Tag Archives: Black Mirror

BLACK MIRROR (2019) – SEASON 5 – NETFLIX REVIEW

BLACK MIRROR (2019) – SEASON 5 REVIEW

Created and written by: Charlie Brooker

Producer(s):  Charlie Brooker, Annabel Jones

Season 5: 3 Episodes (excludes Bandersnatch (2019)

Original Network: Netflix

Having positively reviewed Season 4 of Charlie Brooker’s wonderful anthology show here and the recent “choose-your-own-adventure” stand alone film, Bandersnatch (2019), here – I can further confirm I am a massive Black Mirror fan. Indeed, if Charlie Brooker wrote and produced a story about himself having his toenails clipped in the future, I would definitely enjoy it that too.

Lastly, it’s safe to say I certainly loved the latest three episodes of the programme and not just because Brooker wrote them. It’s because the ideas relating to the darker side of technology are so fascinating and of course the productions are of very high quality. Here are mini reviews of each episode with usual marks out of eleven.

**MAY CONTAIN SPOILERS**


STRIKING VIPERS (2019)

Director: Owen Harris

Cast: Anthony Mackie, Nicole Beharie, Yahya Abdul-Mateen II, Pom Klementieff and Ludi Lin.

Danny (Mackie) and Theo (Beharie) portray a loving couple who having been together for some time suffer a marriage dip and a somewhat curious eleven-year itch. This drama is especially propelled when Danny’s best mate, Karl (Abdul-Mateen II) reconnects with Danny and the two play the Virtual-Reality video-game, Striking Vipers, online. Soon the two enter into a curious online relationship, one which threatens their relationships and sanity.

While the danger of videogames and VR have been explored before in Black Mirror, this is freshly presented both dramatically and humorously via an unexpected and bizarre love triangle. I was very empathetic for the main characters as they felt trapped by family life and struggle to keep the romance going. Plus, that need to escape propels some hilarious scenes that pay homage and parody combat videogames in general. Funny, touching and surprising, Striking Vipers is an excellent season opener.

Mark: 9 out of 11


SMITHEREENS (2019)

Director: James Hawes

Cast: Andrew Scott, Damson Idris, Amanda Drew, Monica Dolan, Topher Grace etc.

Actor-of-the-moment, Andrew Scott, gives another blistering performance as a rideshare/”Uber” driver, Chris Gillhaney, who kidnaps a young Smithereen employee, Jaden (Damson Idris). Smithereen are a social media company not dissimilar to Facebook or Twitter, and Gillhaney holds a serious grudge against them. It’s so serious in fact, he will kill Jaden if he doesn’t get to speak directly to Smithereen CEO, Billy Bauer (Topher Grace).

Structured around a very tense standoff in an English field between Gillhaney and the Police, the events also go ‘viral’ via social media and online news platforms. Scott’s characterisation of Gillhaney is dramatically impressive. He emits a sadness, guilt and anxiety which forces his character to commit an unlikely crime. While we do not condone his actions Scott keeps you onside with his sterling portrayal of a man on the edge. Ultimately, the narrative turn at the end impacted me because it felt so believable and human. Once again Brooker taps into the heart of the technological matter and how reliance on it can cause tragedy and senseless loss of life.

Mark: 9.5 out of 11


RACHEL, JACK AND ASHLEY TOO (2019)

Director: Anne Sewitsky

Cast: Miley Cyrus, Angourie Rice, Madison Davenport, Susan Pourfar etc.

Pop star Miley Cyrus stars as pop star Ashley-O in this dramatic and comedic techno satire, which finds her character being pushed to the creative limit by her unscrupulous manager. At the same time Ashley-O uber-fan, Rachel (Angourie Rice), worships every word Ashley O’s manufactured persona spits out; much to the chagrin of her metal-head sister, Jack (Madison Davenport.) The two sisters’ conflict is exacerbated when Rachel is given an Ashley-O smart speaker and Rachel becomes obsessed with the techno doll. As the story progresses the two Ashley-O narratives connect in a somewhat contrived but captivating way.

