I was almost tempted not to watch Kleo because it sounded like so many things I’d seen before: beautiful ex-Stasi assassin, mysteriously imprisoned for nameless crimes, suddenly out of a job after the fall of the Berlin Wall, takes brutal revenge on all who betrayed her. It’s reminiscent not just of everything from La Femme
Nick Hornby’s 2014 novel Funny Girl was both a heartfelt defence and a convincing example of what popular entertainment can achieve. Telling the story of Barbara Parker, a fictional 1960s TV star, it took a stern line on highbrows who prize the punishing over the pleasurable, while delivering a lot of pleasure itself. My only
The Last of Us is widely being hailed as the best video game adaptation ever. Maybe. But it’s still a video game adaptation. On one of the early levels, for example, you have to escape from a zombie apocalypse that has broken out in Houston, with your truck and your guns, being careful also to
For around a decade now, Grayson Perry has been making reliably thoughtful and entertaining documentary series about such things as class, contemporary masculinity and modern secular rituals. (All a lot more fun than they sound, I promise.) Equipped with an infectious Sid James laugh and an impressive commitment to affability, he’s demonstrated a willingness to
Kaleidoscope is a fairly routine eight-part heist drama with a supposed novelty spin: apart from the beginning and the end, you can view the episodes in any order, meaning that each viewer has a slightly different experience. If I sound mildly sceptical, it’s because the novelty isn’t actually that novel. B.S. Johnson got there 54
On 3 February 2003, the emergency services in Los Angeles received a call. ‘I’m Phil Spector’s driver,’ a voice told them. ‘I think my boss killed somebody.’ This was the inevitable yet still extraordinary starting point for Spector – a new four-part documentary on a man who, in the face of fierce competition, might well
A strange new virus has infected half the world but the cure is worse than the disease: authoritarian tyranny, in which the populace lose most of their freedoms, are subject to endless testing and are corralled into gated communities. I’m talking, of course, about the wildly implausible plot of a dystopian sci-fi thriller called Hot
What’s wrong with sentimentality? The answer, I’d suggest, could either be: a) its almost bullying insistence on us having emotions disproportionate to anything a particular story has earned; or b) nothing at all. And if you want to see how both of these are possible, two of this year’s big Christmas TV offerings provide handy
Graham Hancock’s Ancient Apocalypse has been described by the Guardian as ‘the most dangerous show on Netflix’. What? More dangerous than the undigested, neo-Malthusian eco-propaganda that it serves up in its collaborations with Sir David Attenborough? More dangerous than its notorious movie Cuties, whose portrayal of hypersexualised children prompted a worldwide ‘Cancel Netflix’ campaign? The
For those who consider themselves traditional liberals (full disclosure: such as me) Sunday’s first episode of Simon Schama’s History of Now may have felt like a somewhat dismaying exercise in nostalgia. As Schama ran through a familiar anthology of 20th-century liberalism’s greatest hits, we were taken back to a happier, more recognisable world of clearly
TV currently abounds with ‘I thought they were dead’ revival projects: series in which your favourite 1980s movie stars are given a new lease of life and you are reminded – with luck – how much you loved them. Kevin Costner is doing very well in Yellowstone; Ralph Macchio is milking the Karate Kid legacy
Have you ever seen film of the England 1966 football team holding the World Cup at the Royal Garden Hotel, Kensington, on the evening of their victory? The answer, I can guarantee, is no. Unbeknownst to everybody except a few policemen and FA officials, what they were holding was only a replica, made a few
Gratingly edgy soundtrack, stomach-churning gore, torture, witchcraft, sadism and an indigestible title. The Bastard Son & The Devil Himself sounds exactly the sort of series most of us would wish to avoid. It’s aimed at young adults (based on a trilogy by Sally Green called Half Bad) and the only reason I was keen to
Sunday’s SAS Rogue Heroes – about the founding of perhaps Britain’s most famous regiment – began with a revealing variation on the usual caption in fact-based dramas about how everything in them really happened, except the things that didn’t. ‘The events depicted which seem most unbelievable,’ it read, ‘are mostly true.’ And from there the
Russia 1985-1999: TraumaZone – even the title makes you want to scream – is Adam Curtis’s Metal Machine Music: the one where he frightens off his fans by abandoning the trademark flourishes that made him so entertaining and instead goes all pared-down and raw and grim. If you don’t know or remember what those trademark
At the start of Somewhere Boy, an 18-year-old boy is rescued from an isolated house by his aunt Sue following his father’s suicide – and what she, the police and social services regard as a lifetime of abuse. Since he was small, Danny’s father, Sam, had forbidden him from going outside, telling him the world
We men all think we’ve still got it, even when we’re well past 50 and young women look straight through us and every time we get up or sit down or lift something off a shelf we sigh or grunt with the effort. But sure, if push came to shove and we had to defend
On first impression, you might have thought that Unbreakable was just a fairly desperate reality show cobbled together from I’m a Celebrity, Mr and Mrs, Taskmaster and It’s a Knockout. After all, the format is that people of varying degrees of fame – from Simon Weston to, er, the bloke who presents MTV’s Celebs on
You’d have to pay me an awful lot more than I get for this column to review Monster: The Jeffrey Dahmer Story. As I write, it’s the number one trending show on Netflix, but the most I’m prepared to stomach is that snatch of footage you get forced to watch (because of Netflix’s impertinent and
Crossfire was a three-part drama in more ways than one. Running every night from Tuesday to Thursday, it brought together a Die Hard-style thriller, an exploration of the complexities of family life (with particular reference to middle-aged womanhood) and a meditation on the nature of time. Odder still, it worked pretty well on the whole
