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
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.
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.
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.
There are so many films released at the cinema each year that it’s impossible to catch them all. Unfortunately, for me, and billions across the world that damned thing called employment gets in the way. Nonetheless, there are many other avenues to catch up with movies and SKY CINEMA is one such route. So, here are some reviews of films I have caught up with recently on SKY, with the usual marks out of eleven.
**MAY CONTAIN SPOILERS**
AFTER THE STORM (2016)
This Japanese family drama is slow moving but quietly unfolds in a compelling fashion. Former prize-winning novelist, Ryota (Hiroshi Abe), is a gambling addict “researching” his next book and making ends meet with private detective work. He tries to become a better son and father but his hereditary flaws and addiction haunt him. That’s about it for Hirokazu Kore-eda’s character drama which features some excellent dialogue and a wonderful acting performance from Ryota’s mother, portrayed by Kirin Kiki. (Mark: 8.5 out of 11)
ATOMIC BLONDE (2017)
Charlize Theron portrays a sullen yet kick-ass spy in this style-over-substance-action-thriller. Directed by David Leitch, who also helmed John Wick 2 (2016), rather amusingly doesn’t even have the depth of Keanu Reeves’ B-movie-assassin-classics. Adapted from the comic book novel The Coldest City (2012) and set in late 1980s Berlin, it uses the unstable politics of the time loosely as a means to hang a slender narrative on. This essentially is all rocking soundtrack, kinetic action, and sexy fighting with NO story. Theron and co-star James McAvoy do their best with the spy McGuffins but it’s main redeeming feature is a barnstorming “one-take” fight scene in the middle of the film. Now THAT rocks! (Mark: 7 out of 11)
THE FATE OF THE FURIOUS (2017)
Charlize Theron pops up again in eighth film of the franchise, this time as cyber-baddie hell-bent on doing something bad for some heinous reason. Anyway, her fiendish plot is just an excuse to blow up cars, planes, jails, roads, buildings, and submarines in the usual explosive fashion. Vin Diesel, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Dwayne “The Rock” Johnson and the rest of the team (minus Paul Walker R.I.P) are all back trying to stop her. There’s something both obscene and incredibly satisfying witnessing stunts and action this over-the-top! I mean the carnage present in the final-submarine-versus-vehicle-set-piece is absolutely breath-taking and its worth watching the film for that alone. (Mark: 7.5 out of 11)
MAUDIE (2016)
Since her striking performance in Mike Leigh’s excellent character piece Happy Go Lucky (2008), Sally Hawkins has been carving out quite the number of brilliant acting roles. Perhaps overshadowed by the success of the big budget monster/love story The Shape of Water (2017), the low-budget Maudie features another stunning Hawkins turn. She is quietly powerful in the role of Nova Scotia painter Maud Dowling. Maud came to mild prominence for her painting in the late 1960s and became somewhat of a cult treasure. Hawkins and Ethan Hawke steal the acting honours as the unlikely husband and wife, as Aisling Walsh directs a fine tribute to a small woman with a massive artistic talent. (Mark: 8.5 out of 11)
SHOT CALLER (2017)
This is a hard-boiled and brutal crime thriller which moves very slowly but with highly confident direction. Ric Roman Waugh has marshalled a very decent B-movie with Game of Thrones Nikolaj Coster-Waldaj excelling in the muscular lead role. He portrays a banker sent down for manslaughter who suddenly finds himself at the mercy of white supremacist gangs. Rather than lay down and get screwed he jumps straight in and sets in motion a gruesome set of events. Jon Bernthal pops up as a hard-piped criminal while Lake Bell is excellent as the anti-hero’s long-suffering wife. You need some patience but ultimately the ending pays off in an enjoyable, if incredibly contrived, finale. (Mark: 7.5 out of 11)
ROUGH NIGHT (2017)
This ridiculous over-the-top mixture of sex, crime and comedy rips off Very Bad Things (1998) and The Hangover (2009), with a smattering of Weekend at Bernie’s (1989). Having said that I really enjoyed it despite the incredibly broad comedy and implausible nature of the plot which takes five buddies on a Bachelorette party and throws a dead hooker into the mix. Zoe Kravitz, Scarlet Johannsson, Kate McKinnon, Illana Glazer and Jillian Bell, while slumming it in this often-filthy material, commit to their roles with ludicrous abandon. While very derivative I couldn’t help but laugh on several occasions, most notably at Ty Burrell and Demi Moore as the lascivious “sex-people” neighbours. (Mark: 7 out of 11)
