy purge.

The acting is very good - very believable. The vibe is darkly comic, very 'in the face' with lots of close ups. Voice-over throughout, arty, and quick moving - I've heard that a lot of people 'binge watch' the series in one go.

I have certainly known some Donnies and Martha's in my time working alongside social services in deprived neighbourhoods. Superficially friendly but needy, deluded, compulsive liars and manipulators - desperate for attention. In that respect Baby Reindeer is all too common and sadly familiar.

A major theme of this story is mental illness and how it feeds off the neurosis of others. Donnie's neediness masquerades as compassion and his self hatred as submission - desperate for a loving father in his life. Of the main characters I would say that only Donnies X-girlfriend and her mum (minor characters) seem anything like 'normal' or 'healthy' - everyone else is confused, afraid, and tormented to some extent.

On a more positive note another theme is authenticity. How honesty and truthfulness are always the path to liberation and reconciliation. And also how you can only get rid of your demons if you make them your enemies rather than trying to make them your friends. However - My feeling by the end of the story is that it never truly does either but leaves us feeling like it could all just happen again (especially now, in a twist of irony, Donnie has hit the big time with a Netflix hit) - so it's an honest but ultimately tragic tale in which we are all culpable.

This is a great futuristic adventure combining the best sci-fi traditions and blending with some spiritual and ethical AI conundrums.

Let's face it - Gareth Edwards has some great credentials for making a sci-fi movie having directed arguably the best Star Wars movie in recent years 'Rogue One' and cut his teeth on the impressive alien debut 'Monsters'. Back then Monsters cost less than $5K to make and he did his own special effects (talented guy) - while these days Edwards shows what he can do with a modest (by Hollywood standards) $80M - and it's impressive.

If like me, you grew up pre-digital era, you will likely still marvel at a movie like this that brings the airbrushed artwork of sci-fi landscapes on paperbacks and album covers to life. The robots and futuristic vehicles alone are worth the watch - I believe the movie boasts several nominations for the effects work (quite rightly) especially since Edwards rejected the green screen conventions and did things his own way.

The movie plot is straight forward enough - quite a relief actually - especially in the sci-fi genre - to not have to work too hard figuring out what's going on. But at the same time there is an underlying sub theme exploring the nature of AI and the blurring of existential boundaries - so although this movie is a 12A it can be watched at several different levels.

The story focusses on a man and his partner who is pregnant with their first child - they are very much in love - only they get caught up in the conflict and their child becomes the key to the destiny of the whole war. The counterpoint of 'the child' also being 'the weapon' sets the tone for this movie - challenging conventional conceptions.

Not only did Edwards direct 'Rogue One' but he also co-wrote the screenplay so it's no surprise that there is a light peppering of humour (certainly in the first half) , for example, seeing headless robots running around chaotically and bumping into each other Star Wars style. However, this is also balanced by the stellar emotional performances put in by the lead 'Joshua' (John David Washington) and the child 'Alphie' (Madeleine Una Voyles). Their relationship develops creditably throughout the movie from Luke warm to full on - giving the movie a tremendous emotional crescendo.

All in all I enjoyed this movie and think it was an engaging watch as both a sci-fi adventure and in the way it challenges notions of what we consider to be conscious life and it's value. Do people go to heaven? Do robots go to heaven? Is life simply 'on stand-by' or is death like being switched off? Who are the bad guys and who are the good guys?

On that last question I have to say that, again the casting of all the 'good guys' as ethnic minorities and Tibetan monks and all the bad guys as white gun toting Americans (and if really evil, white men with British accents) was a little 'really?'. However, on reflection, even by the end of the movie you're left wondering if you read it right... did the good guys win in the end or not? I'm not so sure... what do you think?

The Old Man is a frustrating watch for many reasons but the primary one is that it's rather like listening to an interminable shaggy dog tale (though in this case the dog isn't shaggy and there's two of them).

It kicks off with some promise as CIA veteran Dan Chase (Jeff Bridges) dusts off his old skills to take on some young professional elites. He's an old guy living alone who has to get up several times in the night to pee before dealing with the deadly threat. His super power is two immaculately behaved guard dogs - Rottweilers Dave and Carol!

Now - that's what I call a set up - they should have just run with that for the whole series. However, instead it develops into a complex and dialogue heavy drama.

