Enola Holmes 2 (2022)

 "You really are a nincompoop!"

It's been a while, but I've finally got round to seeing the sequel, in large part due to the pleasure of some truly exquisite company last night! And not only was it a thoroughly enjoyable experience, but I noticed in the credits that the writer was one Jack Thorne, whose distinguished career has included Adolescence among other things (must get round to that!) and who is, rather interestingly, rumoured as a possible new showrunner for Doctor Who... but we'll see.

The script is superb, working perfectly both as a murder mystery with twists and turns which all makes perfec sense at the end but also as a fun, watchable drama with a light touch, lots of fun and lots of wit. It's also, as last night's exquisite company remarked last night, based on the match girls' strike, a very real historical event, and the scandal with white phosphorus was a very real thing.

But Millie Bobby Brown yet again carries the whole thing with aplomb, a truly talented leading lady despite her youth, carrying the whole thing with wit, charisma and those delightfully quirky asides to the camera. To say that she carries the whole thing means a lot given the cast we have here- Henry Cavill as Sherlock Holmes and Helena Bonham Carter as their mother Eudoxia, in particular. I love the little Sherlockian moments, and it's clear from fairly early on that the film will end with Holmes meeting Watson.

In the end, then, a splendid film. A pedant may observe that the film is set in 1885, too late for Holmes meeting Watson and too early for the match girls' strike (Sarah Chapman is a historical figure), but I'm learning to be better with my pedantry. A hugely enjoyable film.

Fool Me Once: Episode 8

 "Oh noooo!"

And so it ends, as any good melodrama should, with a proper full-on confrontation between Maya and the Burketts, in which- of course- she is shot and killed. As we established last episode, protagonist she may be, but she's a war criminal. Karma demands she die. But she dies for a purpose, with the livestream and killing livestreamed by Corey. It's a neat way to end.

There's a lot of non-linear filling in of gaps, as we flash back to Joe's mudder of Claire, Maya's killing of Joe, the revelations that Joe murdered... well, everybody else who has died during the course of the series.And Kierce, no longer a cop, gets his own revenge, of sorts, by letting Maya go and confront the Burketts.

I'm not sure what purpose the coda accomplishes, other than to establish that Kierce in fact goes on to survive for many years. There's the full circle thing of Lily's baby being called Maya but, well, that's a bit superficial. Still, all in all, this is a highly satisfactory end to a highly satisfactory melodrama.

Fool Me Once: Episode 7

 "You're not fit for work, Kierce."

"No, I'n not."

Wow, That final bombshell in thedying seconds of the episode has left me reeling.

It's not the only bombshell to explode in this deeply satisfying penultimate episode, of course. We realise the cause of Kierce's blackouts... and it's the Birketts' fault. We learn what really happened to get Maya dismissed from the army. We learn how Maya came to see Joe on the "nannycam". Oh, and we learn what happened to Theo and Andrew all those years ago... teenage Joe murdered them both. Lovely.

Most mind-blowing of all, last few seconds excepted, is that the person we thought was Kierce's AA cult counsellor (less dodgy addiction treatment is available) was always a hallucination of his late wife, in a devilishly clever bit of misdirection.

It is, as ever, all about the revelations: this is a melodrama and doesn't pretend to be more. But there's nothing wrong with that, and this is a melodrama of the first rank. Both Michelle Keegan and Adeel Akhtar are deeply impressive. They even say "lift" and use the proper British version where Kierce reads Corey his rights. Shame about "Get in the trunk"...

Fool Me Once: Episode 6

 "You keep sytumbling over dead bodies, don't you, Maya?"

A grumble, before the praise begins. I know I've whinged a lot about Kierce getting called "Detective Kierce" rather than "Detective Inspector", but this time his boss gets called "Captain Proctor" rather than Detective Chief Inspector Proctor". I don't mind a bit of adaptation to a largely American audience- this is Netflix- but things like that really take away the realism.

That aside, this episode is superb. The plot twists and turns like a twisty-turny thing yet again, and in a hugely entertaining manner. There are shocks and bombshells all the time, not least at the very end- did Joe really kill Andrew? But that's not all. What's Corey really after? Did he kill Tommy Dark? Is Judith, as I now suspect, a red herring?  Is Joe alive after all? There's a lot to uncover, I have no idea whats happening, yet we're really quite close to the end.

Yet, despite all this, this is all about Sami Kierce and his coming to terms with things, along with the help of his loving, lovely fiancee. Adeel Akhtar is once again sublime in a role that really showcases his talents. This is all about the shocks and the plot equivalent of jump scares, it's got no deeper subtext I can discern, but I'm loving the ride... and the characters feel very real.

Fool Me Once: Episode 5

 "The rich protect each other..."

The plot continues to be splendidly convoluted. Corey knows the Burketts are mixed up in some seriously bad criminal stuff, possibly involving Joe. The plot thickens, too, around his late brother Andrew andthat sinister public school. Another kid, a working class outsider turned popular achiever, dies of "alcohol poisoning" shortly before Andrew's apparent suicide. And yeah, the headmaster is definitely hiding something. 