Starring: Ellie Kendrick, David Troughton, Jack Holden
Music by: Hutch Demouilpied
Cinematography: Nanu Segal
I grew up watching visions of the English countryside as represented by television shows such as H.E. Bates’ The Darling Buds of May and James Herriot’s All Creatures Great and Small. With such rural narratives you were never far from a beautiful landscapes, wonderfully sunny skies and country folk working together, on the main, as a community. Hope Dickson Leach’s independent British drama is an altogether different beast. It’s a muddy, grieving, bloody and filth-ridden exploration of how tough family and farming existence is.
Featuring some fantastic performances from Ellie Kendrick and David Troughton the story is very simple. Clover (Kendrick) returns from Veterinary College following the sudden death of her brother. While her father is steadily drinking himself to death, she tries to make sense of her sibling’s apparent suicide. Her father, an army man and farmer is living in a caravan next to the battered family home. The farm business is sliding to bankruptcy and their home has been rotting since the Somerset floods a couple of years before. All round their property and livestock are threatened by damp, disease and death. In short: this is NOT The Darling Buds of May.
Ellie Kendrick, who I recognised from several TV shows including Game of Thrones, absolutely owns the character of Clover. She is seen as weak and unreliable by her father but is in fact an intelligent and resilient character who is prepared to work hard and dig deep for some respect. The plot itself reminded me a lot of the Michael Caine gangster classic Get Carter (1971); accept with a female lead and more cows. As Clover attempts to steady the fortune of the farm, caused in part to mis-management by her father and brother, she also turns detective, stealthily delving into circumstances relating to her brother’s death.
Overall, Hope Dickson Leach has made a really touching personal story of grief. This is a very emotional story about a family torn apart by death on personal and financial levels. I don’t know much about farming life, but while it may be idealized in certain books and films the reality is much tougher. Animals, while commodities are often culled because of disease and farmers are at the mercy of the weather. Moreover, it would appear to be much tougher for women too progress in a male-dominated world which favours sons over daughters. What the film ultimately shows too, in many brilliantly acted and directed scenes, is we must transcend our differences and work together as one – as family – in order to survive.
I’M DYING UP HERE (2017) – S1 – SHOWTIME TV REVIEW
Genre: Comedy-drama
Created by: David Flebotte
Based on: I’m Dying Up Here by William Knoedelseder
Starring: Melissa Leo, Ari Graynor, Clark Duke, Michael Angarano, Andrew Santino, Stephen Guarino, Erik Griffin, RJ Cyler, Al Madrigal, Jake Lacy
Network: Showtime US / Sky Atlantic UK
As well viewing loads of films I also block out the horrors of the world by watching lots of television too. With cable, digital, internet and terrestrial channels to choose from you will find some gems to stop you thinking about the end of the world; UNLESS, of course, it’s a show about the end of the world. Anyway, as the war-mongering governments plot and false flag and generate fear and murder innocents all around the world, comedy, as they say, can sometimes provide the best medicine.
Showtime’s1970s based comedy-drama is set in Los Angeles. It features an ensemble cast of wannabe comedians at various stages of their careers, which congregate at Goldie’s Comedy Club. Melissa Leo plays the tough-edged business woman running the show who can make a comic’s career by getting them on the Johnny Carson show. Because of economics and the desperate comedians’ desire for fame the acts will work as open spots until they get a break. Leo anchors the show with a ballsy performance, yet beneath her hard exterior there is much pain and vulnerability in her character. She fights and scratches and bites to stay ahead of her rivals as she’s consistently undermined by the sexist and patriarchy dominated show business ‘system.’