Starting as a teenage-rites-of-passage-profile-of-a-pop-star-mash-up, this narrative crosses the genres and becomes a heist-led comedy by the end. With so many criss-crossing leaps in style the characters get a little bit lost in the mix of ideas. However, use of technology to exploit both the pop singer and the all-consuming fan finds Charlie Brooker’s satirical darts hitting more targets than it misses. Arguably, this is the weakest of the three episodes as the onerous pop manager is a bit of a cliche. Plus, more planning could have gone into the final act when it all felt rushed. It is nonetheless very entertaining episode, very much on point in its vision of pop culture, the music industry and society’s ever reliance on technology for emotional interaction.

Mark: 8 out of 11

BANDERSNATCH (2019) – BLACK MIRROR / NETFLIX REVIEW

BANDERSNATCH (2019) – BLACK MIRROR REVIEW

Directed by: David Slade

Produced by: Russell McLean

Written by: Charlie Brooker

Cast: Fionn Whitehead, Will Poulter, Asim Chaudhry, Craig Parkinson, Alice Lowe etc.

**SPOILER FREE**

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Choices, choices, choices! We all have so many choices to make every day. Some simple; some much tougher. We didn’t have any choice over whether we were born, but now we are here there’s a myriad of daily selections we get to make. Do we get out of bed? Do we eat? Do we wash? Do we find the strength to get in our car or on the train and face the horrors of employment? Do we engage with violent abandon by calling the driver who cut us up at a roundabout, “a wanker!” Do we wear our clean underwear today or re-use yesterdays? Do we have a salad or burger for lunch? Do we start smoking again? Do we regret having children? Do we tell our partner we love them? Do we have the last beer in the fridge? Do we try and change our life? Do we just give up? Do we watch the new drama box-set or a Netflix special by Black Mirror creator Charlie Brooker. So many tough choices!

Thus, you’ve had a shitty day with so many choices made and you sit down in front of the television in the hope you can switch off your brain. But that darned Brooker won’t let you. The televisual provocateur and his production team are cruelly requesting, for your entertainment, that you make MORE choices. If you’re young enough to remember those: “Go to page 47 to see if your spell vanquished the demon – or go back to page 666 to find out if you are the conqueror of the Universe”, type books, then Bandersnatch is THAT in television form. You may also be used to multiple choice computer games the likes of which I played myself as a kid on the Spectrum 128k computer. This is also the inspiration for Brooker’s twisted vision. But is it any good? I would choose YES! Bandersnatch is dark, hallucinatory and involving “fun”.

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The story/stories are set rather aptly in 1984. Our main protagonist is a grieving and troubled teenager, Stefan Butler (Fionn Whitehead). Stefan is obsessed by a “choose your adventure” book called Bandersnatch.  Inspired to turn it into a computer game, he soon descends down a veritable black hole mentally, physically and emotionally. The fact that we are vicariously responsible for the characters’ journey create a real sense of dread, doubt and suspense. It’s very clever and immersive and no doubt the writing of it must have been a tortuous process.

While it may not be for some I was engrossed by the show as it felt at times I was living in a Philip K. Dick story. Dick’s novels are often hallucinatory and dream-like with simple yet devastating prose. They deal with reality, alternative reality and beyond reality. You’re often in a place with unreliable narrators or confused protagonists who are existing in some real world, imagined or manufactured nightmare. Paranoia, anxiety and depression infect Dick’s world and Brooker captures that vibe brilliantly in Bandersnatch. However, it’s not also without humour too, albeit incredibly dark sarcastic humour.

Brooker and his filmmaking team achieve a style over substance triumph with Bandersnatch. I have only gone through Stefan’s narrative once but it gripped me from start to finish as an experience. The drained, urban and suburban 1980s colour and council-estate-grey look suited the psychotic breakdown of the main character. Nonetheless, at times, the dizzying twist of choices did take away from the emotional journey of the character. At one point I was so in the meta-hole the whole trip made me feel quite queasy. Having said that, I will be going back into this meta-adventure again; after all, the choices like in life seem endless.

