MrJRGO Reviews

The Gentle Touch (1980–1984)

Series 2 - The Quality Touch

[3 October 2020]

(See my review for the first series). The show is currently running every Monday night, 10pm, on the UK's Talking Pictures (Freeview Channel 81).

Back in 1980, the second series started airing less than four months after the first finished, probably to capitalise on its success and to not allow the BBC's Juliet Bravo to take all the limelight. Anybody who was worried that they were rushing the next series out would most likely have been relieved that it was better than the first, fleshing out the characters a little more, particularly our heroine Detective Inspector Maggie Forbes.

I can say that Jill Gascoine's portrayal of the embattled Detective Inspector is truly exceptional and although I was quite young at the time, I'm sure she didn't get the recognition she deserved. The pressure on her must have been immense and yet it doesn't show one bit. She manages to find a perfect portrayal of a woman doing a hard job in tough conditions whilst also showing her to be a mother and a human being. Some of this was down to the quality of writing and the excellent support she got from the cast, but plaudits must go to the late Jill Gascoine.

Regarding the second series, I'm pleased to say we see the more memorable opening credits with the faster music that the first series missed out on. Perhaps there is a little more polish to the second series, the writers and the cast feeling more confident and comfortable in their work. The stories are interesting and keep you hooked from start to finish, bearing in mind that these episodes are an hour long with two short advert breaks. If my attention wanders, it's brief, and I'm often engrossed until the final credits start running, leaving me looking forward to the next week.

The second series strikes a good balance between presenting Maggie at work and in her private life, although the two are often linked. It does a good job of showing the human side of our leading lady, plus some interesting but minor development of other major characters. For instance, it's becoming clear that the chill between Maggie and Detective Inspector Bob Croft is thawing as well as the fact that her teenage son is doing some growing up.

It goes without saying that some episodes are stronger than others with my personal favourites being 'Something Blue', 'Decoy', 'Menaces', 'Chance' and 'Shame', with the episode 'Hammer' being the one that didn't click for me. Always interesting as well, as you often get when watching old TV shows, is seeing the familiar faces popping up in roles, quite often before they were famous. The second series has more than its fair share of these.

That's now seventeen Mondays on the trot that I have tuned in at 10pm and my desire to continue watching 'The Gentle Touch' is still unabated. I hope to watch all 56 episodes on this one a week basis and I'm finding it thoroughly enjoyable.

Series 3 will start at 10pm on Monday (5th October 2020), Freeview, Ch81 Talking Pictures. It's not too late to start following the show. There are still 39 episodes to come.

Series 1 - 8/10 Series 2 - 9/10

The Gentle Touch (1980–1984)

Series One - The Realistic Touch.

[26 July 2020]

As of June 8th, Talking Pictures (Ch 81 Freeview) have been running 'The Gentle Touch' from the very start, one episode a week, at 10pm every Monday. I know they've run the whole series on at least two occasions before but that was even later in the evening and was every weekday. This time, we can watch it on a weekly basis, at a reasonable time, as it was originally shown in the early 1980s.

The first thing to notice with the inaugural series is that the opening credits were different and the music was slower, somewhat more eerie, almost despairing. A shorter series than the following four, it did a good job of introducing us to the main protagonist, Detective Inspector Maggie Forbes, played by the late Jill Gascoine. And was it coincidence that a year after we elected our first female Prime Minister in the UK, the lead character in 'The Gentle Touch' was called Maggie? Did that give her toughness more authenticity in the eyes of the British public?

You have to remember that Jill Gascoine was in the vanguard for TV actresses as no other cop show had had a female lead. In fact, I don't think many TV shows had had a female lead. Remember, this was prime time Friday night TV when there were only three channels to watch. Viewing figures would have been very high and people would have been talking about it in the pubs the next night. There would have been a great deal of pressure on her to pull it off, and to say she handled it with aplomb is a colossal understatement.

The first series begins by pulling no punches when Maggie Forbes' husband, disgruntled with life in the force, is gunned down during a robbery half way through the first episode. You're expecting him to be a main cast member but his cruel sacrifice then allows the show to tackle issues such as single parenthood or frees up Maggie for some romantic interludes, one of which takes place in the weakest episode of the series, Rogue.

My take on The Gentle Touch, Series 1, is that it was well written and appeared to give a true to life depiction of police work. Slower and more thought provoking than 'The Sweeney', the title 'The Gentle Touch' belied the fact that it could be a tough cop drama and Detective Inspector Maggie Forbes was no shrinking violet when it came to expressing her opinion, especially with her arrogant, chauvinistic, Detective Inspector colleague Bob Croft (Brian Gwaspari), who she clearly dislikes from the off.

I don't recollect a whole lot of accompanying music throughout the show, giving a more realistic touch in my opinion. This is aided with occasional insights into Maggie's home life with her son and her father.

Also good to see future Casualty star Derek Thompson as Detective Sergeant Jimmy Fenton, playing him a bit cocky and with a proclivity for winding up potential suspects. William Marlowe's authoritative Detective Chief Inspector Russell pops up occasionally in this series, but we will see far more of him in later series.

It's also hard not to notice how the show strongly highlights the then prevalent attitudes in British society towards race, gender and sexuality. It is amazing to think that this was prime time TV and how far we have come in the last four decades.

It's always interesting as well, when watching old shows, to see other familiar faces pop up. Some who were known at the time and some who were yet to become famous, there's a few here.

Overall, an enjoyable return to 1980s British television and I look forward to the rerun of the second series starting tomorrow (27th July 2020).

RIP Jill Gascoine

The Shining (1980)

A horror classic

[25 July 2020]

Jack Torrance (Jack Nicholson) agrees to take on the role of winter caretaker for the isolated Overlook Hotel in the Colorado mountains, along with his wife Wendy (Shelley Duvall) and psychically gifted son Danny (Danny Lloyd). But will Jack regret his eagerness to take the role, especially after hearing of a former caretaker's murderous spree and the fact that the hotel was built on a Native Indian burial ground.

I've read many Stephen King novels and I've seen many of the film adaptations of his books and I can wholeheartedly concur that the novels are better. As it happens, I haven't read 'The Shining' so I can't compare it to the film but I can say that the film is far better than other movies linked to the iconic horror writer's work.