The rest of the cast consists of an assortment of character actors, actual stand-up comedians and up-and-coming actors including: Ari Graynor, Jake Lucy, Andrew Santino, Al Madrigal, Clark Duke, Michael Angarano and RJ Cyler. Ari Graynor, as the Texan comedian fighting her way up in a male-dominated world; and, young, black comedian RJ Cyler especially stood out. I have seen Cyler in a number of shows and films now and I think he is a bona fide star in the making. The double act sparring of Clark Duke and Michael Angarano are also hilarious too as the lively, aspiring acts from out of town, so broke they have to rent a closet to live in.
The era, costumes and smoky settings of comedy clubs are fantastically evoked as is the characterisation of the comedians’ struggle. I mean these are intrinsically narcissistic individuals striving for fortune and fame yet many of them are self-hating, low-esteemed and bitter people just searching for a moment of adoration through the audiences’ laughter. Many of the characters are also deeply flawed and actually unlikeable, notably Andrew Santino’s Bill Hobbs. Moreover, while creating a sense of community with each other the comedians are also fiercely competitive and much humour is driven by their cutting barbs and scathing comments toward each other. Childish tit-for-tat battles rage too when things heat over between the acts; either because they have bombed or because they have been stitched up by another act. Lastly, the socio-politics of the era provide excellent subtext and much of the drama derives from: sexual politics; alcohol and drug addiction; comedy club rivalry; joke-theft; heckler-battles; career and actual suicide; race relations; the Vietnam War; and every day existential crises.
Overall, I’m Dying Up Here may not be for everyone but it was brilliant viewing for me. I love stand-up comedy and I love television drama. I also thought the writing, direction, acting, performances, soundtrack and production design were excellent. The show’s strength is in the ability to balance drama and adult-based humour over ten fascinating episodes. It reminded me, most of all, of an extended series of the film Boogie Nights (1997) and the work of Robert Altman. Finally, I myself have written and performed stand-up comedy and, while there’s been little financial or cultural success, I have absolutely loved my time on stage. As a creative pursuit it can be both exhilarating when it goes well and completely devastating when you ‘die’ and NO ONE laughs. But hey, death on stage is far more palatable than the apocalypse! Indeed, it’s NOT THE END OF THE WORLD!
Aside from my longer, pretentious and pontificating reviews I also like to chuck in a few quick-fire posts for films I’ve watched on cable, satellite TV, catch-up, DVD and cinema over the past few months. Think of them as movie reviews for the attention deficient or for the lazy bastards like me, who from time to time, skim-read before catching the mark at the bottom. As usual I accompany the reviews with marks out of eleven.