Mark: 9 out of 11

THE CINEMA FIX: 12 FAVOURITE TV SHOWS OF 2018

12 FAVOURITE TV SHOWS OF 2018

I love television and watched a lot of it last year on most terrestrial and streaming services; especially the BBC, ITV, SKY and NETFLIX channels.  I must admit I am way behind on many AMAZON and ALL 4/CHANNEL 4 programmes so will be rectifying that this year. Indeed, there are probably some glaring omissions because of this.

For comparison I include last year’s favourite TV shows. This year I have not included South Park (Season 22) as it was not as good as prior years, despite clearly being one of the funniest shows around. Also, Doctor Who does not make my list as there were too many average episodes. Lastly, a special mention to The Walking Dead (Season 9), which at the mid-season break had somehow pulled itself out of the torpid decline that occurred around Season 6. It may make my 2019 list once the latest season has finished screening this year.

FAVOURITE 12 TV SHOWS OF 2017

BIG LITTLE LIES (2017) – HBO
CURB YOUR ENTHUSIASM – SEASON 9 (2017) – HBO
FARGO (2017) – SEASON 3 – FOX / CHANNEL 4
GAME OF THRONES
(2017) – SEASON 7 – HBO
THE HANDMAID’S TALE (2017) – HULU/CHANNEL 4
IT’S ALWAYS SUNNY IN PHILADELPHIA (2017) – SEASON 12 – NETFLIX
LEAGUE OF GENTLEMEN – 20TH YEAR ANNIVERSARY (2017) – BBC
LEGION (2017) – FOX
MINDHUNTER (2017) – NETFLIX
SOUTH PARK – SEASON 21 – SOUTH PARK STUDIOS
STRANGER THINGS 2 (2017) – NETFLIX
THE YOUNG POPE (2016) – HBO

FAVOURITE 12 TV SHOWS OF 2018

ATLANTA (2018) – SEASON 2 – FOX

BILLIONS (2018) – S3 – SKY

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BLACK MIRROR (2017)NETFLIX

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BODYGUARD (2018) – BBC1

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THE DEUCE (2018) – S2 – HBO / SKY

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HANDMAID’S TALE (2018) – S2 –C4

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HAUNTING OF HILL HOUSE (2018) – NETFLIX

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INSIDE NO. 9 (2018) – S4 – BBC

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KILLING EVE (2018) – S1 – BBC

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PATRICK MELROSE (2018) – SKY

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VANITY FAIR (2018) – ITV

A VERY ENGLISH SCANDAL (2018) – BBC

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MISDIRECTION (2018) – Latest Fix Films’ Short!

MISDIRECTION (2018) – Latest Fix Films’ Short!

As well watching loads of films and television programmes I also write scripts and produce low-budget short films. This year and last was quite productive.  My horror short Flatmates (2018) was shot and completed and having got a couple of festival screenings it still awaits an online release.  In the meantime I shot a 90 second micro-budget science-fiction thriller called Don’t Trust Me (2018) which can be seen on my YouTube channel HERE.

Furthermore, my short film C’est Fini (2018) was produced by the Northern Film School and our Star Trek Fan film The Holy Core (2018) found a backer and is currently in pre-production. Finally, myself and actress Melanie Gayle decided to work together again to produce a script for another 90 second short film competition Depict! This competition screens micro-shorts at the Encounters Film Festival and so we shot MISDIRECTION (2018), with that in mind.

MISDIRECTION (2018) was shot in June in a day with a small crew; not that they are short but there was only four of us!  The crew were great and so was my leading actress Melanie Gayle. My wife also provided wonderful voice work as the SAT-NAV. The 90 second version was edited and then submitted to Depict. Yet, I also had a slightly longer version cut and I think, despite the low-budget, it works well as a little twist-in-the-tale story that’s both funny and sinister too. There are obvious homages to the works of Philip K. Dick, 2001: A Space Odyssey (1968), Black Mirror and Tales of the Unexpected. Here it is – hope you enjoy:

PITCH

A short, low-budget science-fiction comedy film with a twist.

SYNOPSIS

Valentine Ford is meeting her boyfriend, Dave, for dinner. However, her SAT-NAV has other ideas.