The film opens with what turns out to be Jack Torrance's car driving through the open expanses of the Colorado wilderness on the way to a job interview for the role of winter caretaker as a secluded hotel. The hotel itself is huge, and along with the accompanying wide open space surrounding it, weather permitting of course, there should be enough to keep the family busy for the next five or six months. Here, you are King of the castle, surveying your kingdom, the world is your oyster. What could possibly go wrong?

Well, to me at least, this film is about the effects of long term seclusion and isolation on the mind. In some respects, I would say the ghosts are irrelevant. Now I say that with a particular fondness for two of the main apparitions, Lloyd the barman and Delbert O'Grady the former caretaker. Both are played to perfection and bring a quiet menace to the film. However, Jack Torrance already has his demons and the isolation slowly starts to allow those demons to play and wreak havoc. The apparitions and evil presence of the Overlook only serve to heighten the tension and drive the story along. However, my sentiments are that ghosts or no ghosts, Jack's isolation from society is taking him down a dark path.

The story now has more of a relevance for many of us after three months of lockdown, with a lack of social interaction causing many people mental health problems. Human beings are social animals and a lack of social interaction, even in the setting of a large hotel in the mountains, and maybe even more so, is going to cause tremendous damage. Yes, Jack is with his wife and son but people need varying social challenges to keep the mind active, making life feel fresh rather than vapid.

As far as the making of the film goes, the performances are excellent all round, especially from the young boy who plays Danny. For a young chap to convey such terror, fear and confusion in his face is nothing short of a miracle. Whether the director used some scary props to stimulate those fears, I don't know. All I know is that I really felt his terror. His pathos, for such a young chap, was exceptional. The scenes between Jack and Wendy on the stairs and in the bathroom are also classics. I'm always gripped, no matter how many times I see them. If some of the scenes did have numerous takes, well then it was worth it. Also the scene where Wendy reads the results of Jack's repetitive typing, which just goes on and on, sends a shiver down your spine as you you shift uncomfortably in your seat more than once. Brilliant stuff although I feel for the poor person who had to type all those pages out.

'The Shining' also handles the tension levels perfectly. It successfully starts with a minor sense of foreboding which gradually increases over time. For a while, we're left thinking that there is a chance that Jack will come through and save the day for himself and his family, but once his mental instability is tipped over the edge, we are treated to a relentless attack on our nerves.

There are many periods of the film without dialogue, sometimes even without any obvious action, and yet this works exceptionally well to ramp up the tension and suspense. So much can be said without words and the actors do a great job of conveying the emotions of the characters. Where there is dialogue, it is of a high quality with no room for any frivolities. The only thing that feels a little superfluous to the story is Halloran coming back to the hotel from his home in Florida, only to be brutally murdered by Jack. Feels a bit pointless and doesn't achieve anything other than a scare and senseless loss. Perhaps that's why it's in the film.

On a more frivolous note, the Shining is always worth a watch for the 70s decor. I wonder if, or when, we'll ever see a return to such strong, bold patterns in our homes.

I'd also be interested to see the original version that hit the American cinemas back in the day in its entirety, before it was so heavily edited by Stanley Kubrick. It appears he edited it for European audiences after the film received poor critical responses and lukewarm box office in the States. However, European audiences handle lengthy films better than US audiences and the original version would make for interesting viewing in my opinion.

Overall, forty years after the film hit cinemas, 'The Shining' still endures as a great horror. It's one of those films that always leaves you thinking about it the day after you watched it, hence this review.

Three Billboards Outside Ebbing, Missouri (2017)

An inimitable, well written, superbly acted, thought provoking film.

[19 July 2020]

A mother, Mildred Hayes (Frances McDormand), tries to give the local police department a kick up the backside in her attempt to find the individual who murdered her daughter.

With a title like 'Three Billboards Outside Ebbing, Missouri' and a cast including Frances McDormand and Sam Rockwell, I had an idea of what to expect. And I was right, a film that touches parts of your brain that the standard Hollywood fare can't. Gritty and real, dark humour entangled with drama, plus some moments that are either poignant or unpleasant.

Three Billboards' is essentially about pain, in particular about a mother's pain and guilt after the unsolved murder of her daughter, but also the pain of a number of other characters, most notably Chief Willoughby (Woody Harrelson) and Officer Dixon (Sam Rockwell). In Mildred's case, the emptiness of her life after her daughter's murder is unbearable, driving her to extremes in order to make important people sit up and take notice. The ultimate rule was broken when her daughter's life was taken so she no longer believes that rules apply to her.

Additionally, her husband has left her for a stunning 19 year old as well as partially blaming her for the death of their daughter. Worst of all, the perennial weight of her own guilt and regret is gnawing away at her humanity.

It's sometimes difficult to feel for Mildred when she is so cruel to others. We can understand why she behaves in such a way but it doesn't mean we condone her behaviour. The film tests how far we are prepared to accept a grieving mother actions before, or if at all, we lose sympathy.

The language is fruity with the use of the 'c' word and there are some extremely difficult moments where the viewer has to face a character laying bare their real feelings, causing deep hurt for others. There's no reticence here and I'm sure many viewers' jaws hit the floor. 'Three Billboards' is certainly not afraid to make the audience squirm a little.

Interestingly, the film ends on a juxtaposition where two of the main protagonists are beginning to see the light at the end of the tunnel at what is probably the darkest part of the film. Perhaps it is only when we get to our lowest point, where we can sink no lower, that we only start to look up.

The acting is top quality from all concerned and the script is excellent. I never lost interest throughout the film and was only disappointed that its two hour running length wasn't considerably longer. That's when you know you've watched a genuinely good film.

Car Share: The Cyclist (2017) Season 2, Episode 1

A seamless transition into the next series

[27 June 2020]

The first episode of Series 2 sees John driving to work alone and Kayleigh catching the bus now that she's moved to her sister's. Will the burgeoning relationship from the first series start to dwindle or will our two protagonists find a way to keep the fire burning?

An auspicious start to the second series sees Kayleigh and John successfully reunited, allowing the relationship to continue and even getting Kayleigh back into John's car for most of the episode. It ends with John having an excuse to pick Kayleigh up the next morning so perhaps the distance problem has been solved.