Harold Harper (John Lithgo) is the slick agency man doing his best to protect himself - both on and off the record - by dealing with the unexpected reemergence of a demon from his past (Bridges' Dan Chase).

This promising start soon wears off and we find ourselves bogged down in a slow paced drama that feels like we're reading a book rather than watching a TV series. There is a lot of dialogue which focusses on the past and also what may happen in the future - but not a great deal happening in the present.

Production wise - all the bells and whistles - great lighting - a lot of chiaroscuro / silhouette work - and a Bach Cello Suite inspired soundtrack to boot. We are also treated to voice overs saying things like: "There are places in our souls so remote no light can reach them" However - in this post Breaking Bad miniseries era I'd have thought they could have portrayed this dark and terrible history with a little more conviction.

It's a shame really because Bridges and Lithgo have great screen presence and that's the only reason why I managed to see this through to the end. The characters of the daughter Alia Shawkat (Angela Adams) and the complicated love interest Abbey Chase (Hiamm Abbass) - also put in great performances but sadly it doesn't save it.

If you do make it to the end there is a nice pay-off for all your patient viewing but - like me - you may be left wondering whether it was worth the wait...

This is worth watching just to see Jake Gyllenhaals unfeasibly muscular physique (is it real?)! A major theme of this movie is the male torso and plenty of male shirts-off fighting (if that's your bag!). Road House plays out like a superhero movie without the costumes - Dalton (Gyllenhaal) the indestructible super and his arch nemesis Knox (McGregor) who has more than a passing resemblance to the biker dude from Raising Arizona (or Sponge Bob Square Pants the Movie) bearded, Irish and tattooed from head to foot.

A bar and live music venue in the Florida Keys is being terrorised by some local riff-raff (or so it seems) until a dark stranger is hired to be the security muscle.

Road House has overtones of a Guy Richie movie about it (Lock Stock, Snatch) - it's violently comic but lacks the conviction to go all out - watering down the wit and grittiness with more familiar tropes from the action / romance genres. In my opinion it needed to go harder or softer but - frustratingly - lands somewhere in the middle.

I understand that director Doug Liman wanted the music to be as authentic to the Florida Keys as possible, he said, "I wanted to find the types of bands that would actually play at a venue like the Road House." But again, it would have been better I think for these acts to be a bit less polished and harder to go with the bar fights. Even when a famous metal tune kicks in it's a kind of lame pop version.

All this smacks of a confused mixture that's not quite bond or John Wick. In the end this movie is a load of ridiculous fighty fun and amusing enough - but perhaps trying to be too many things at once.

The success of 'The Killing' chiefly lies in the character development of the investigators and the chemistry between them. In this respect I'd say 'The Killing' is a great success with 'life weary' Detective Sarah Linden (Enos) and rookie 'in recovery' Detective Holder (Kinneman) developing a solid and engaging partnership out of their somewhat dysfunctional lives. Linden uses the job to somehow compensate for the rejection in her own life - perpetually sabotaging all friendships and commitment on the alter of 'the job'. In fact, in this respect it's not just a job but some kind of therapy. And street wise Holder (love the drawl) is fighting his own demons, attending recovery meetings and trying to please - desperate to be the good guy. Around this core relationship the other characters - certainly in the first couple of seasons - are similarly engaging and believable as we see a family dealing with the very public pain and grief of their violent loss. Brent Sexton and Michelle Forbes are fantastic as grieving parents Stan and Mitch Larsen.

The political sub plot behind the crime solving gives the series a certain gravitas - drone sweeps over the Seattle skyscraper landscape and the luxury office shots create a nice contrast to the seedy urban street life. Oh - and by the way - it rains A LOT. I thought the North West of England had a wet climate but Seattle seems to be worse - you've got to give the production team credit for filming this is the wettest set ever.

Crime wise it's as grim as they come - it's not that you see the murders taking place - but you do see the aftermath and they involve young people/children - so not for the feint hearted. Plus, as the series unravel we have a death row story and in season three the brutality goes up a notch or two - you have been warned.

Plot wise it keeps you guessing - it has to because it goes for a mighty 44 episodes. At times there is a touch of repetition (havn't we been here before) but nothing too bad (it's a genre thing). I think the series looses its way a little by season three, as do Linden and Holder but it's still worth seeing through to a somewhat satisfactory resolve.