CAST / CREW

Starring: Melanie Gayle, Melissa Zajk

Written and directed by: Paul Laight

Camera: Inigo Berron

Sound: Tom Fisher

Editor: Joseph Martin-Kelly

Production: © 2018 – Fix Films

Website: http://www.fixfilms.co.uk

Charlie Brooker shines darkly again! BLACK MIRROR (Season 4) – Netflix Review

BLACK MIRROR – SEASON 4 – TV / NETFLIX REVIEW

Created by: Charlie Brooker

Producer(s): Barney Reisz, Charlie Brooker, Annabel Jones

Distributors: Endemol UK – Netflix

Season 4: 6 Episodes

Writer(s): Charlie Brooker plus William Bridges (USS Callister)

Directors: Toby Haynes, Jodie Foster, John Hillcoat, Tim Van Patten, David Slade, Colm McCarthy

Cast: Jesse Plemons, Cristin Milioti, Jimmi Simpson, Michaela Coel, Billy Magnussen, Rosemarie DeWitt, Brenna Harding, Andrea Riseborough, Kiran Sonia Sawar, Andrew Gower, Georgina Campbell, Joe Cole, Maxine Peake, Douglas Hodge, Letitia Wright etc.

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Technology: the final frontier; allowing humans to boldly go where no human has gone before.  Indeed, one of the most incredible elements of our world is the technological breakthroughs we have made over the past century or so. We have: electricity, nuclear power, robots, driverless vehicles, television screens, computers, mobile phones, satellites, GPS tracking, drones, 3D printing, smart home air-conditioning, Hadron Colliders, huge space-ships which travel beyond the stars, WI-FI, the world-wide-web connecting everyone with anyone, holograms, the social media phenomenon, virtual reality head-sets, software algorithms, x-rays, gamma knifes, DNA, cloning, MRI scans, Hyperloop tube trains, Sat-Nav, Google, immersive video-games; plus many more medical, military and industrial inventions which make our lives so easy today.

But with such wonderful and fantastic discoveries there is always a dark side. While we may create a medical breakthrough which cures on the one hand we’ll ultimately invent some new weapon or means with which to kill ourselves. So while technology is mainstay of our existence it also can feed our obsessions and thus become an extension of our poor choices, violence and insanity. The scariest thing is we think technology is absolutely necessary and we cannot live without it. I mean, all we really need to survive is water, air, food, shelter and perhaps, as The Beatles sang, love. For all its’ positives, technology is an addiction and can be used to do wrong and cause harm.

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Charlie Brooker’s sublime anthology series Black Mirror is now in its 4th Season (2nd on Netflix). It taps into the fear factor technology brings and presents nightmare scenarios that more often than not possess a prescient twist. Who can forget the very first episode of BM which had Rory Kinnear’s Prime Minister having to fuck a pig as a means to pay a hostage ransom?  The subsequent tabloid news that our then former Prime Minister David Cameron had, allegedly, stuck his member in a pig’s mouth suddenly made BM incredibly prophetic. This season is another televisual triumph with an incredible array of acting, directing and production talent with each episode offering the feel and scope of a cinema release. I’ll be honest being a massive Charlie Brooker fan I would probably enjoy a video of him dancing in a tutu whilst juggling tomatoes; however, I can confirm these six episodes were beyond brilliant too.

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Within the fabric of each episode Brooker holds a mirror up to the future and invariably it will come back black. However, the touching love story of San Junipero (from Season 3) offered some light in the BM universe and similarly Hang the DJ (officially 3rd in the Season 4 list) contained a wonderful love story at its’ heart with Georgina Campbell and Joe Cole giving humorous and touching performances. It also contains a Truman Show (1998) style ending and a twist that I thought was absolutely fantastic. Indeed, what appears to reflect the dystopic controlling techno-world of romance apps becomes something entirely real and beautiful by the end.

While Hang the DJ offers hope, the remainder of the episodes are bittersweet, brutal and unforgiving in their rendering. Actually, I suppose the Star Trek pastiche USS Callister has a kind of optimistic ending and is bloody funny in its affectionate satire of Trek archetypes and monsters. However, Jesse Plemons downtrodden Silicon Valley programmer holds a dark secret during his immersive Virtual Reality gaming experiences. Full of Star Trek references and themes, the clever script merges ideas relating to gaming and DNA technology with fantastic sci-fi meta-textual moments.