BLOOD TIES (2013) – FILM FOUR
Very solid 1970s set crime drama boasts an excellent cast including: Clive Owen, Billy Crudup and Marion Cotillard. (Mark: 7.5 out of 11)
CLOVERFIELD PARADOX (2018) – NETFLIX
Brilliant ensemble cast propel this sub-Star-Trek-story that’s been crow-barred into the Cloverfield franchise. (Mark: 5.5 out of 11)
THE COMMUNE (2016) – SKY TV CINEMA
Thomas Vinterberg directs this appealing slice of ‘70s Swedish life as a group of adults attempt to find “perfect” living within a commune situation. (Mark: 8 out of 11)
THE CURE FOR WELLNESS (2016) – SKY TV CINEMA
Overblown, overdone and overlong gothic horror finds Dane DeHaan struggling against evil doctors and an even more unbalanced screenplay. (Mark: 6 out of 11)
DAVID BRENT: LIFE ON THE ROAD (2017) – NETFLIX
Ricky Gervais is on funny form as the deluded David Brent, as the Office ‘star’ goes on the road trying to gain fame as a pop star. (Mark: 7.5 out of 11)
DAZED AND CONFUSED (1993) – SKY TV CINEMA
Richard Linklater’s brilliantly orchestrated end-of-school-year-stoner-comedy features an incredible cast of soon-to-be-famous actors! (Mark: 8 out of 11)
DRIFTER (AKA DETOUR) (2016) – SKY TV CINEMA
Horrifically poor and uneven Mad-Max-Texas-Chainsaw rip off which while very stylish is completely unwatchable with unlikeable characters. (Mark: 3 out of 11)
FRANTZ (2016) – SKY TV CINEMA
This touching WW2 set love story, shot on crisp black and white and deftly directed by Francois Ozon, breaks and mends one’s heart in equal measures. (Mark: 8 out of 11)
IN A VALLEY OF VIOLENCE (2016) – SKY TV CINEMA
Ethan Hawke excels in an offbeat, violent revenge Western which fails dramatically because of the irritating villain and over-familiar plot. (Mark: 6 out of 11)
KING ARTHUR: LEGEND OF THE SWORD (2017) – SKY TV CINEMA
Guy Ritchie’s take on the Camelot legend suffers a total personality breakdown; neither committing fully to Charlie Hunnam’s geezer-King-Arthur (good) or the swords and sorcery subplots (bad!). (Mark: 6.5 out of 11)
LOVING (2016) – SKY CINEMA
Ruth Negga and Joel Edgerton are never less than brilliant in their performances as a mixed race couple battling the racist law which strives to keep them apart. (Mark: 8.5 out of 11)
LOVELESS (2017) – PICTUREHOUSE CENTRAL – CINEMA
Raising bleakness to the level of poetry, this tragic Russian ‘missing child’ thriller is expertly constructed, but features two of the most selfish characters I’ve ever experienced in a movie. (Mark: 8 out of 11)
MY BEAUTIFUL LAUNDERETTE (1985) – BFI BLU RAY
Classic 1980s British drama written by Hanif Kureishi features Daniel Day Lewis in an early role finds cultures, sexuality and politics clashing in dirty old South London. (Mark: 8 out of 11)
THE POST (2017) – WIMBLEDON ODEON – CINEMA
Steven Spielberg’s worthy freedom-of-speech drama is wonderfully shot and acted but felt too subtle and dramatically under-cooked for such an important moment in American history. (Mark: 7 out of 11)
SULLIVANS’ TRAVELS (1941) – SKY TV CINEMA
Preston Sturges brilliant comedy combines slapstick, romance and social satire as Joel McCrea’s pampered film director attempts to find the “meaning of life” in depression-hit America. (Mark: 10 out of 11)
WAKE IN FRIGHT (1971) – FILM FOUR
Cult existential Aussie psychological thriller finds Gary Bond’s English teacher attempting to escape his pitiful lot but falling further and further into a nightmarish outback abyss. (Mark: 8 out of 11)
ORIGINAL NETWORK: HBO – CURRENT NETWORK: SKY ATLANTIC
CREATED BY: David Milch
STARRING: Timothy Olyphant, Ian McShane, Molly Parker, Powers Boothe, Dayton Callie, Kim Dickens, Brad Dourif, John Hawkes, and Robin Weigert etc.
SEASONS: 3 – EPISODES: 36
ORIGINAL RELEASE: March 21, 2004 – August 27, 2006
The blood and sweat and liquor seep into muddy earth as wood creaks, leather cracks and barrels roll within the midst of morning in Deadwood town. Horses cry readying themselves for the work ahead as the hangover of alcohol, greed and necessity fill men, women and children’s hearts not knowing how the day will end. They could be destitute, broke or worse; six feet under from a gunshot or plague or had their throat cut during a game of poker. Or they could be richer than a King or Queen having struck lucky in the goldmines of Montana. These are desperate times brimming with whores, bandits, con-artists, killers and unbelievably twisted optimism. There’s hope that striking gold will change lives forever and bring about fortune and prosperity. More often than not though it simply brings about death.