'Peter Kay's Car Share' has always been happy to show the protagonists' flaws and this time we see a churlish side to John's nature when he argues with a cyclist whilst waiting at the lights. For a moment or two, it even looks like it might end up getting a bit tasty, but the writers know where to draw the line, and this is a comedy after all, so the scene ends up one of the funniest of the show so far.

It's yet another scene that highlights a major strength of 'Car Share' as John and Kayleigh's situations often mirror our own experiences, so we feel a stronger connection to the two characters. We're not just laughing at John and the cyclist in this particular scenario, we're laughing at ourselves, only now we have the advantage of being more objective about it.

Where the last two episodes of the first series placed more emphasis on Kayleigh's secret feelings for John, the second series starts by rebalancing things, giving more weight to John's real feelings for Kayleigh. It also appears that Kayleigh's reticence is diminishing whereas John's isn't.

Oh and Kayleigh's reverie comes earlier than usual in this episode. Don't know whether that's a sign of things to come, but I shall certainly be finding out as the show has become must watch TV.

This episode was filmed two years after the first series was and yet it feels like it could have been made the following week. The writing, the production and the acting has been of a high quality right from the start and my expectations are now very high for the remaining episodes.

Car Share: The Final Car Share (2015) Season 1, Episode 6

What a great way to finish Series One.

[20 June 2020]

The final episode of the first series sees John and Kayleigh sharing the car for the last time. They celebrate by having a fry up at a café as well as giving each other a present before a kiss goodbye.

After declaring last week's episode the best so far, I can now say that this episode tops it. Potentially a big banana skin which could leave the audience feeling turned off, the final episode to series one is the perfect blend of humour and emotional expectation.

We do still see a continuation of the tension from the last episode where John and Kayleigh repress their feelings for each other, although we know the true score. The breakfast in the café is a welcome break from the car, almost as though it's allowing the viewer to stretch their legs because we've also spent so much time in the car with John and Kayleigh, but the name of the show is 'Peter' Kay's Car Share' and the car is where virtually all of the scenes are shot.

The soundtrack is in the back ground as ever with songs pertinent to the relationship and true feelings of John and Kayleigh. They're played loud enough for us to absorb but not too loud to diminish the dialogue between the protagonists.

This episode's reverie is also the best yet as it's really given the full treatment. Sian Gibson looks absolutely stunning and, not having seen Series 2 and 3, I'd be surprised if it is ever beaten. I find some of the series' reveries to be a bit hit and miss, perhaps feeling a little bit superfluous to the show, but this one is fantastic and raises the mood several notches, setting us up nicely for the potency of the series' conclusion.

The final scenes are cleverly tempered by John reminding Kayleigh, and the viewer, that even though they won't be car sharing again, they'll still be working at the same store and will see each other again. Perhaps Kayleigh fears it'll be difficult to get John alone again, especially before Rachel gets her perfectly manicured hands on him?

Finally, I'd say that the best scene of the entire series is saved right until the very end. It could have finished far too sugary or felt fake, but Peter Kay and Sian Gibson judge the mood just right, with both characters showing genuine warmth for each other and allowing the first series to finish on a high, whilst leaving the door open for a return and the 'will they, won't they' question still very much alive.

On the 15th May 2020, the BBC started rerunning this show at 9.30pm on a Friday and I decided to invest in these two characters. I'm glad I did because I finished this episode feeling genuinely happy for both characters and looking forward to the start of the rerun of Series Two next week.

Car Share: The Kids (2015) Season 1, Episode 5

The best episode so far

[13 June 2020]

John has to take Kayleigh's irreverent nephew, and also her niece, to school. He ends up with his arm in a sling after a fall, leaving Kayleigh to drive him to and from work. The car breaks down after she puts the wrong fuel in and to add to his misery, Kayleigh declares she is going to have to move away. One bright light on the horizon for John is a potential date with sexy Rachel but how will Kayleigh feel about it.

My favourite episode so far, although that probably says more about me than anything else. This is where everything goes wrong and yet it feels so right for the viewer. The acting is at its very best throughout and, for me, this is where John and Kayleigh's relationship begins in earnest. I've enjoyed previous episodes but this is the first one with laugh out loud moments, with an honest portrayal of two people where deep emotion is involved and things are not going to plan.

Very cleverly written. The story could have felt trite, heading down such a well trodden comedic path, but it still manages to feel fresh and original, setting the series up nicely for its concluding episode.

Father Ted: Entertaining Father Stone (1995) Season 1, Episode 2

Entertaining

[7 June 2020]

Father's Ted and Dougal are not happy to find it's that time of year when the most taciturn priest in Ireland, Father Stone, arrives for his annual visit. Ted's efforts to get rid of him eventually backfires and leave him regretting his selfish motivations.

Quite a brave episode to use as the second in a completely new series that is yet to gain an established audience. Surely the idea of basing a whole episode around a priest who only utters the occasional word is akin to signing your own comedy death warrant but not here. Of course there are scenes with plenty of dialogue too, but strong performances from Dermot Morgan as Ted, and the hitherto unknown Michael Redmond as the titular Father Stone, make the quiet scenes almost as good as the more garrulous ones (not quite as good though). The acting is superb because you can feel Ted's frustration whilst you can't help but like the rather inoffensive Father Stone.

Throughout the three series, and I'm assuming this is done deliberately, Ted is portrayed as someone with no spirituality whatsoever, yet here we see him appealing to the heavens for help on two occasions. Ted's acknowledgement of an omnipotent being crops up throughout the show's run and confuses me. He obviously does have a sense of spirituality and, the thing here is, that Ted's prayers ARE answered ... on both occasions. Divine intervention or coincidence? I suppose we all take our own answer from that.

As I've said in previous reviews of the show, a major strength of the writing of Father Ted is the ability to take a simple subject, in this case an overly reserved priest, and milk it for a whole episode of comedy. Within the episode, the scene where Ted wants privacy in the bath is a classic and, for me, it's the first of many classics of the series.

It's good to see John and Mary are back, quite obviously having been through self-inflicted wars, with Ted and Dougal are fooled by their phoney intimacy, a gag that runs through the whole three series yet still remains funny. The injuries look to be the result of quite vicious actions, something more akin to a horror film, so again the writers are not afraid to head down a darker path. That said, it is a comedy and a jolly good at that.