One more thing - the music is great - especially the tribal outro beat that signals the end of each episode. All in all I thought this was an enjoyable and compulsive watch and I will miss Linden and Holder - their acerbic bickering, cigarette sharing (I've given up) and mutual neediness - they are an unlikely but likeable partnership that makes this much better than your average crime drama.

OK - war is bad. I get it. We also need to remember those who died in the Great War - no matter how flawed it was. I get that too. What I didn't get was this movie. I mean, it didn't connect with me like I thought it might, for example, like 'Journeys End' or '1917'. It's hard to figure out why though. It had good characters who were well acted, it had a good storyline - easy to follow, and the location sets were amazing - truly we are thrown into the mud, blood and terror of trench warfare. Perhaps it was the English overdubs that did it? But somehow I didn't feel like I was rooting for these guys like I might have.

Visually and soundscape wise it's amazing - and like I said - the camera work is magic - taking us right into the hellish action. Wonderfully choreographed fight sequences and some of the set stills are quite breath taking - artistic even. The score has its moments - love the great orchestral stabs and the 'doomy' distorted bass refrain - plus some lovely tragic strings towards the climax.

On reflection - Compare it with 'Saving Private Ryan', 'Thin Red Line' or even 'My Boy Jack' - and I think that's what was missing. There just wasn't the character development and empathy there might have been. It's a shame really because apart from that the movie has the makings of a Great War epic.

This movie immerses you into the low lit world of hospital wards where secret and sinister things are afoot in the nursing team. The titles pretty instantly let you know what you're in for. One long lingering shot slowly zooms in on the protagonist Charlie Cullen as he watches on an unsuccessful resuscitation take place. We don't 'see' the unfolding crisis - we just hear the medical staff and instruments buzz and wine while the film music grows and swells... and then we see it: 'Music by BIOSPHERE' - OK - you've got me - this is gonna be good! And we are not disappointed. Lovely sweeping electronics, huge synth pads and high tension drones. The vibe ranges from the gloom of 'Stars of the Lid' all the way through to 'Steve Roach' style immersive soundscapes (I was glad to be wearing good headphones). The Subdued lighting goes so well with this soundtrack - blinds are always drawn - there is a mellow glow - the mood is twilight - between life and death. Framing is often tight around the faces and there are plenty of long steady cam shots. The color palette is muted and the contrast is down low too - which suits the surreal nature of the strange and sinister lurking behind the compassionate and caring.

Eddie Redmayne plays Charlie Cullen with an understated ease making us instantly warm to this charming young man. It's the small gestures and expressions and - due credit - the awkward voice he does for Charlie (brilliant). Jessica Chastane as Amy Loughren provides a distinct emotional contrast - she reminds me of a younger Julia Roberts - both effervescent and vulnerable. Though both characters cleverly switch places in this respect as the movie develops and reaches its climax. Honourable mentions to supporting cast - Lefler as Amy's daughter (so convincing), Emmerich and Asomugha as the frustrated police investigators and Dickens as the tight lipped Hospital Board ceo - Linda Garran.

All in all this is a worthy and intelligent telling of a shocking but true story. I love the artful combination of camera and lighting work, colouring and music... well, what better than to have a hospital detective drama set to music by an artist called BIOSPHERE. A great movie.

This is one of those rare movies that grabs your attention and keeps it throughout with a combination of utterly convincing characters, creative camera work, left field editing and a stellar soundtrack. Right from the titles we hear a strange electronic drone that reminds me of an unearthly aboriginal bull roarer. The storyline develops slowly enough to allow all these elements to simmer and boil - gradually turning up the heat. Sean Harris is both pitiful and terrifying as the suspected murderer Henry Teague. Check out the scene where he plays Mark some music on the HiFi and shows him his 'moves'. The guy is seriously creepy - quietly psychotic with his vacuous expressions and awkwardly gleeful smiles. Joel Edgerton playing the undercover policeman Mark Frame is the perfect foil to Henry- all at once confident and careful but inwardly vulnerable and conflicted. The subtle undercover play acting is always on edge - like when Mark laughs at the clothes Henry bought himself - only to realise he may have offended him - "They'll be asking me to get new clothes after seeing you" He says quickly, trying to recover. But who is he? We don't really know for sure, not without evidence. Mark has to become his friend and confidante to try and find the answers but Henry is like a malevolent ghost that haunts Marks dreams and seeps into his bones. And I found Henry haunted me too - long after I'd finished watching this movie.

