Tag Archives: Dark

AUTUMN 2019 TV DRAMA UPDATE – REVIEWS INCLUDE: DARK (2019) – S2, EUPHORIA (2019), THE LOUDEST VOICE (2019) & THE HANDMAID’S TALE (2019) – S3 ETC.

AUTUMN 2019 TV DRAMA REVIEWS

Having finished watching all six seasons of the absolutely amazing series The Americans (2013 – 2018) at the end of the summer, I thought it prudent to try and catch up with some of the other television shows I’d missed or had on my planner.

It is becoming clearer and clearer that television, especially many of the shows from Showtime, HBO and Netflix, are reaching and surpassing cinematic quality. The budgets, writing, production values and casts are incredible. It’s been like this for a while, and long may it continue I say.

So, here are a collection of the excellent TV shows I have completed watching in the last month or so, with the usual marks out of 11.

**SPOILER FREE**



CITY ON A HILL (2019) – SEASON 1 – SHOWTIME / SKY ATLANTIC

This crime drama set in 1990’s Boston is essentially a combination of The Wire meets Ben Affleck’s cracking film, The Town (2010). Kevin Bacon and Aldis Hodge lead the cast in this always watchable story of cops and robbers. Bacon is especially excellent as the anti-heroic FBI agent, Jackie Rohr. Good performances, violent action and earthy Bostonian dialogue inflect this genre piece, which blurs the lines between the good, the bad and the downright ugly.

Mark: 8 out of 11



A CONFESSION (2019) – ITV

Martin Freeman, Imelda Staunton and Siobhan Finneran are all uniformly excellent in this true crime drama. Set in Wiltshire, it follows Detective Superintendent Steve Fulcher (Freeman), as his investigative team search for a missing young woman. What follows is a series of compelling events which grip you throughout. Seasoned scriptwriter Jeff Pope delivers a meticulously researched screenplay that explores the emotional impact of criminal behaviour, and how police procedure effects justice for victims and their families.

Mark: 8 out of 11



DARK (2019) – SEASON 2 – NETFLIX

What can I say about Dark (2019) – Season 2? Well, for starters it is easily one of the best television dramas I have seen in a long time. It’s edgy, nightmarish, confusing, twisted and to be honest, virtually unreviewable. I say that because I don’t want to give away any spoilers but, trust me, if you like emotionally, structurally and artistically complex plots involving multiple characters, locations and timelines then this German thriller is for you. It had me confused in a good way and totally immersed in the tenebrae. You will be lost, searching for the light, yet you will be astounded too by the audacity of the writing and looping madness on show.

Mark: 10 out of 11



EUPHORIA (2019) – HBO / SKY ATLANTIC

Having recently watched Sam Levinson uneven but stylish low-budget crime drama, Assassination Nation (2018), I thought I’d give this big budget HBO U.S. drama a watch. The ensemble cast of mainly young actors are led brilliantly by the ultra-talented Zendaya. She portrays just-out-of-rehab, Rue, who battles drug addiction on a daily basis. Her new best friend Jules (Hunter Schafer) also has issues to deal relating to identity, sex and love. In fact, pretty much all the characters are fucked up somehow in this giddy, glossy, sexy, dirty and often shockingly dark profile of high school existence.

Mark: 9 out of 11



THE HANDMAID’S TALE (2019) – SEASON 3 – HULU / CHANNEL 4

Season 3 of the iconic Margaret Atwood literary adaptation, continues to play strongly with the emotions, the nerves and the heartstrings. Centred around the dictatorial and fascistic Republic of Gilead, the plight of oppressed woman such as June Osborne (Elizabeth Moss) and other ‘Handmaid’s’ is a grim mix of tense drama and suffocating horror. Having said that, misery has never looked so beautifully shot as Moss’ performance and the cinematography are both exquisitely framed. The narrative is slightly slow in delivery, yet as June finds strength in rebellion and civil disobedience, you’re never too far from startling turns of violence and empowerment within the narrative.

Mark: 9 out of 11



THE LOUDEST VOICE (2019) – SEASON 1 – SHOWTIME / SKY ATLANTIC

I don’t tend to watch the news as it’s all quite depressing. However, I was drawn to this drama about Fox News and its’ leader, Roger Ailes, because it features a great cast. They include, an unrecognizable Russell Crowe, Naomi Watts, Sienna Miller and Seth MacFarlane. The narrative covers Ailes starting Fox News for Rupert Murdoch in 1996, and subsequent global news events from then to the present. Crowe revels in his role as the monstrous Ailes, who advocates making Fox the number one news outlet on TV, by pushing his own agendas amidst sensational news storytelling. I have seen a few negative reviews for this show, but I really enjoyed it. As a profile of a big, corporate predator who preyed on those around him, it was both sickening and enthralling at the same time.