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Arkangel also has an element of brain implanted software which enables a neurotic mother (Rosemarie DeWitt) to track and view her daughter’s every move on a computer screen. Despite the revolutionary software used this story is based wholly in familial reality as the relationship between mother and daughter becomes strained as she enters her rebellious teenage years. The danger of “helicopter” or overbearing parenting becomes too apparent in satisfying soap operatic story.

Brooker relates many of his scripts in genre territory so the more outlandish or fantastic ideas are grounded with an identifiable cultural identity. The horrific murder plot of Crocodile unfolds in true Hitchockian fashion as an insurance adjuster tracks down the details relating to a vehicle accident but tragically stumbles on something altogether more deadly. The ending of this story is particularly far-fetched, as Andrea Riseborough’s architect gets deeper and deeper in the mire, however, Brooker must be praised for taking risks with his twists.

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Rather simpler is the pursuit thriller Metalhead, presented in crisp black and white, as a woman (the brilliant Maxine Peake) attempts to survive in a dangerous land full of robotic guard-dogs. It’s mainly a tense one-hander and the future never looked so drained of hope and colour. The final episode Black Museum was even more grisly as Douglas Hodge shows Letitia Wright’s tourist around his grim parade of exhibits. Brooker’s writing is as strong as ever and the horrors of the entwining anthology stories are shocking and powerful. It’s a dark, dark episode which contains the fantastic idea of uploading one’s digital soul into a loved one’s to share their consciousness. This plays out with both horror and humour in a compelling end to the season.

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Being a total Charlie Brooker and Black Mirror fan; a big lover anthology stories; plus a fanatic of horror and tales with a twist it’s obvious to say I loved this seasons offerings. They are clever, dark, funny, sickening, silly, romantic, scary, twisted stories full of satire and warnings about the dangers of technological progress. Ultimately, though it is not science or computers or mechanics which are the danger; but rather humans use and abuse of said technology. Because, for all our ingenuity and invention we more often than not use machines negatively and Black Mirror reflects that (im)perfectly.

Mark: 10 out of 11

WHAT IS LOVE? VALENTINES’ MOVIE REVIEW SPECIAL

WHAT IS LOVE?

–        Is it the joining together of two people forever committed to a relationship built on respect and trust? 

–        Is it the emotion you feel for a family member or person you have bonded with over time? 

–        Is it nature’s way of tricking us into the act of pro-creation? 

–        Is it an abstract and emotional concept created by a higher power to ensure we act positively?

–        Is it a form of madness which ensures we make crazy and stupid life decisions?

–        Is it a dark force which enlivens obsession and stalking and violence?

–        Or is it a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?

Put simply it is: ALL OF THE ABOVE at some point in all our lives; although perhaps not the stalking!?!?

What I definitely know is that love is a big part of everybody’s lives whether it’s the positive or negative type? Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts!  So for my latest article I will review some of the films and programmes I have watched recently which had love or some version of it echoing through its’ narrative heart.

**MAY CONTAIN SPOILERS**

45 YEARS (2015) – NETFLIX

Charlotte Rampling just owns this wonderful bitter sweet drama as a woman “celebrating” forty-five years of marriage to curmudgeon Tom Courtenay. The story moves slowly but confidently as Rampling’s Kate Mercer is shook up by revelations from her husband’s past. Andrew Haigh directs with a haunting charm as love is rendered in wintry hues, while marriage is illustrated as a culmination of what-ifs-buts-and-what-could-have-beens.  (Mark: 9 out of 11)  

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BLACK MIRROR (S3) – SAN JUNIPERO – NETFLIX

Charlie Brooker’s savage satire series cuts off your eyelids and forces one’s eyes to the see the nefarious side of technology. However, the episode San Junipero is an altogether more touching and heart-rending beast. Starring Gugu Mbatha-Raw and Mackenzie Davis as a couple of young girls who fall in love in the 80s drenched coastal town of San Junipero it builds slowly to a majestic reveal in the final act and the themes of love, euthanasia and life after death inform the romance with tearful power. (Mark: 9 out of 11) 