The very edges of justice and jurisdiction. Hopelessness, isolation and the thin ice of morality. All these elements converge in Wind River to make a bitter tale of abuse, depravity and survival. The familiar faces of Renner and Olsen (Ala Marvel) may have tripped up the seriousness of this drama but I think they did it justice (no pun intended). The challenge to solving this murder puzzle, as ever, is evidence. And that's one of the moral messages of the story - out here on this remote Indian Reservation - what possible chance is there of finding that? And so despite all the signs crimes go unheard and unpunished. And this is where it gets interesting because out here you don't need a detective as much as a hunter-tracker. So, was it good? Yeah - I think so - saved, I think, from being too contrived by Renner and Olsen giving compelling and convincing performances as the hunter in his element and the FBI agent out of her depth. There were some lump in the throat moments too - there's some heavy grief and emotion to heighten the drama. The snow swept wilderness is beautifully shot. The soundtrack is (Nick Cave no less) a little predictable (think The Revenant) but it works - droning strings and wandering fiddle - American Indian mournful crooning. The First half is all set up - but the second half goes all to bloody hell - so buckle up.

Steel Country is a clever story told through the eyes of the autistic protagonist Donald Devlin (Andrew Scott) who can't shake the feeling that something is badly wrong with the way a local tragedy has been handled. He's not a clever guy - he works as a trash collector in an unremarkable town - and to begin with his direct questions are humoured by the community - but gradually it all starts to go sour and the jeopardy begins to ramp up. It's a great soundtrack, giving a heavy lift to Scott's convincing portrayal of Donnie's inner turmoil. The odd thing is that the other characters seem strangely detached from (Donnies) reality - because they're always trying to handle Donnie on his own terms - good and bad alike - nobody wants to say what they're really thinking - but it all builds to a surprising but somehow satisfying conclusion. In many ways this is a grim drama - certainly not many laughs - but it's original and very well told - I'd say it's definitely worth a watch.

I've only seen episode one (so far) but it was fun. I like the quick-fire vibe, it really rattles along at a good pace. Nice to see Mark Ruffalo reprising his role as 'smart hulk' and I also like the casting of Tatiana Maslany as Jennifer Walters/She Hulk because she's sassy and friendly. Easy to get to know. There's lots of 'talking straight at the camera' and she's good at pulling off comedy moments. And let's be honest, The clue is in the title: "She Hulk, Attorney at Law" - this is taking the rather serious Hulk story and making it into a comedy. Marvel can make seriously good stories and characters that are meant to be serious. But they can also make comics that are, well... comic. Sure there's some hackneyed feminist jokes and tropes - but by the same token Jennifer also makes fun of her own femininity - pausing before transforming into the she hulk to save people because, "Oh... I really liked this outfit" - taking off her shoes to save them. If the aim was to take the serious concept of the Hulk and make something light hearted and fun - then they've certainly succeeded in this - I think it's alright - give it a chance and lets see where it goes...

The first thing that hits you when watching Van der Valk is the style. All the characters look like fashion catalogue models. They are all young, good looking and immaculately turned out in clean, trendy colour co-ordinated outfits. This is a far cry from the likes of Vera and Frost who's characters are the antithesis of young trendy fashion. I think Marc Warren makes a great lead in this production. He played a very memorable young villain in a Frost episode years ago (remember the kidnapping and Labrador puppies one?). But a nice deviation from the British detective style is that there is far more of a team vibe going on, not only at work but hanging out in a very cool local bar for drinks at the end of a tough day. The script and production style is rich with action and murderous criminal activity, often playing out in serial killer fashion throughout each episode. It's pretty graphic stuff but not too gratuitous, for example, we may see the beginnings of a torture scene, but most of it is described later by the Pathologist (again, probably the coolest pathologist you ever saw, sipping whisky and playing sax by night in a jazz bar). All in all this is a great mix of style, character and action with top marks for camera work and soundscape. Look forward to seeing these style gurus of crime busting in action again....