Mark: 9 out of 11




JOKER (2019) – CINEMA REVIEW

JOKER (2019) – CINEMA REVIEW

Directed by: Todd Phillips

Produced by: Todd Phillips, Bradley Cooper, Emma Tillinger Koskoff

Written by Todd Phillips, Scott Silver

Based on : DC Comics’ Joker created by Bill Finger, Bob Kane & Jerry Robinson

Cast: Joaquin Phoenix, Robert DeNiro, Bill Camp, Zazie Beetz, Francis Conroy, Glen Fleshler, Brian Tyree Henry, Marc Maron etc.

Music: Hildur Guðnadóttir

Cinematography: Lawrence Sher

**** MAY CONTAIN SPOILERS ****



“Is it just me – or is it getting crazier out there?”

There’s no let up for poor coulrophobes. You wait so long for an evil clown and two come along in quick succession! First Pennywise hits the big screen twice. Now, Todd Phillips and Joaquin Phoenix deliver an incendiary cinematic masterpiece, based on DC’s uber-villain, Joker.

With Marvel’s cinematic universe heroically saving the world and making Disney a lot of money in the process, everything was looking a bit bright in the comic book film world. Not anymore, because Joker (2019) brings darkness, chaos, delusions and insanity to the screen. This film doesn’t reflect a safe world full of heroes, but instead illustrates one without them or a shred of hope.



The year is 1981. The place is Gotham. The symbol of this urban disintegration will be downtrodden clown, Arthur Fleck (Joaquin Phoenix). Crime and garbage ravage the city and social services budgets are being cut. Arthur struggles with his mental health, his clown work and his unwell mother (Francis Conroy). He attempts to find solace in stand-up comedy, but his psychological problems stretch to uncontrollable laughing fits, making people laugh AT him, as opposed to WITH him. He seeks potential romance with a neighbour, Sophie (Zasie Beetz), but his world begins to collapse when he loses his job and his medication is cut off. Attacked by kids on the street and bankers on the tube, Arthur is forced to fight back. But, violence begets violence, as a new, more dominant persona comes to the fore.

Joker (2019) is a bravura and risk-taking character study charting the downward spiral of both a city on the edge; and an individual losing touch with the real world. Rather than being cared for by the system, Arthur is thrown to the gutter, only to rise up with fire, violence, colour, costume and maniacal chuckling. From the mean streets of Gotham comes not calm, but social unrest and protests; not a hero but a painted villain, dancing and plotting bloody murder.



I have read that there have been complaints that the film trivialises mental health. Well, having experienced a close family member suffer mental breakdown and have a friend commit suicide due to extreme anxiety, I actually think Joker (2019) presents madness in a very truthful way. Mental health is scary, unpredictable, difficult to treat and prone to startling bursts of uncontrollable energy. It’s hard to comprehend what happens in people’s brains to make them act a certain way and this film captures that. The reason the film is scary is because mental health is scary. If it is not treated, then people can harm themselves and others. Therein lies the truth and tragedy of mental illness.

Joaquin Phoenix is absolutely incredible as Arthur Fleck/Joker. Hysterical laughter echoes and haunts the screen. Every cigarette he smokes drags nicotine anxiety into his ravaged lungs. As violent outbursts jolt and as his skinny body dances, I felt a gamut of emotions including: fear, humour, shock and sadness. Fleck’s transformation into Joker is a slow-burn trajectory and masterful acting performance. He tries to avoid violence and confrontation, but it’s drawn to him like a moth to a flame. He tries to make people laugh, but sadly only ends up hurting them. Joker is an outsider desperate to step inside and be part of society, but, even down to his unknown parentage, he is rejected at every turn.


As well as Phoenix, Todd Phillips deserves much kudos for creating an incredibly dark, but impressive cinematic experience. He is ably assisted by the startling cinematography of Lawrence Sher, who captures that gritty, paranoiac and urban look perfectly. Much praise also to Hildur Guðnadóttir, who, for me, has orchestrated the musical score of the year. Lastly, the genius of marrying cinematic classics like Taxi Driver (1976) and The King of Comedy (1983), with a DC comic-book super-villain is an absolute masterstroke. Indeed, Joker (2019), is one of the most memorable and compelling films of 2019. Why so serious? Watch it and discover for yourself.

Mark: 10 out of 11



THE ASSASSINATION OF GIANNI VERSACE (2018) – TV SHOW REVIEW

THE ASSASSINATION OF GIANNI VERSACE (2018) – TV SHOW REVIEW

Executive Producer: Ryan Murphy

Writer: Tom Robb Smith

Based on: Vulgar Favours: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History by Maureen Orth

Original Network: FX / FOX

Starring: Edgar Ramírez, Darren Criss, Ricky Martin, Penelope Cruz, Finn Wittrock

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I watch a lot of telly but don’t always review stuff because I don’t have time. The Assassination of Gianni Versace was one of those shows which I enjoyed when on the BBC but did not feel like reviewing. But then it kind of stuck with me; it nagged at my psyche as a chilling, violent and intense work of television drama. Hence I thought it was worth recommending it for those who are interested in excellent crime stories.