David Milch’s formidably researched Western TV classic was a show I’d never ever seen so I took great pleasure drinking in its’ flavours and palette at the end of 2017. I recall when released the tabloid newspapers were forever reporting the controversy of the colourful industrial language. While the language is indeed profane and sometimes enough to make a football referee blush it is the stand-out element of the scripts. Because Deadwood is one of the most brilliantly written shows I’ve seen; and while the dialogue is clearly anachronistic it feels paradoxically authentic. Throughout the thirty-six episodes the monologues sing from the screen as a litany of character actors drawl and deliver words of filth, comedy and great tragedy. At times the dialogue is so dense it reaches sonorous Shakespearean heights.
The narratives of each season feature characters based on real people from history (Calamity Jane, Wild Bill Hickok, Al Swearengen, Seth Bullock et al); all presented via a daily slice of mining camp life through an incredible ensemble cast. There are no heroes to hang our desires on but rather a rag-tag clan of flawed human beings presented as: killers, cowards, thugs, addicts, prostitutes, card sharks, immigrants, gold-diggers, crooked politicians and morally dubious law representatives. The amazing cast, led with frightening acting acumen by: Ian McShane, Timothy Olyphant, Molly Parker, John Hawkes, Robin Weigert, Brian Cox and Powers Boothe spit words as weapons, while the glint of gold drives humanity, creating a hard-bitten early representation of the American dream.
Here the early realms of civilization and society are shown to be full of issues relating to: race, capitalism, prostitution, misogyny, violence, politics, and immigration. Thankfully, things have changed now and we live in a near-perfect society with no problems today. NOT! Deadwood may represent a series of distant Wild West memories but its’ grizzled and bloody vision of humanity is just as valid today. The streets of society now may have pavement and tarmac and skyscrapers but they are still besmirched with blood and greed and alas that will never change.
Sometimes it’s not necessary to go on and on about a film so here’s a rapid-fire round-up of films I’ve seen over the last couple of months. It’s like speed-dating for films but without the crushing romantic disappointment of mass rejection in one evening. As usual I accompany the reviews with marks out of eleven.
**SPOILER-FREE**
1922 (2017) – NETFLIX
Thomas Jane excels as a scheming farmer haunted by death, greed and rats! (Mark: 8 out of 11)
THE ACCOUNTANT (2016) – SKY CINEMA
An OCD-assassin portrayed by Ben Affleck wreaks havoc in a very tidy fashion. (Mark: 8.5 out of 11)
ANDY AND JIM (2017) – NETFLIX
Schizoid-meta-textual-yet-intriguing Jim Carrey / Andy Kaufmann documentary. (Mark: 7.5 out of 11)
ANTHROPOID (2016) – NETFLIX
Gripping WWII story concerning Czech resistance fighters assassinating Nazis. (Mark: 8 out of 11)
ASSASSINS’ CREED – SKY CINEMA
Stunning production values and cast are let down by a bemusing plot and script. (Mark: 6 out of 11)
THE BAR (2017) – NETFLIX
Spanish comedy-thriller has selfish occupants trapped in a bar all turn on each other! (Mark: 7.5 out of 11)
BLEED FOR THIS (2016) – NETFLIX
Miles Teller excels as boxer Vinny Pazienza battling for survival in and out of the ring. (Mark: 8 out of 11)
DEATHNOTE (2017) – NETFLIX
Hamstrung horror film throws away a brilliant concept via hopeless script and acting. (Mark: 5 out of 11)
FREE STATE OF JONES (2016) – AMAZON
Watchable American Civil War historical drama with McConaughey on good form. (Mark: 7.5 out of 11)
GOLD (2016) – AMAZON
McConaughey again shines as a modern day gold prospector in compelling drama. (Mark: 8.5 out of 11)
LIVE BY NIGHT (2016) – SKY CINEMA
Affleck as gangster anti-hero in stylish but empty “Roaring Twenties” adaptation. (Mark: 7 out of 11)
THE MEYOROWITZ STORIES (2017) – NETFLIX
Narcissistic family members talk at each other about life in pretentious drama. (Mark: 7 out of 11)
SNOWDEN (2016) – NETFLIX
Oliver Stone brings the famous whistle-blower’s story to life in a well-shot drama. (Mark: 7.5 out of 11)
TRUE STORY (2015) – NETFLIX
Franco and Hill sleepwalk through a compelling real-life murder case narrative. (Mark: 6.5 out of 11)
THE WAILING (2016) – NETFLIX
Incredibly rendered yet abstract Korean horror centring on Shamans and viral death. (Mark: 8 out of 11)
WAR MACHINE (2017) – NETFLIX
Tonally haphazard mix of war satire, biopic and drama with Brad Pitt hamming it up. (Mark: 6 out of 11)
SIX OF THE BEST #7 – GAME OF THRONES: SCENE STEALERS!