BLUE JAY (2016) – NETFLIX

Mark Duplass is an interesting actor-writer-director-improviser who produces small, naturalistic and improvisatory films that are often quietly impressive. Blue Jay is a sporadically brilliant two-hander starring Duplass and the effervescent Sarah Paulson as a former couple who reconnect after years apart and spend a day together revelling in the past, present and future love. Paulson is stunning and Duplass is just Duplass as we spend time with very human characters just trying to get by in love and life. (Mark: 8 out of 11) 

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BLUE IS THE WARMEST COLOUR (2013) – FILM FOUR

You know the story: girl-meets-girl-falls-in-love-has-lengthy-lesbian-sex-sessions-moves-in-with-girl-then-cheats-on-girl-but-not-before-there-are-more-lengthy-scissor-sister-sessions. Well, something like that.  Jokes aside, this is a very honest and believable slice-of-life drama with incredible performances from Léa Seydoux and Adèle Exarchopoulos as the two lovers. The film was laden with awards at time of release and benefits from Abdellatif Kechiche’s frank and intriguing direction. Personally speaking I felt the soul-searching drama and love story were very powerful but the sex scenes were over-long and pornographic and lent nothing to the story overall. (Mark: 8 out of 11) 

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BROOKLYN (2015) NETFLIX

This soapy-honey-sweet 1950s set love story contains a tremendous central performance from Saoirse Ronan, as an innocent Irish girl who goes to New York in search of a job and finds love with an Italian plumber. The film delivers a pot pourri of bright colours, national and migrant archetypes and resolves much of the drama very easily; in fact, the film was so nice I expected the cast to break out into song by the end. John Crowley directs the undemanding story deftly and while, I imagine, the plight of an immigrant in those days was much harder than demonstrated this is fine Sunday matinee fare and difficult to dislike. (Mark: 7.5 out of 11) 

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JACKIE (2016) – CINEMA

Does this fit into the love story genre?  I think as a story about a woman who lost the husband she loved, his head blown completely off by a sniper’s bullet, it qualifies as a film about the departure of love.  It’s a powerful portrait of Jackie Kennedy with Natalie Portman impressing as the wife of the President left devastated by his sudden murder. Portman as Jackie carries the weight of loss and sorrow on her petite shoulders, drawing on all her strength to carry on living for the sake of a nation and more importantly her children. Her life has been condemned as a void and Portman’s haunting visage betrays an unforgettable lament throughout. Pablo Larrain directs using documentary and dramatic stylings to powerful effect and the score by Mica Levi is to die for. (Mark: 8 out of 11) 

LA LA LAND (2016) – CINEMA

As it sweeps the boards at the awards ceremonies La La Land can certainly be praised as a funny, energetic, imaginative spectacle with fantastic direction by Damian Chazelle. Ryan Gosling and Emma Stone are also on great form, delivering  some wonderful songs throughout. As a love story it works but only on the surface as the boy-meets-girl-struggling-artists’ narrative lacks depth overall. Still, it’s a great musical in the classical Hollywood model – just not a Best Film Oscar winner. (Mark: 9 out of 11)   

My original review can be found here:

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THE LOBSTER (2015) – NETFLIX

In an oppressive near-futuristic society individuals must yield to socio-political mores and be married with children or you get turned into an animal of your choice!  Well, this certainly isn’t the pitch of a love story that Hollywood would make in a hurry. However, the misadventures of Colin Farrell’s hopeless love-life are explored to dark and comical effect in Yorgos Lanthimos’ startling comedy-drama. This is one of the best films I have seen a long time which is equally bizarre yet believable in its absurd honesty. We run around attempting to find love or force romance when we should just let nature take its course. Farrell has never been better and his weird romance with Rachel Weisz is so damned original in thought and delivery it left my heart stained with pathos and delirium. (Mark: 10 out of 11) 

 