Father Ted: Good Luck, Father Ted (1995) Season 1, Episode 1

A comical, and yet earnest, introduction to the world of Father Ted.

[7 June 2020]

The opening episode of series one sees our introduction to the three priests residing in Craggy Island's Parochial House, namely Fathers Ted, Dougal and Jack, all looked after by their housekeeper Mrs Doyle. With the TV show 'Faith of our Fathers' coming to the island to interview Father Ted, and the Funland Fair coming to 'The Field' (it's not really a field but it has less rocks in it than the rest of the island), the show firmly lays its cards on the table for what we can expect from the rest of the series.

Many of the traits that we know (and love) about the three priests and their housekeeper are introduced to us here. The selfish Ted, the asinine Dougal, the lecherous Jack and the obdurate Mrs Doyle. Obviously, 'Good Luck, Father Ted' needs to take time to start to build the relationship between the main characters and the audience and it does this successfully. It doesn't try and give us too much information about the leads but nudges us in the direction of what to expect from these three reprobates and the anachronism that is Mrs Doyle.

However, there are still plenty of laughs to be had and one rather unconventional scene for a comedy, namely the musical interlude by the sea, which always helped to set Father Ted apart from other comedies in my eyes.

We're introduced to some of the other regulars like the argumentative couple Mary and John as well as the psychotic Tom, the latter being another example in my mind which sets Father Ted apart from other comedies. Many writers would have backed down from having such a strange and threatening character like Tom in their show, but not Linehan and Mathews. Tom's inclusion could have damaged the appeal of the show but his character works, possibly because there's already a main character who is quite vigorous and violent in his actions in the form of Father Jack.

Back in 1995, when this was first aired, the egregious behaviour of these three priests probably came as quite a big shock to many who had only ever viewed the Church from afar. However, along with the other Father Ted episodes and many of the unfortunate real life stories that have got out over the years about the acts of turpitude by some members of the clergy, first time viewers probably won't be as shocked as we once were.

Some people might have expected the show to tone down its satirical attacks on the Catholic Church for fear of alienating a large chunk of the potential audience but I don't think that the Graham Linehan and Arthur Mathews ever wrote Father Ted in order to appeal to the masses. This was never going to be BBC1 material and it's all the better for it.

'Good Luck, Father Ted' is an auspicious start to a TV show that would only improve with time.

Casino Royale (2006)

One of the best Bond films to ever be made.

[7 June 2020]

'Casino Royale' sees James Bond (Daniel Craig) acquire his 007 status before racing around the world to stop an immoral banker, Le Chiffre (Mads Mikkelson), who helps to fund world terrorists, and in particularl, a mysterious new organization. Le Chiffre has lost a huge sum of money on the stock market after Bond foils a plot to blow up an airplane in Miami. Needing to raise funds quickly, he decides to hold a very high stakes Poker game at Casino Royale in Montenegro. 'M' sends 007, who is accompanied by accountant Vesper Lynd (Eva Green), to participate in the game, to stop Le Chiffre and to find out more about this new menacing, secret organization.

I think it's important that we give the making of 'Casino Royale' some context for those who weren't around at the time and for those who've forgotten everything that surrounded the making of the film in 2006. Many people had not been happy with the direction the Bond films had been going in for some years. The last two films in particular, 'The World Is Not Enough' and 'Die Another Day', were seen to be two of the worst. The arrival of Matt Damon's Jason Bourne in 2002, and the follow up in 2004, had also heaped pressure on to the Bond franchise with a fresher, more realistic action orientated superspy, not reliant on CGI, making the latest Bond offerings look banal as well as rivalling him at the box office. Bond had become a parody of himself and Bourne looked like a natural successor.

The decision was taken to reboot the series by taking James Bond back to basics with a new actor in the role of the iconic spy. 'Casino Royale' had been the first Bond book published in 1952 and the only one of the series not yet to have a film made about it (the David Niven 1967 spoof doesn't count).

So we arrive at the movie itself which was to be Daniel Craig's inaugural film as James Bond. It was quite possibly the most anticipated Bond movie of all time as there had been a mixed reaction to the casting of Craig, a relative unknown, as 007 a year earlier. A war of opposing sentiments had erupted on-line with two websites, CraignotBond and CraigisBond, set up to do battle after his announcement as the urbane British spy. The online war raged right up until 'Casino Royale' was released in cinemas November 2006, with the pro-Craig side emerging victorious as critical acclaim and widespread audience approval of 'Casino Royale' finally quashed all rebellion against Barbara Broccoli's interesting choice for protagonist.

Whether any of this affected the making of the movie or not, the fact is that Casino Royale is a terrific film, with an excellent James Bond at the head of a fantastic cast reading from a quality script, with fantastic direction and production, and one of the best Bond themes in Chris Cornell's 'You Know My Name'. Here we see Bond in the raw, earning his 007 status, allowing his ego to take control, making mistakes but still saving the day as only James Bond can. Don't worry, this is very much James Bond in a James Bond movie but one with a subtle difference.

The film's running time at nearly two and a half hours is just right as the time whizzes by. At no point do you find yourself looking at the clock as you're far too absorbed in this unique Bond story, one that really can stand alone from the rest of the series. The film changes pace on numerous occasions and is happy to flick back and forth between the action scenes, the tension at the poker game and the more tender moments with Vesper Lynd without losing the viewer. It is all blended together perfectly. 'Casino Royale' is also a film that has matured well over the past fourteen years and plays like it could have been made in the last twelve months.

A big well done to Daniel Craig as well. The pressure of being James Bond, let alone for the first time and amidst so much online discussion, must have weighed heavily on him and yet he handles the role with aplomb. In 'Casino Royale', Craig shows that he can be both the blunt instrument and the charismatic lover that we expect of James Bond. His final line in the film is so well delivered and sums up his overall performance. It was an auspicious start for Daniel Craig as James Bond and even though 'Quantum of Solace' wasn't the follow up that most hoped for, his exceptional performance in 'Casino Royale' wasn't a one off.