Game of Thrones is one of the biggest literary and TV phenomena of recent years. It has entered Western cultures’ psyche offering a glut of: plotting, death, sex, class-divide, war, fantastical beasts and devilish sorcery! I think the main strength lies though in the wonderful writing that stems first from George R.R. Martin’s behemoth tomes and the incredible production values of the show. Plus, the casting, acting and directing is more often than not better than most cinema offerings.
With Season Seven almost upon us I have been re-watching the show on Sky Atlantic and decided to run a few blog items over the next few weeks dedicated to Game of Thrones. Today, I choose six characters that for me have excelled in essentially supporting roles and usually end up stealing scenes from the main characters. One could argue that some of these are now main characters, however, in an ensemble cast I consider Tyrion, Daenerys, Cersei, Jamie, Arya, Sansa, Bran, Jon Snow, Varys and – due to his heavy plot machinations – Petyr Baelish etc. to arguably be the main characters. Well, of the ones who are still alive that is!
**CONTAINS SPOILERS**
BRONN – JEROME FLYNN
“Give me ten good men and some climbing spikes. I’ll impregnate the bitch.”
Bronn initially appeared in the first season and championed for Tyrion Lannister when he faced certain death in the Eyrie. Subsequently his Northern working class “charm”, philandering and brilliant fighting skills have provided many scene-stealing moments as Jerome Flynn presents a likeable and honest sword-for-hire-killer to a tee.
JAQEN H’GHAR/THE FACELESS MAN – TOM WLASCHIBA
“Help was not promised. Only death. Give a name, any name.”
Another assassin but this time one that is more mysterious and fantastical. Jaqen first appeared as a “tutor” of death and magical helper to Arya as he aided her escape from a Harrenhal bolthole. Subsequently, we saw nothing of him until seasons 5 and 6 when he takes Arya into his Braavos school for assassins and teaches her to become a “Faceless Man”, well women, or person of non-face and non-gendered persuasion.
SANDOR “THE HOUND” CLEGANE – RORY McCANN
“Any man dies with a clean sword, I’ll rape his fucking corpse!”
He may have a burnt face and rotten murderous soul but I love the Hound. First seen as part of the Lannister’s sworn swords he bailed at the battle of Blackwater due to the wildfire burning bodies, ships and the horizon. After which he became a Ronin, walking the land and attempting some kind of symbolic redemption. Left for dead by Brienne of Tarth (who should be on this list) we thought we’d never see him again. But in the last season he was back; swearing, murderising and spitting out brutal one-liners with disgusting joy!
WALDER FREY – DAVID BRADLEY
“Stark, Tully, Lannister, Baratheon. Give me one good reason why I should waste a single thought on any of you?”