LOVE ACTUALLY (2003) DVD

My wife “made” me watch this one at Christmas and as soon as it finished I was diagnosed with diabetes!  It is such a sickly, sweet and sappy rom-dram-com that, while I think Richard Curtis deserves praise for some excellent writing, it is just too clichéd for me. I love ensemble portmanteau films and many of the overlapping stories here would make excellent short films; moreover, the cast including: Emma Thompson, Alan Rickman, Andrew Lincoln, Laura Linney, Liam Neeson, Colin Firth and many more are very watchable. But the whole love pudding is over-sweetened, over-egged and over-cooked for my taste. (Mark: 6 out of 11) 

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PASSENGERS (2016) – CINEMA

You and your other passengers are in stasis on a many centuries long journey to another galaxy and you’re woken up early.  You are alone. In space. Until you die. If you could wake up the other passengers, but would you?  Given the fellow passenger is Jennifer Lawrence you have a bloody tough choice. And what if she finds out too: you’re a murderer in effect. That’s the moral dilemma which faces Chris Pratts’ character in this frothy space-rom-drama. I enjoyed the stylish science-fiction genre flick as it looks fantastic in design and cast. It doesn’t have much depth but I found it to be lots of fun especially as Pratt is charming and funny as ever and Lawrence is easy on the eye too. (Mark: 7 out of 11) 

SCREENWASH – SEPTEMBER 2016 – PART ONE – TV SHOW REVIEWS

SCREENWASH – SEPTEMBER 2016 – TV SHOW REVIEWS

I love watching TV shows and films. Mainly to fill a void in my soul, or put it another way, stop me drinking myself to death. Oh, also because I just enjoy escaping reality by watching stuff on a screen.

I have split my September Screenwash reviews into television and movies, because I watched so much damned stuff last month. Here are the TV shows I watched with marks out of eleven.

**THERE MAY BE SPOILERS AHEAD**

ASH V. THE EVIL DEAD (2015) – SEASON 1 – STARZ/VIRGIN  

This 30-years-later-sequel to the original Sam Raimi Evil Dead trilogy featuring Bruce Campbell is a gory, cheesy and bloody delight. It brings back one of the most iconic-blue-shirted-wise-cracking-big-chinned-chain-sawing-action-horror-dudes ever in Ash Williams.

Having accidentally conjured up the Deadites from the Necronomicon – Book of the Dead, Ash heads cross country battling demons and ghouls with his trusty chainsaw and boomstick. He finds new friends and enemies along the way and Campbell is on wonderful form as the sexist, ageing demon-killer.

Plot wise the story is flimsy and generic, yet the bloody and bone-crunching gore is brilliant and Bruce Campbell is hilarious as usual. Ignore the evil and abominable reimagining from 2013 and get on board this silly and superb horror nostalgia trip with Ash Williams and co.  (Mark: 9 out of 11)

BLACK MIRROR – WHITE CHRISTMAS (2014) – NETFLIX

Charlie Brooker is pretty much a genius in my eyes and as well as being a bastard-funny TV critic, he is also a formidable storyteller. The Black Mirror stories echo the short-sharp-shocking plots of Rod Sterling’s The Twilight Zone and Roald Dahl’s Tales of the Unexpected; yet with a very contemporary and technological twist. Season 3 Black Mirror is imminent on Netflix yet this Chrimbo special provided some darkly imaginative tales for the season.

Brooker presents a triptych of stories including: a Dating Coach (John Hamm) guiding – via contact-lens-style-Go-Pro – a naïve lad on a sexual conquest; a spoilt and demanding rich bitch (Oona Chaplin) who buys the ability to digitally clone herself so she can be her own personal ‘slave’; and a story of a doomed relationship between Rafe Spall and Janet Montgomery where an app allows a human to physically BLOCK them in reality. Safe to say all the narratives criss-cross to fiendish effect as cyber-technology is presented as initially a positive thing but ultimately something horrific which undermines humanity and hinders emotions and physical contact. Brooker is of the view that the future isn’t orange but very black indeed.  (Mark: 9 out of 11)

FARGO (2015) – SEASON 2 – NETFLIX

Was Season 2 Fargo any good? It sure was – darn tooting!  For me this was almost perfect television viewing. It had a great story, memorable characters, and brilliant dialogue and is filtered, like the first season, through the twisted eccentricities, imagery, sounds, music and narrative style of the Coen brothers.  Having said that, the writer and showrunner Noah Hawley has taken the Coen’s football and sprinted away with it and almost transcended the primary source material.