The Land That Time Forgot (1974)

Enjoyable yarn to awaken the imagination

[3 June 2020]

I was too young to see 'The Land That Time Forgot' when it originally premiered in the cinemas in 1975 but I saw it several times growing up and loved it. It had everything that a young boy/teenager wanted in a fantasy movie - gargantuan monsters, pre-historic tribes, active volcanoes, punch ups and a sense of wonder and amazement.

Putting aside the rubbery monsters and glaring plot holes, ''The Land That Time Forgot' is an enjoyable romp that keeps your attention from start to finish. It takes you on a thrilling ride of danger and excitement with a potent sense of fantasy. The film doesn't overstay its welcome at a running time of 91 minutes and at no point loses it's way. It also takes some time to develop some semblance of a story before arriving at Caprona, the land that time forgot, whereas other movies would have got you there as quickly as possible. This helps to add just a little extra anticipation.

Many of the characters are there to add to the bodycount, which is high, but some of the leading characters add a little more depth. Doug McClure's hardman Bowen Tyler shows surprising pathos in one of the film's later scenes whilst John McEnery's Captain Von Schoenwarts inverts the usual German stereotype to play a fair minded man with an interest in the origins and development of life. Considering this is a British made film with an almost entirely British cast (the exception being American Doug McClure), made thirty years after WW2 ended (this is set during WW1 though), there are surprisingly good sentiments towards the Germans, although there is still room for Anthony Ainley's duplicitous Dietz to give us someone to be wary of other than the monsters and pre-historic tribes.

The film's unusual ending also gives the audience a welcome change from the banal endings that usually conclude most movies and it allows that childlike sense of wonder and amazement to stay awake a whole lot longer.

Fantastic Beasts and Where to Find Them (2016)

Fantastic Films And Where To Find Them. Right Here.

[1 June 2020]

Newt Scamander (Eddie Redmayne) is a young British wizard who comes to 1920s New York to save numerous endangered magical creatures, who are under threat from other wizards, as well as from normal people. Along with two witches, Tina (Katherine Waterston), her sister Queenie (Alison Sudol) and a muggle Jacob Kowalski (Dan Fogler), they race around New York and its hidden world of witchcraft in an effort to save as many magical creatures as possible and to defeat the menacing creature which wreaks havoc on New York's streets.

Now, I'm not one of those people who avidly followed the Harry Potter films, although I did enjoy the ones I saw, so I came with a certain sense of expectation to 'Fantastic Beasts And Where To Find Them'. I like Eddie Redmayne and I'm happy to put my faith in J.K.Rowling to enchant me with her imagination, so my confidence was high that I would enjoy the film. And I was right. It's a superb romp through a magical world that the child in all of us really hopes exists and wishes we could be a part of.

Right from the off, an auspicious start evokes a sense of wonder and foreboding, where anything is possible. Redmayne's Newt Scamander takes a little getting used to and I'd be interested to know why they decided to play him in a shy, socially awkward way. It certainly makes a change from having an overtly confident hero, but J.K. Rowling obviously has form with creating a geeky hero. Katherine Waterston's Tina is welcome as a love interest for Newt and Dan Fogle's Jacob Kowalski gives the audience a mirror image as to what it would be like to be a muggle in this magical kingdom. Good performances by both, particularly Fogle.

Interestingly, they tease a potential love interest for Jacob with Tina's sister Queenie, a witch, which inverts the usual situation of the normal, everyday girl with the otherworldly male. This time it's the everyday guy and a beautiful witch, making a nice change so hopefully it's developed in later films (and perhaps other writers take note for their works).

'Fantastic Beasts' moves along at a fair old pace but at no point leaves you feeling left behind. At two hours twelve minutes, it is just the right length, ending on several positive notes and leaving you wanting more. I know a second film has been released and apparently three more are in the pipeline so, hopefully, there's plenty more to come.

It would be nice to see more of the Macusa wizards and witches in future films. They play a small, but important, role in this film and I think there's room there to develop a few of them into more prominent characters.

Overall, it's hard to find fault with 'Fantastic Beasts And Where To Find Them'. You leave the film on a high, re-energized, and with all the magical possibilities flying around your head. Basically, you feel like a child again.

Kong: Skull Island (2017)

Does what it says on the tin.

[1 June 2020]

Set in the early 1970s, a team of scientists, backed up by armed forces, venture to a newly discovered island in the Pacific. All of them, bar one, think they're going for geological or scientific study but it's not long before they come face to face with the island's bigger inhabitants.

'Kong : Skull Island' does what it says on the tin. It's about a huge monster, with other huge monsters, on a mysterious island containing spectacular and foreboding landscapes, and how human beings who we don't care about, get eaten, squashed, blown up and human beings we do care about manage to escape to tell the fantastical tale to an unsuspecting world.

All of the above is what you go for and all of the above is what you get when you watch this. One criticism is that a little more character development would have been welcome. Some of the cast feel like they're giving lacklustre performances here. The only one who really grabs me is John C. Reilly, playing a Ben Gunn type character who has been marooned away from civilisation for many years. His craziness and openness makes him likable but Reilly also adds the right amount of pathos when his character reveals his thoughts about the wife he left behind and the son that he's never seen.

The special effects are good and I did find myself rooting for Kong in some of the fight scenes, with a self satisfied, smug look on my face when he wins the day (that's not a spoiler because it's a given that Kong will survive and win, he's Kong). The fight scenes are good although I don't think they're quite as good as the ones in the most recent Godzilla.

Overall, a decent effort but I expect better from the next Kong movie.

Carry on Up the Khyber (1968)

One of the best Carry Ons. It's a Pass from me.

[1 June 2020]

'Carry On Up The Khyber' sees many of the usual Carry On favourites, this time in colonial India. Sid James plays Sir Sidney Ruff Diamond, head of the Third Foot and Mouth regiment located close to the Khyber Pass, whilst Kenneth Williams takes on the role of the Khasi of Kalabar, who is beginning to believe that the British might not be as invincible as previously thought.

'Carry On Up The Khyber' is a welcome change for the series as it is one of the few that's not based in the UK, but that's the only change you'll get because this film is laden with the usual Carry On double entendres and gags.