The brilliant character actor David Bradley plays the nastiest, grim, old, sexist, racist, murderous bastard perfectly. You are both squirming in shock and then grimacing in horror at the words which leave his gnarled mouth. Of course, Robb Stark and his mother will never forget Walder Frey as he was the host at the infamous Red Wedding; which has a reception no one will ever forget.
YARA GREYJOY – GEMMA WHELAN
“Anything with a cock is easy to fool.”
Sister of the tragic Theon Greyjoy, Yara is the one with the proper balls in the family. Her character is first seen in Season 2, when from the start she tricks her brother with an incestuous practical joke. Yara impresses with her no nonsense attitude, intelligence and fearless confidence throughout as Gemma Whelan instils her character with a playful, yet fierce and probably psychotic depth and determination.
YGRITTE – ROSE LESLIE
“I’ll cut your pretty cock right off and wear it round me neck.”
Ygritte was a feisty, fiery but sharp player who belied her Wildling roots to develop a passion and love for Jon Snow amidst the cold landscape beyond the wall. Initially taken prisoner by Jon she turns the tables and eventually the two become entwined. Even watching today the chemistry between the two actors on-screen is very powerful as Rose Leslie brings real passion to the role. Moreover, their relationship also propels Jon’s softening in attitude toward the Wildling people; ultimately forging a powerful alliance.
While going to the cinema is one of my favourite things to do the quality of television dramas has risen in quality to almost cinematic levels at times. Plus, there’s nothing quite like a box-set binge too for one’s enjoyment. Here are a few TV dramas I’ve caught up with over the last few months with marks out of 11.
**CONTAINS SPOILERS**
AMERICAN HORROR STORY: HOTEL (2015) – NETFLIX
Minus Jessica Lange alas, this one had Lady Gaga to fill the void as the writers introduced a whole new set of monsters, murderers, rapists, ghouls, vampires, junkies and deviants. Set in a H.H. Holmes-style horror hotel, one can always rely on American Horror Story for over-the-top blood-letting, devilish characters trying to out-do each and pitch black humour throughout. While sickening to watch at times it never takes itself too seriously and is recommended to proper horror fans. On the whole its narrative takes second place to the demonic style; pop video vignettes and decadent shenanigans featuring historical serial killers and fantastical blood-sucking beasts. (Mark: 8 out of 11)
BLACK MIRROR (2016) – SEASON 3 – NETFLIX
This is a must-see TV programme for anyone who likes brilliant drama which has intelligent writing and a scorpion twist in the tale of every story. Six stand-alone episodes all provide an insight into the dark recesses of technology and how it can impact humanity. Social media, videogames, virtual reality, internet bullying, techno cryogenics, military mind experiments and cyber-terrorism are all filtered through Charlie Brooker’s devious imagination. A great ensemble cast of actors are seen within the anthology series including: Bryce Dallas Howard, Mackenzie Davis, Kelly Macdonald, Michael Kelly, Gugu Mbatha-Raw, Jerome Flynn and many more make this one of the best TV programmes of last or any year. If I had to choose the stand out episodes were San Junipero and Shut Up and Dance. (Mark: 10 out of 11)
BROADCHURCH – SEASONS 1 & 2 – ITV ENCORE
The 3rd season of this police procedural drama is on ITV now so I thought I’d do a quick catch up of the first two seasons. It begins with the death of a young boy and the subsequent police investigation, plus the impact this has on his family and coastal community of Broadchurch. The first season is first and foremost a terrific “whodunit” as various members of the town are all plausible suspects. Moreover, the brilliant acting duo of Olivia Colman and David Tennant spark off each other throughout the investigation. Writer Chris Chibnall deals expertly with the emotions too as the family – including Jodie Whitaker as the mother of the tragic child – are put through the wringer by the crime. The second season is almost as gripping as the child killer faces trial and Tennant’s character obsessively investigates a historical crime which blotted his police career. Overall, it is an excellent drama with many twists and a superb ensemble cast of British actors. (Mark: 9 out of 11)