In support of the "evil Burketts" theory is Judith's continued creepiness. She's a psychiatrist, making veiled threats to institutionalise Maya, having altready renfdered her daiughter Caroline a madwoman in the attic. Brr. Meanwhile, Eddie continues to be decent and his daughter has her own fascinating plot thread.

Oh, and there's a storage place. With at least one frozen body in it. Literal Brr.

But the real emotional core here, of course, is with Inspector Kierce and the sublime performance of Adeel Akhtar who, cruelly, as he's about to become a husband and father, faces a truly horrible fate. 

Again, this is perhaps not exactly oozing with subtext. It's a whodunit-cum-melodrama.But it's bloody good melodrama.

Fool Me Once: Episode 3

 "Life-ruining rat!"

Deep breath. Lots of rabbit holes here. So...

The red car belongs to Corey the Whistle, who had dodgy arrangements with both Claire and Joe, feeding him info to protect Maya... infor for whi they both deied. Info about the Burketts? They're certainly paying off a lot of person. And that Neil (the third Burkett brother?) certainly seems dodgy. Which probably, of course, makes him the red herring.

Of course, I'm sure there's a lot to be revealed about what truly happened with Maya's apparent war crime- we're certainly being teased a lot. Then there's Claire's kids investigating a tech bro ex of their mother's, whose firm has a weird, QR code-flashing robot thingy.  Oh, and one of the motorbiokes from Joe's murder is linked to that unpleasant football coach. and the cliffhanger... wow.

And yet... what really impresses is the characters. Michelle Keegan is great, of course. But Adeel Akhtar also impresses as the able but world-weary DI Kierce (again, stop calling him "Detective Kierce!: this is not America!), a very well-rounded character. I'm still not sure this is about anything beyond the thrills... but does it have to be?

Fool Me Once: Episode 2

 "Lying's never good policing."

No, DI Kierce. And nor is lying by omission to your fiancee about your blackouts while being open to them to yoiur dodgy Alcoholics Anonymous counsellor. You need to stay away from that semi-cult for a start, but at least on this occasion she gives good advice. Get tested. And bloody tell your fiancee, who miraculously failed to spot anything dodgy after your very well-shot breakfast blackout.

Meanwhjile, in some ways, the plot advances quietly. In other ways it doesn's, as Maya finds a lead to ploice don't suspect- Claire had a secret phone which she used only for talking to someone at a retro gaming arcade. Was she having an affair with Joe, as the police (and Eddie) suspdct? I don't think so. I think it was a very different secret, and connected to all the dodgy cult stuff.

Then there's the photos of a young Claire, developed by her kids- and, incidentally, her son doesn't understand why the camera doesn't have a screen. I feel old- in which shre's pregnant with another child from before she met their dad. We see the reading of Joe's willpostponed by the lack of a death certificate, and we meet KJoe's likeable sister, Caroline, who has her own suspicions that not only Joe but his brother Andrew may not be dead.

Oh, and one final bombshell: Joe's family are paying Kierce a load of money every month. Conflict of interest much? But I suspect eve this is not what it seems. Nothing is. This is quite the most twisty-turny bit of telly I can remember ever seeing. I'm not sure if it's all that deep behind all these whodunit equivalent of jump scares, but my God I'm loving the ride.

Fool Me Once: Episode 1

 "Duran Duran came on the radio and he's never even heard of them...!"

Aboiut time I got round to this new-ish thriller on Netflix which everyone is talking about: my very lovely partner has convinced me and now I see to be quite hopelessly addicted. And yeah, I know I'm blogging loads of different things and this is one more... but it was ever thus with this blog. It’s what I do.

So on the surface the conceit is simple. Maya, a former soldier (she loved combat and was addicted to it, an interesting character trait!) sees her husband Joe, from a much posher family than her, gunned down by apparent motorcylist muggers. Some time later, by means of a "nanny cam" (don't ask), she appears to see her late husband with her young daughter. Did this really happen? Or is this one of the many visions she's been having?

Also... is she the killer? Yeah, I know, she's the protagonist and there are unwritten rules of TV drama, so she probably isn't. But Detective Inspector Sami Kierce (not "Detective Kierce", please: this is not America) hasn't ruled her out. After all, her sister was recently killed, and her widower wants Maya to stay away from his daughters because "death follows you". Ouch. Indeed, we learn that both murders were done using the same gun.

There's dodginess in her past, too. Her old army mates seem to like her, but was she really dishonourably discharged for killing innocent civilians? Is there a connectioin with her murky past? I think we know there is.

But then we end with a bombshell. Maya's posh mother-in-law, Judith, is somewhat overbearing- I've had worse, mind- and there's a real subtext of snobbery. Except... we begin with a flashback to 1996, a private school, and some sort of Dennis Wheatley-style Satanic ritual. Then,  in the final scene, we realise this all pertains to Joe's younger brother, who died that year at seventeen. Does all this creepy aristcratic weirdness link to all this? We know it does.

Aaaargh. The tension is all coiled up like a spring. But I'll be good. Another episode tomorrow. And I'm not promising just the onre...