For many years, this wasn't one of my favourite Carry Ons but I've realised that it's actually one of the best. It largely benefits from being able to ridicule two cultures, namely British and Indian, and because it's set in colonial times, it allows Peter Rogers to successfully satirize the old fashioned Victorian attitudes as well as the more pertinent attitudes of the late 1960s when this was filmed.

There's no way a film like this would be made today but the humour is actually quite harmless, even endearing at times, and there are some clever one-liners too. It's a fallacy that Carry Ons were purely unintelligent, bawdy humour aimed at the brainless masses.

The amount of dryness in Up The Khyber is enough to give a man a thirst but it works particularly well. Excellent performances all round, particularly Sid James and Joan Sims, who bounce of each other so well, and Terry Scott, who was born to play Sergeant Major McNutt. Roy Castle too. I'm surprised he wasn't in more of the films.

Definitely worth a watch, whether you're new to the series or whether you've got them all on video.

Father Ted: Speed 3 (1998) Season 3, Episode 3

Hot stuff

[31 May 2020]

Speed 3 is the most highly rated Father Ted episode on IMDb and it's easy to see why. From start to finish, there's regular laughs as well as, arguably, the most famous, one-off character of all three series in the form of Pat Mustard.

Easily one of the best episodes of the entire run, it includes all the usual ingredients you'd expect from Father Ted and a little bit extra. The scenes, both outside and inside, where the priests are trying to save Dougal from the exploding milk cart are just pure comedy perfection and some of my personal Ted favourites.

The writers have rarely allowed Ted and Dougal to play second fiddle to another character but Pat Mustard dominates here, even when he's not on screen. I would even say that he's one of the most unforgettable characters on TV, not just in Father Ted. A totally over the top character, bigger than life, and yet he inhabits the screen without ever appearing to be out of place.

How the writers come up with these ideas and then weave them magically together so that 'a brick' can play such a vital role in Speed 3 is just beyond me. To have the temerity to link an episode of a series about three priests and their housekeeper with a large Hollywood blockbuster of a few years before takes some balls and could have badly backfired, but somehow, in the crazy world of Father Ted, it works sublimely. Perhaps the boldness of the writers is a big part of why they became so successful and maybe aspiring writers should take a leaf out of their book.

Whatever you do, even if you don't watch any other episode of this show, please watch this one.

Father Ted: The Mainland (1998) Season 3, Episode 4

Comical capers and chaos on the mainland.

[31 May 2020]

This hasn't been one of my favourite Father Ted's over the years, so I've tended not to watch it when it's come on the TV, but I saw it last night and can't understand for the life of me why I've been previously dismissive of it. It's an absolute corker.

It has all the classic ingredients which make Father Ted one of the best comedy series to grace the television screen. The writers have a canny knack of taking mundane, simple situations and turning them into chaos and disaster, with this episode being a perfect example.

There's a bigger role for Mrs Doyle as well, although perhaps that can be said about the third series in general, and Pauline McLynn does not disappoint. Always surprised they didn't create a spin-off show for Mrs Doyle.

As usual, there's a good mix of satire and slapstick with the added bonus of Richard Wilson appearing as himself. It's a very clever move, if done correctly, to add a famous face playing himself, as it makes the characters of the show feel even more real than normal. Here they are, acting up around a TV personality that we all know, just the same way we would. Big thumbs up as well to Richard Wilson for being prepared to send himself up.

We're regularly reminded throughout the three series that Dougal isn't always the most asinine character, and this episode is no different with Ted's impetuous outburst in the police station highlighting that he's just as capable as his dim-witted sidekick of turning a positive into a negative.

'The Mainland' includes a second appearance from Father Noel Furlong (Graham Norton) and his lugubrious, young associates which is most welcome. Father Jack features a fair amount as well, although his behaviour is more subdued compared to normal. Perhaps the writers felt that his usual antics might be too much in an episode already featuring an agitated Richard Wilson and a hyperactive Noel Furlong.

So, from now on, this will be one of the many Father Ted episodes I regularly re-watch.

Clockwise (1986)

Enjoyable but could have been so much more.

[29 May 2020]

John Cleese plays Brian Stimpson, an uptight headmaster of a comprehensive school, who is due to give a speech at the Headmasters' Conference in Norwich. What should be a simple journey turns into an absolute farce as Stimpson cavorts around the countryside, bringing unwilling accomplices along for the ride, and managing to bungle almost every opportunity to get back on track.

This film is especially pertinent for me as the scenes at the Headmasters' Conference were filmed at my school when I was a pupil. I remember the anticipation and excitement that we all felt at the prospect of John Cleese visiting the school, although I don't think any pupil met the cast members as they must have filmed outside school hours.

Very much an 80s British comedy, 'Clockwise' is a pleasant, light-hearted romp with numerous, familiar faces for people of a certain age and, although there are no belly laughs, it brings a wry smile to my face on a number of occasions. For John Cleese fans, of which I am one, there are a multitude of Cleese-isms throughout the film. I would even wager this film was written with him in mind, but that is just my opinion.

You don't have to be a prescient individual to know what's going to happen but it's still fun anyway. One criticism I have is that John Cleese seems too restrained at times, but perhaps that's to avoid parodying Basil Fawlty. A little more thought and development could have gone into some of the slapstick scenarios, both extending and embellishing them. It occasionally feels like they're trying to get through one farcical situation just so they can get on to the next one, rather than soaking all the potential comedy out of it. With a few tweaks and an additional ten minutes of slapstick, this could have been a classic.

I would like to see more for Alison Steadman, Penelope Wilton and Stephen Moore to get their teeth into, because all three can be very funny in their own right, but here, they're just vehicles for the main man, as 'Clockwise' is essentially a vehicle for Cleese to be Cleese-ish.

A must for John Cleese fans and those who are wistful for 80s British comedies.

Cover Girl (1944)

Colourful and enjoyable escapism

[27 May 2020]

'Cover Girl' sees Rita Hayworth, as ambitious showgirl Rusty Parker, win a competition to become a magazine cover girl, which in turn could help further her career on Broadway. However, could her bid for stardom damage the relationship with her boyfriend Danny McGuire (Gene Kelly).

Now I 'm not usually the first one in the queue to see a musical but I enjoyed this so much that I decided to watch it again. And enjoyed it even more second time round.