LUKE CAGE (2016)– SEASON 1 – NETFLIX
Luke Cage’s reluctant superhero had previously popped up in the Marvel series Jessica Jones and the action follows up from there. He’s a humble man trying to keep a low profile but given he is virtually indestructible it’s not long before trouble finds him in the guise of Harlem gangsters Cottonmouth (Mahershala Ali), Diamond Back (Erik LaRay Harvey) and Alfre Woodard’s crooked politician Mariah Dillard. Luke Cage is decent show with a lot of style, soul and terrific musical performances. The script draws attention to many important historical black figures from history, while the direction harks back to 70s’ Blaxploitation films. Mike Colter in the lead lacks a certain charisma but has power and likeability. Overall the story felt padded out over 13 episodes by some unnecessarily long dialogue scenes and while the fights scenes were strong they lacked the wow factor of say the brilliant Daredevil show. (Mark: 7.5 out of 11)
SONS OF ANARCHY – SEASONS 4 & 5 – NETFLIX
While it’s pretty binary in its tough guys and dolls representations I’m still digging my catch-ups on this neo-Western-hard-assed biker drama. The main reasons to watch the show are the performances of Charlie Hunnam as the ever-conflicted Jax and Maggie Siff as his “old lady” Tara. Katey Sagal and Ron Perlman are also excellent as the matriarch, Gemma and grizzled patriarch, Clay. The twisting serpentine plots of Seasons 4 and 5 find, aside from other gangs and the law, new rivals in the way such as: the Mexican Cartel, businessman Damon Pope and SAMCRO themselves splinter into civil war after Clay’s skulduggery upsets the groups’ dynamic. The seasons are full of the usual grim violence, motorcycle pursuits, gunfire, black humour and lashings of naked flesh. It’s soapy at times but full of great dramatic twists making it very watchable television. (Mark: 8 out of 11)
QUARRY (2016) – SEASON 1 – SKY ATLANTIC
Pitched somewhere between Fargo and the Rockford Files this violent 1970s set thriller was a brutal watch at times. The story finds a recently returned Vietnam veteran, Mac Conway (Logan Marshall-Green) carrying out hits for a murky businessmen called The Broker (Peter Mullan) in order to clear a debt. As a troubled character, suffering from post-traumatic stress, Conway is a fascinating anti-hero and the thrills come from the hellish danger he finds himself in from episode to episode. Essentially, his whole world turns to shit and the only way out of it is to become a reluctant killer. Like Luke Cage music is featured very prominently, notably dirty blues, jazz, rock and soul; while the style is muddy water noir throughout. Marshall-Green is a dead ringer for Matthew McConaughey but is a fine lead and he, Mullan and gay hitman Damon Herriman make this bloody show most watchable. (Mark: 8 out of 11)
TABOO – SEASON 1 – BBC
Tom Hardy produced and starred in this flagship BBC period drama which ran over eight dark-hearted episodes recently. I have to say that it was sumptuous and stylish affair which oozed quality and class throughout. Hardy himself, looking very Bill Sykes in his long black coat and battered top hat, portrayed James Delaney, a man on a mission to get back his fathers’ estate and battle the East India Company for crimes against his body and soul. Hardy’s naked muscular body is something you see a lot of amidst the faux mysticism, American spies, gluttonous Royalty, gap-toothed prostitutes, tattooed ragamuffins and Oona Chaplin as Hardy’s cuckolded sister hiding a terrible secret. The supporting cast are absolutely brilliant especially: Tom Hollander, Michael Kelly, Jesse Buckley, Jonathan Pryce, Stephen Graham and Edward Hogg. Overall, it was more style than substance and the revenge plot was dragged out and did not make much sense really. Still, the smoke-and-shadows style plus the brooding Hardy made it worth a watch. The score by Max Richter though was probably the best thing in the whole show; both majestic and black in equal measures. (Mark: 8 out of 11)
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)
The Cinema Fix presents 