BLOOD FATHER has a basic dysfunctional (but redeemable) father-daughter dynamic that works well within the context of the story. She's a messed up teenager naively getting into some heavy criminal danger and he's the solitary guilty father trying to make amends by keeping his parole, staying dry and going straight. The back story is that he's spent £30K Trying to find his missing daughter who has run away from her treasure hunting mother who is onto her third marriage. When Link (Mel) gets a phone call from his daughter asking for money he's only too pleased to help - but as it turns out out, all his criminal skills are going to come in handy. What I began to realise as the action unfolded was that I was watching Mel doing what he does best - being Mad Max or Martin Riggs - being the 'good guy' beating the 'bad' guys at their own game. Erin Moriarty (Lydia) plays the naively irritating daughter convincingly and it gives this action movie a nice level of emotional engagement. Gradually her anger and resentment guard drops and her relationship with her long lost dad begins to emerge. It's a bit clichéd but still makes for a good gritty, 'let's blast our way out of this' romp and an entertaining watch.

Ron Howard knocks it out the park once more with this gripping retelling of the rescue of thirteen lads from a flooded cave in a Thailand. It's inevitable with the telling of true stories that the challenge is going to be the lack of surprise but Howard more than compensates with that 'on the scene' feel, the casting, attention to detail and brilliant camera work. The whole thing feels utterly authentic with the monsoon rain, mud and deluge of mountain streams - let alone the flooded cave itself (you don't question it while watching but afterwards I'm thinking - how did they do that?). Then there is the cultural context, the dramatic mountain scenery, incense and offerings, the street food and the common greeting of praying hands. The drama is also heightened by the huge cast and stellar performances from Viggo Mortensen and Colin Farrell - down to earth Brits, reluctant but determined volunteers, sharing custard creams. The fear and peril is palpable and the underwater diving sequences combined with the music and sound design keep you on the edge of your seat throughout. Hats off to everyone who helped get these boys out and for this fitting tribute to them all. Highly Recommend.

The 'Murder in Provence' series seemed so promising that my wife and I (who are avid detective crime drama fans) kept returning to it to 'give it one more try'. But alas, it's to no avail, it just continues to be one of the dullest detective dramas we've ever watched. It's disappointing because all the ingredients seem to be there for at least a half decent series and I'm left wondering what's gone so badly wrong? Despite having Roger Allum (who is excellent in the Morse prequel 'Endeavour') in the lead as Judge Antoine Verlaque, his character seems so very flat - as if he's reading a script in a monotone. I know detectives are often traditionally reserved and dull but this only works if they are surrounded by colourful characters and action. However, in this case, most of the plot consists of Velaque interviewing people who are just as dull as he is. The consequence of this is that we the viewer have to do a lot of the heavy lifting as most of the information we are getting is verbal. Perhaps this would work better as a radio play but for me this one is sadly - a miss.

To engage with The Terminal List series you have to give full consent that if someone kills your marine buddies and your wife and child you have full permission to hunt them down and gut them like a fish. In this case the perpetrators are manifold so 'the list', and therefore the guttings, seem to be inexhaustible. It's Marvels 'The Punisher', Ridley's 'Gladiator', and Adrian Lyne's 'Jacobs Ladder' all rolled into one. It even has a Jason Bourne vibe going on with plenty of 'black ops' and a company called Capstone (Treadstone?) to boot. I've got to admit, I was on the verge of giving up on this series for the first few episodes, because it seemed a bit slow to develop, but Chris Pratt kept me watching (let's be honest - he's just likeable). By episode five it seems to have found it's stride and the action keeps on rolling. Impressive cinematic production with a great soundtrack score make this a cut above your average revenge story.

There are few better ways to spend a cloudy, dull Sunday afternoon than sitting in the cinema tucking in to a nice comforting slice of Downton Abbey. "Life is like a twisting turning novel" one of the characters says wistfully, and that's one of Downton's charms; nice pithy little pearls of wisdom that warm the heart - a little cheesy - but it's roule rather than stringy cheese... There are lots of laughs, not belly laughs, but little laugh out loud chuckles and also a few 'lump in the throat' moments. Because it's all about the characters and their evolving relationships - that's what we really care about; births, romance, engagements, marriage and the changing of the guard. Julian (clever) Fellows serves up yet another chapter of twists and turns in 'A New Era' that allows us to enjoy all our favourites into the roaring twenties and the age of jazz and the new 'talkies'. It's rather fitting that Downton has gone cinematic rather than limping along in endless streaming seasons and it's impressive that it's made the leap successfully (as very few tv series do)... so raise your glasses and let's have movie number three...