The main emotion that Cover Girl evokes in me is the desire to time travel to the 1940s and work in theatre. You not only see some great dance routines but all the behind the scenes friendships and shenanigans too. Rita Hayworth injects just the right amount of pathos into Rusty Parker, playing her as an ambitious, but warm, young woman who believes she can be a major star, yet still remain unaffected by it all.

Gene Kelly plays Rusty's boyfriend Danny with a sense of 'que sera, sera' on the surface yet tacitly shows that he is hurting as her rise to fame threatens to derail their relationship.

Interesting, as well, to see a very talented dancer in the shape of Phil Silvers, who I remember more from the reruns of Sergeant Bilko and the one Carry On film he did (Carry On ... Follow That Camel).

The dance routines have been choregraphed fastidiously and the director finds just the right blend of routines and character development, with plenty of cast members being used other than the three leads.

Oh, and not forgetting the fact it is filmed in glorious Technicolour. Lavish sets and opulent looking costumes, all in bold, strong colours.

A great way to spend nearly two hours of your time.

The House in Nightmare Park (1973)

Eerie, quirky horror that is thoroughly enjoyable.

[26 May 2020]

Franke Howerd plays Foster Twelvetrees, a second rate performer of the spoken word to barely awake, small audiences in the early 1900s. He thinks his luck is in when he is invited to a wealthy family's home to perform for them, but he is unaware that they have ulterior motives for the invite.

I've always enjoyed watching Frankie Howerd and this film is no exception. There are some classic Howerd moments that fans will revel in, and perhaps the casual observer too. Plenty of one liners, surprised ooohs and comical countenances that only Frankie Howerd could pull. He's ably supported by the rest of the cast, particularly film legend Ray Milland. It did occur to me, on more than one occasion, that this was meant to be a much bigger success than it ended up, for someone of Milland's calibre to take a role.

There are some very odd, quirky moments which add to the overall eeriness of The House In Nightmare Park and help make it unforgettable. This is not in anyway a Carry On movie which is where I normally see Frankie Howerd. It has a similar feel to many a haunted house film instead, with virtually the entire movie being set in the house and its grounds. There is a sense of foreboding from start to finish, and is genuinely scary and unsettling.

Plot holes abound but they are not enough to spoil your enjoyment of this eccentric horror. The title is perfect and the film does exactly what it says on the tin. Underrated in my opinion, this is an enjoyable hour and a half.

On the Waterfront (1954)

Classic film, with legendary actor.

[26 May 2020]

'On The Waterfront' is a black and white movie about the struggle of New York dock workers against their mob dominated union. The film sees a growing alliance between a former prize fighter (Brando), a local priest (Maldon) and the sister of a murdered docker (Marie-Saint).

The key thing for me in the film is Brando's performance. Yes, he's ably supported by the rest of the cast, but you genuinely believe he is a washed up boxer, who is fighting with his conscience after the murder of someone he is supposed to have helped. He really owns the Terry Malloy character, exuding just the right amount of self respect and pathos. The scene in the car, with Rod Steiger, has got to be one of the best examples of this in cinema.

The fact that 'On The Waterfront' is in black and white adds to the harshness of the situation that the dockers, and particularly Terry Malloy, find themselves in. You either keep quiet and mind your p's and q's, or you go down for the dirt nap.

And at no point do you feel that you can guess the ending, keeping you on your toes right until the final scene, and I mean right until the final scene.

The directing, dialogue and soundtrack all add to the flavouring but this is a Brando masterpiece, make no mistake.

Car Share: The Funeral (2015) Season 1, Episode 2

Builds a solid foundation, with plenty of petrol in the tank.

[23 May 2020]

After last week's introduction, this episode takes on a bigger range of emotions and I find myself relating heavily to John. His single status, and ambivalence towards meeting Miss Right, struck a chord with me as he shows the perfect balance between being content in singledom and a deeper loneliness that he refuses to acknowledge to himself. Exceptional acting from Peter Kay and very keen observations, too, on us singletons. On a more poignant note, and again, one that I can relate to, is John's feelings after the loss of his father. Again, I didn't know Peter Kay was such a good actor as he conveys just the right amount of pathos. I really felt John's sense of loss and I felt Peter Kay did too.

There's still plenty of humour to enjoy, particularly an absurd misunderstanding over the meaning of dogging, which takes up a large chunk of the show. I'm not convinced that Sian Gibson really believed that Kayleigh could be so naïve, but it allows for several comical moments with a random dog walker, as well as Kayleigh's neighbour, Ken.

Overall, Peter Kay develops an episode that mixes humour with a tinge of melancholy, along with lust, the latter being courtesy of Kayleigh seeing the new, hunky trolley collector at the store. Oh and plenty of nostalgia too, with some great tunes from the 80s/90s playing quietly on the imaginary Forever FM.

It's good to see Peter Kay using his show to tackle a few issues that people wouldn't normally expect a comedy to do, and he's right to end the episode on a light hearted note, as comedies should always end on humour.

The Professionals: Discovered in a Graveyard (1982) Season 5, Episode 5

'Come on Ray, who shot you?'

[22 May 2020]

An interesting episode for The Professionals towards the end of the show's run. A change of direction allows the viewer to see Bodie and Doyle from a different angle.

Doyle is shot by an unknown assailant and lies in hospital fighting for his life. At the same time, Bodie and Cowley are trying to work out who the attacker is before they strike again.

A large chunk of the show comes from within Doyle's mind, in a series of ghostly sequences, as he talks with both Bodie and Cowley in different imagined locations, the suggestion being that he is trying to work out whether to live or die. We know the end result because there's still more episodes to be filmed, but we see the imaginary Bodie and Cowley give Doyle reasons to live whilst he argues the case for himself to just give up. If you don't already know that Doyle is very tough on himself, you will do after this episode.

Back in the real world, a rather ambiguous link gives Bodie a clue as to who shot Doyle and who the next intended target is. Bodie is even more driven than normal with his pal fighting for his life in hospital, whilst Cowley deals with the politics of the situation and many will assume this fictional story has more than a sliver of truth to it.

Cowley reads a poem called 'Desiderata' by Max Ehrmann that he finds in Doyle's flat, a work that provides worthwhile views on how to live life and a big insight into Doyle's outlook. Cowley also calls Doyle 'an idealist' but then tempers his comment by saying 'as much as he can be in this job'. Perhaps Doyle is in the wrong job or perhaps it makes him the perfect contrast to Bodie's blunt force?