Enola Holmes (2020)

 “

This is, incredibly, the first and only film I’ve seen and blogged from the current decade. I suppose this isn’t really much of a surprise, with relatively few films being released in 2020. The times we’re living in remind me of the time of Shakespeare where plague closed the playhouses.

I enjoyed this little Netflix film, though. It’s an adaptation of a series of “Young Adult” novels by Nancy Springer, and it’s a revelation. Clever, fun, fourth wall-breaking to the point of our eponymous heroine frequently addressing the audience, this is a rather marvellous little film.

It helps that Millie Bobby Brown is such a charismatic and compelling lead- there's clearly a lot more to her than Eleven. Helena Bonham Cater s, inevitably, delightfully barmy. Henry Cavill is a bit wooden but you can't have everything, and it's good to see Burn Gorman as a solid baddie.

The conceit is bloody good; Sherlock and Mycroft Holmes have a much younger sister who is being raised in a solidly feminist way by their wonderfully radical mother- and there's a nice underlying subtext of electoral reform, including votes for women. The real-life Representation of the People Act of 1884 plays a big role in the plot. It's a shame Mycroft has to be retconned as the less clever sibling, and actively reactionary to boot, but you can see why this is necessary.

This is a yoyful, wonderful, metataxtual film which has much fun with the fourth wall, is enormously funy and has some rollicking adventure to boot. Superb stuff.

Four Lions (2010)

"Waj, why are you doing this?"

"Rubber dinghy rapids!"

I've resisted reviewing any outright comedy for this blog so far, film or TV, for the obvious reasons: trying to analyse humour is about the most po-faced thing I can possibly imagine. I don't really hold to the oft-repeated belief that you ruin a joke by looking at how it works, but it's still hard to do it without appearing to have no sense of humour and, as John Cleese once said, an Englishman would rather be accused of having a really small penis than that.

Still, I've reviewed quite a few films now, and I can't keep ignoring a whole genre. I have to find some way of talking about it. And it isn't that I haven't found humorous things to discuss before (Flash Gordon, for example. Actually, that's a comedy, innit?). So I've deliberately decided to have a go. Originally I was going to review Kind Hearts and Coronets, but I had to give up five minutes in as there are no subtitles on my DVD and the dialogue just isn't clear enough to compensate. I'm a bit pissed off about that, really; a DVD release without subtitles is not acceptable.

So, Four Lions. It's a brilliant film. But the first thing I have to say is: DO NOT BUY THE DVD. Just record it off the telly or something. The DVD forces you to watch about ten minutes' worth of trailers that can't be skipped. Any DVD that does this has to be boycotted, otherwise they'll just keep on doing it.

Crikey. Got out of the bed the wrong side this morning, didn't I? Anyway… I picked Kind Hearts and Coronets so that I'd be able to talk about the class subtext instead of trying to analyse jokes. This was my second choice, obviously, because there's a political subtext to talk about. Thing is, though, there's not an awful lot to say about it, cleverly done though it is. All sorts of taboos are cheerfully ploughed though, as you'd expect from Chris Morris, but it's funny for rather old fashioned reasons. The format is basically that old classic, thick bloke and thicker bloke. The three thicker blokes (the Stan Laurels / Buttheads / Garths / Syd Littles, depending on your cultural reference point) are Waj, Faisal and Hassan, and the two thick blokes (the Hardys / Beavises / Waynes / Eddie Larges) are Omar and Barry. There's a bit of an added level of this between these two, jostling for the spot of alpha male, but it's Omar who's ultimately the least thick, and the leader. Of course, though, the humour lies in the fact that they're all wazzocks. This is co-written by the creators of Peep Show, and feels like it.

It's Omar and Barry who are fleshed out more as characters. Omar has a loving wife and young son, and the family relationships are quite heartwarming. Yet his wife is enthusiastic for Omar's plans to blow himself up, and their son is being brought up to idolise jihad and martyrdom. His brother Ahmed, a far more observant and pious Muslim than Omar, who is forever referring to Western pop culture, is appalled at all this, yet we can't quite side with him as he's such a zealot that he locks his wife up in a "little room"! So many contradictions.

Barry, although charismatic, is a little semi-detached because of his white ethnicity, his convert status and his lack of Urdu. I suspect this, rather than anything else is the real reason why he refuses to attend the mosques (he wants to blow then up!) and prefers only to associate with other Muslims who accept him as one of them, not an outsider, which pushes him towards extremism. He doesn't quite belong anywhere, precisely because of his stubborn adherence to a particularly narrow version of "Islam". So many contradictions.

And it's the contradictions that make this film so funny. Barry accuses Omar at the end of killing his thick brother by dragging him into this, but he did the same himself with Hassan. Waj ends up about to blow himself up inside a kebab shop full of Muslims. Omar and Waj go to train with Al Qaeda and end up blowing up Bin Laden. And Omar blows up a branch of Boots, something which he's mocked earlier.

There's something almost Monty Python about the explosions, too. All of them, from Faisal's crow to Faisal himself to Barry's choking demise are very, very funny. It goes to show that the subject matter, being fundamentally absurd, is ripe for humour. I'm glad that a film like this exists, and that it's good.