The Assassination of Gianni Versace: American Crime Story is the second season of the FX true crime anthology series American Crime Story. It explores, over nine compelling episodes, the murder of designer Gianni Versace by spree killer Andrew Cunanan. Those coming to the show looking for an in depth story about Gianni Versace – as a man or designer – may be slightly disappointed.  Save for three or four episodes the lion’s share of the drama is about his killer, Cunanan.  What we do see of Versace and his sister Donatella, as expertly portrayed by Edgar Ramirez and Penelope Cruz, is a man who grew up from humble beginnings to become one of the finest fashion designers of all time. Personally, fashion does not interest me so I was pleased that world did not dominate the focus of the story.

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The main focus, however, was the spree killer Andrew Cunanan. Writer Tom Robb Smith, adapting from Maureen Orth’s book takes many risks, notably telling Cunanan’s story in reverse chronological order. I’m not always a fan of non-linear storytelling for the sake of it, however, beginning with Versace’s murder and then flashing backwards revealing, episode by episode, the sad demise of each of his victims made for absorbing viewing. Darren Criss as Cunanan is absolutely brilliant. His performance of the fantasist murderer is equally scary, embarrassing and darkly funny at times.

Evoking the characterisation of Christian Bale’s Patrick Bateman, Criss nails the confidence and desperation of a very conflicted person. His Cunanan is not just a straightforward psycho but a rather complex loner with delusions of grandeur. The reveal in the later episodes that go some way to explain Cunanan’s psychosis are especially chilling. The show is also very honest about Cunanan’s sexuality. Via Cunanan’s, and other characters’ experience, the representation of gay men in America is illustrated in a fascinating way. Finn Wittrock, Mike Farrell, and Cody Fern, who portray three of Cunanan’s victims, are very empathetic as they battle the prejudices and expectations of gay men in society. It is a tragedy their lives, and others including Versace, were so violently ended at Cunanan’s hands.

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Overall, I was extremely absorbed by The Assassination of Gianni Versace. While not as grandstanding as The People Versus O.J. Simpson (2016), this character drama both shocked and stunned in equal measure; thanks to an excellent script and Criss’ haunting acting performance. Also, kudos goes to show-runner Ryan Murphy. This uber-producer is best known for creating/co-creating/producing a number of successful television series, including the FX medical drama Nip/Tuck (2003–10), the Fox musical comedy-drama Glee (2009–15), the FX anthology series American Horror Story (2011–present); Feud (2017–present); and with this latest season of American Crime Story (2016–present) he has overseen another memorable televisual experience.

Mark: 8.5 out of 11

INGRID GOES WEST (2017) – MOVIE REVIEW

INGRID GOES WEST (2017) – MOVIE REVIEW

DIRECTOR:            Matt Spicer 

WRITERS:              Matt Spicer, David Branson-Smith

CAST:                    Aubrey Plaza, Elizabeth Olsen, Billy Magnussen, O’Shea Jackson Jr., Wyatt Russell, Pom Klementieff,

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**CONTAINS MINIMAL SPOILERS**

Grief is something which we will, or have already experienced, and given the dramatic possibilities, death and overcoming the death of a loved one propels many narratives in the cinema, literature and music etc. Ingrid Knows Best is one such narrative and while much is made of the plague that is social media and Instagram culture, this is ultimately a story of how our anti-hero deals with the loss of her mother and, in some ways, her own identity. In short: she doesn’t handle it very well, but rather disassociates her grief and fixates on so-called on-line celebrities in order to distract herself and escape the pain.

Aubrey Plaza is brilliant as Ingrid and she is fast becoming one of my favourite actors. I loved her in Office-influenced sitcom, Parks and Recreation and the brilliant lo-fi-sci-fi-rom-com Safety Not Guaranteed (2012). However, in this film and the mind-bending science fiction series Legion (2017), she completely owns the show. Plaza has a rare skill for vulnerable insanity where she does crazy stuff but at the same time you really empathise with her character.

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In the opening scene she commits an act of pretty despicable revenge but once you see her living arrangements and family situation you really gain understanding of her character.  Even when Ingrid heads west and begins stalking her next obsession, Plaza’s doe-eyed-butter-wouldn’t-melt façade and crumbling inner humanity ensure you never lose empathy for her. The writing is excellent as the script creates humour, drama and skilful satire of the facile, narcissistic and selfie-obsessed culture we live in today. Elizabeth Olsen too is impressive as the “Instagram Queen” and object of Ingrid’s obsession.

Overall, this was just #brilliant #dark #funny #sad!  I was really satisfied with this film and while the slightly off-kilter crime-plot-turn near the end slightly unhinged the character study, the touching and thematically perfect ending was a brilliant pay-off for Ingrid’s character. Plaza though is the shining light of the film as she imbues Ingrid with not only the pathos of a zeitgeist Travis Bickle, but also a comedic mania which really brings the satire home.

(Mark: 9 out of 11)