It was probably a shock in the early 1980s when the assailant was identified. Many would have been expecting someone totally different. As a then ten year old, I'd have probably found it unfathomable. Interestingly, this unusual assailant is given an acceptable reason to hold grievances but the show asks if it is justice or revenge they're seeking?

Not one of my favourite episodes because I like my Professionals chasing after the bad guys in the Ford Capri and winning the shoot outs, with Cowley barking orders. There's a little bit of the latter here but, basically, this episode gives us a deeper insight into Ray Doyle as a character, as well as showing tough guy Bodie is genuinely worried for his partner.

Bancroft (2017–2020)

First series is second to none.

[21 May 2020]

I came across Bancroft by accident one evening December 2018, a year after its first broadcast. I'd never heard of it so had no preconception of what it was about. I'd missed the first twenty or so minutes yet it had me hooked right the way to the end of the fourth episode and left me eagerly anticipating the second series.

Here was a fearsome female character who was prepared to go to any lengths to save her career and avoid prison, and nobody was going to get in her way. Sarah Parish was excellent in the lead role and ably assisted by her supporting cast but make no bones about it, this is Parish's show. She totally inhabited the character. I don't think anybody else could have done as good a job as she did.

It's also credit to the writer that she created a script that kept me on my toes right until the end and left me wanting more when it all finished. At no point do you take a particular ending for granted as the action swings backwards and forwards, pushing your thoughts in one direction before pulling them back the opposite way.

Excellent writing , excellent acting, excellent production. Gripping stuff all round.

The Professionals: You'll Be All Right (1982) Season 5, Episode 3

You'll Be Allright, as long as you call The Professionals.

[21 May 2020]

Jack Stone is a villain, holed up in the roof of his house, hiding from the law. His wife finds their cat's dead body, along with a cryptic note which suggests the unlucky moggie was killed deliberately as a warning. Stone decides he needs help so he phones Doyle to ask for CI5 protection for his family. Cowley later agrees, but as long as it's not at too much of a cost for his budget.

One of the main character themes of The Professionals is in strong evidence here when the hardman villain comes to Doyle for help, playing to the idea that Doyle is the softer touch of the pairing. Even Cowley insinuates this at the end of the episode.

'You'll Be Alright' highlights life for the criminal and his family, showing how even a hardman loves his wife and children. Scenes of his children going to school and playing games on the way home suggest that they're actually no different to anybody's else's children, even though Daddy is a nasty man.

There are some classic examples of the attitudes which typified the times as well. Bodie, working undercover as a school PE teacher, tells the class, 'Last one to that line and back is a sissy'. The boys run off to meet the challenge without a quibble, but this is the early 80s after all. You also have a pretty female CI5 agent who is asked by one of the criminal's children if she has a gun in her handbag, only to reply, 'Powder. Lipstick'. That said, she does have a gun and ably uses it, handling herself as competently as Bodie and Doyle would when she is shot at by the protagonist. This portrayal of women was increasingly becoming the norm on TV at the time, where they were as capable as a man, even though they still had those womanly traits.

One attribute of The Professionals is that they are never afraid to show Bodie and Doyle as being human. Here, we catch Bodie yawning as he carries out a nighttime surveillance and missing with his first shot when chasing the protagonist (albeit he shoots as he dives). He doesn't miss with his second though, he's not that imperfect. This human portrayal of the two leads, I think, is a big part of The Professionals' success. Although they are a cut above the rest, they have their off moments, just like everybody else. It helps us to empathise with the two alpha male leads.

Many of the usual Professionals' features are here too. Athletic sprinting down high streets, car chases and crashes, dry one liners from Bodie, casual banter with the opposite sex, children saved from being run over, nighttime surveillance and shots fired, but more of this episode is given over to the criminal and his family than perhaps you would normally expect. I couldn't see a US cop show from the 70s/80s doing the same for their villains, especially with such empathy.

The one criticism I would have is that sometimes the dialogue is hard to understand which means you can miss key parts of the storyline. I know you have to use colloquialisms to give the show an authentic feel, but I'm sure there are ways in which you can still make the key scenes' dialogue clearer.

Still, an enjoyable watch for fans of the show and the genre.

The Professionals (1977–1983)

Totally professional

[20 May 2020]

As a young boy in the early 1980s, The Professionals was arguably the 'adult' programme I acted out the most with my friends. The names Bodie and Doyle were on the tips of our tongues as we strove to emulate their diving around, car chases (on our bikes) and shoot outs. The characters and the theme tune were always going to be etched in my memory for life.

However, it's only through the reruns over the last decade or so, on ITV 4, that I've gained a proper perspective on the show, albeit a show that was very much of its time. And by golly, how times have changed.

If you haven't seen The Professionals for many years, it may take an episode or two to adjust your mindset to the 80's scenery and values. Once you do, it is understandable why it was so popular with then audiences.

First of all, and vitally important, a superb theme tune. Still one of the best after all these years, with accompanying images that really whet the appetite. Secondly, both leads (Martin Shaw and Lewis Collins) are likeable and very much the sort of guys I still wish I was, dishing out the justice to the bad guys in a manly way, making the ladies swoon and still with enough time to splash on the Old Spice. Bodie the more rugged of the two, more brutal and blunt than Doyle who was the more emotional of the pairing (although pretty much everybody was more emotional than Bodie).

The action is hard and raw, there's plenty of it, and there's none of the sugary sweetness that spoilt some of the US cop shows of the time. The Professionals also wasn't afraid to end on a low note. One example, 'Operation Susie', sees a woman (played by a young Alice Krige) that Bodie and Doyle are protecting at a safe house, shot dead in the final moments. The episode ends with a few words from Bodie, as he and Doyle look down at her lifeless body.

London of the time, initially enduring and then recovering from the economic decline of the 70s, was a perfect backdrop for the car chases and shoot outs. The show benefitted from the derelict buildings and disused land around the city at the time, and knew how to use it to help ramp up the tension.

Overall, a well-made, enjoyable and iconic show from a bygone era. Cue theme tune.