Lots of growling and howling, sweaty male torsos and pagan rituals. Also lots of staring into the camera. This movie has a vibe reminiscent of Macbeth - like a stage play set to film. The conversations often turn into speeches and long monologues set against bleak interiors and sparse landscapes. The cinematography is the best thing about the film but it doesn't make up for the action scenes which teeter between the bizarre and the comical. I think what the movie lacks is some good solid character development - given the length of it. However, the male characters are all very one dimensional - and we don't really care about them. Although some credit has to go to the women (Kidman and Taylor) who are brilliant and rescue the film from blandness in this respect. Basically this is a tale of revenge. A simple tale which takes its time and plays out to the bitter end. There are some great scenes (down in the barrow and the ball game) and some wonderfully iconic images but generally it all feels a bit slow, odd in a silly way, and, well... pointless. Don't think I'd want to sit through it again...

Tom Hiddleston (Jonathan Pine) and Hugh Laurie (Richard 'Bloody' Roper) are a delight to watch in their respective castings and elevate this crime thriller to a cut well above the TV miniseries average. In fact, add to that the exotic locations and a music score worthy of Bond, The Night Manager really is something special.

I read the book after I'd viewed this series and appreciated the film script even more. The switching of Leonard Burr for the heavily pregnant 'Angela' (played by Coleman) is inspired and gives a wonderful 'common touch' to the otherwise very 'public school - ex military' vibe. Supporting roles from Elizabeth Debicki (Jed) and Tom Hollander (Corky) warrant honourable mentions for moments of brilliance. Check out Corky when, 3 sheets to the wind, he complains about the lobster salad - or lack thereof... ( incidentally - the lobster salad scene actually has John le Carrie as the dinner guest Pine apologises to - a nice touch).

All this acting talent simply heightens the drama of Carrie's masterful storytelling. We are charmed by Roper (the worst man in the world) and moved by Burr (recounting the memory of children exposed to chemical weapons) and the tension is held nicely by the paranoia of strained, mistrusting relationships. Close ups of Roper growling and glaring as the stakes climb ever higher, alongside everything going south back in London HQ make this an eminently re-watchable drama. Me likee Mr Pine...

Look... It's a grim story, I get it. But once you decide not to use that as a criticism there's a lot to commend this movie for. The acting is utterly convincing. Peake and Worthington Cox are at their best. It takes its time. At one point the camera stays on Gwen as she falls asleep - her eyes gradually closing and her breathing getting deeper - that's typical of the pace. It's not overly dramatic (I can barely remember the musical soundtrack - which is sparse and acoustic). But it is desperately brutal. The cinematography is beautiful - reminiscent of softly lit 17th century Dutch master interiors - no glaring light or colour - muted pallets. Story wise I know nothing of the background but you can bet someone discovered the terrible way some small farmers were treated by the Welsh mining corporations in the nineteenth century and thought - "Right - I'm going to tell their story - people need to know about this!" And if that's true - great job! Summed up in the movies pivotal line: "If you steal a sheep they take your hand, if you steal a mountain they make you a Lord". Writing this review has made me realise I enjoyed it more than I thought! This struggling little family stay with you...

If you're a metal fan this will give you a few laugh out loud moments but otherwise it's fairly standard high school romcom 'battle of the bands' fare. Inevitably I found myself thinking of Jack Black (school of rock) as the die hard Hunter (Greensmith) incessantly goes into ecstatic monologues about how they will dominate all with their band. The love story plot isn't bad - although, a little 'Grease' with the 'good girl turned bad' trope - but you can't help rising to the theme and going all in as Panteras 'I'm broken' is deployed at just the right moment (enjoy!). Add in some surprise metal guest appearances and a few really well executed slapstick jokes and this is really ok for a few laughs but sadly falls short of the 'file under classic' it might have been.

Lots of dark claustrophobic 'terror fleeing' with plenty of strobes. Impressive spaceship interiors - vast, dark passages going on forever. Quaid provides the necessary gravitas while Foster is our athletic hero. Bad ass zombies reminiscent of orcs from LOTR or Morlocks from The Time Machine give this movie a retro feel. In fact Doctor Who and Star Trek spring to mind as well (those unearthly screams...). I nearly gave up on it but some nice twists and turns make it worth watching through to the end. Like many space 'ark' movies we are given some good existential angst to add some weight to an otherwise quite acceptable zombie space romp.