Season 2’s plots – and there’s some serpentine shit going down – are set in Fargo and surrounding counties, mid 1979.  We focus on country gangsters the Gerhardts and the attempted takeover by some Kansas City “business” people who think they can run the hicks out of town. In amongst the bloody hits, kidnapping and badassery we have Patrick Wilson and Ted Danson as the good cops who, having seen the horrors of war overseas, just want an easy life. Thrown into the mix by the dark lords of fate are self-improver Kirsten Dunst (amazing)  and simple butcher Jess Plemons who get out of their depth very quickly.

Overall, the drama, humour and suspense are incredible as is the cast, notably: eloquent hitman Bokeem Woodbine and brutal rural gangsters Jean Smart and Jeffrey Donovan. Philosophically and thematically the writing is very strong too with an existential bent which makes the whole show gold-plated genre TV of the highest quality.   (Mark: 10 out of 11)

THE KILLING (2007) – SEASON 1 – NETFLIX

I recall when this first hit the TV screens the Guardianistas shitting bricks over how good this Danish cop-procedural-politico drama was. The moody atmosphere, murky lighting and winter jumpers were all the rage with the lentil-eaters; as were the performances of Sofie Grabol, Soren Malling and the formidable Lars Mikkelsen. In the cold light of day and almost ten years later there is still much to like about this Scandi-genre-cop-thriller. Over twenty gruelling episodes we find ourselves amidst the investigation of the vicious murder of a young woman called Nanna Larsen. Simultaneously a mayoral election is taking place in Copenhagen and the two events become fatefully entwined.

Ultimately, it is pretty generic stuff with the device of “red herring” suspects and characters revealing information later than they could of being over-used. Also, it could’ve have been wrapped up WAY before the twenty episode run, yet, it was gripping throughout with some terrific suspense. I especially liked Grabol’s intuitive cop who could see past the surface and into the psychology of a situation or person. Her obsessional cop was flawed but brilliant at her job even though her family life was threatening to implode. Also, exceptional is Lars Mikkelsen as mayor candidate Troels Hartmann, a man trying to do the right thing, yet with ghosts of the past haunting him. The best scenes were with the Larsen family whose lives were about-faced by the death of their daughter. Their grief brought a real depth to proceedings with many heart-breaking and emotive moments surrounding their ordeal. Perhaps over-hyped on first release, this remains a tremendous cop drama with loads of twists to keep you hooked.   (Mark: 8.5 out of 11)

ORANGE IS THE NEW BLACK (2014) – SEASON 2 – NETFLIX

What started, in Season 1, as an ensemble prison drama with the focus mainly on spoilt-brattish-over-grown-Prom-Queen, Piper Chapman (Taylor Schilling), has developed quite brilliantly, by Season 2, into a sexy-black-comedy-drama of the highest quality. Piper is of course still there driving me mad with her bouts of narcissistic wants but this time she’s toughened up and is now bouncing off the inmates, walls and screws with a bit more spunk and verve.  However, the power of this narrative is now driven by the ensemble characters – both inmates and guards – who all get a chance to shine in a collection of stories, flashbacks and vignettes which the writers weld together expertly over thirteen brilliant episodes.

Season 2 develops further the histories of, among others, love-struck Morello, cancer-sufferer Rosa, Taystee, Black Cindy, Poussey and Sister Ingalls; as well revealing more about crooked Assistant Warden Figeroa, prison Counsellor Sam Healy and ambitious head screw Joe Caputo. Also, entering the prison was a cracking antagonist Vee Parker brilliant portrayed by Lorraine Toussaint and her battle to control rackets in jail saw her on a collision course with ‘Red’ Reznikov (Kate Mulgrew). Overall, there was SO much going on in the show yet it didn’t feel cluttered. The characters  were drawn so well, relying on archetypes and human definition rather than soapy stereotypes. I was just going to give it one more season but the drama, dialogue, performance, humour and pathos delivered here made me want to go in for Season 3 and beyond.  (Mark: 9.5 out of 11)