Swamp Thing (1982)

"Some of the men say it was one of those abdominal snowmen or something."

I came to this film, in spite of Wes Craven helming it, expecting a so-bad-it's-good B movie. Instead I find a film that's genuinely brilliant- pacy, stylishly shot and very well acted.  I really wasn't expecting that.

The South Carolina location looks amazing; it may not be Louisiana, but the swampy landscape certainly looks like it and fills the production with a great deal of atmosphere throughout. At the start it feels like an early '80s horror film, but it isn't; it's very much its own beast. We're introduced to Alice, the genius Alec Holland and the rest of the crew who will shortly die. We quickly get to know the witty, driven, flirty Holland and his invention, a plant/animal hybrid formula. And then, suddenly, they are all shockingly killed, aside from the captured Alice, by the thugs of the sinister Arcane. Already the characterisation, dialogue and direction are far above B movie standard.

There are little oddities- why is the bloke in charge of Alec and his mates a Yorkshireman? And yes, the Swamp Thing costume indeed looks very obviously latex, as such costumes always do and as is always priced in. I'm also inevitably reminded of The Creature from the Black Lagoon. None of this is a problem.Nor is Arcane's delightful moustache-twirling evil. Sometimes it's fun for a baddie just to be bad for the sake of it, and Louis Jourdan is brilliant; fun but stopping short of being hammy.

I think the moment I fell in love with this film was the slow-motion boat attack, which felt completely A-Team. It's a genuine classic that rises far above B movie status.

Thor (2011)

"We don't have horses. Just dogs, cats, birds."

"Then give me one of those large enough to ride!"

So far I haven't seen a bad Marvel Cinematic Universe film and this, while not one of the very best, is no exception. It may be an odd film for Kenneth Branagh to direct but he does a fantastic job, giving us Asgard in all it's spectacular glory exactly as we dreamed of. Chris Hemsworth is a splendid Thor, Anthony Hopkins a brilliant Odin, and Idris Elba an implacably magnificent Heimdall. All this and we get Sif and the Warriors Three. Most of all, we get the extraordinary Tom Hiddleston as the villainous Loki. Natalie Portman also impresses as poor Jane Foster, with her doomed love for a god.

The film strikes exactly the right balance between the fantastical and the ordinary, giving us plenty of spectacle but grounding it in just enough reality to avoid alienation. It also subtly continues the ongoing plot thread with Clark Gregg's Phil Coulson and a post-credits sequence setting up what is to come. There's an obvious basic plot, yes, as the arrogant god learns humility and becomes better, but this is a hugely entertaining couple of hours. But then, Marvel films always are.

Only one thing, though... why didn't they incorporate the theme tune for the 1966 cartoon with the closing titles?

Ghostbusters (1984)

"Do you have any hobbies?"

"I collect spores, moulds and fungus."

It's quite an instructive experience seeing a film you saw at the old Cannon Cinema in Hinckley back in '84, watched tens of times while still in primary school, but haven't actually seen since Thatcher was prime minister. You remember very little until you see it happens, and then the memories flood back. You even find yourself unexpectedly remembering dialogue from the next scene. It's quite surreal.

This is the first time I've seen the film as an adult, and so finally realise what Hittites, Sumerians and Babylonians are, and what a cad and a charlatan Peter Venkman is, and what a creep he is with Dana. But I can also appreciate what may not be laugh-out-loud funny but is a justifiably popular fun classic with a top notch cast. In hindsight it's clear how much this film owes to the then-recent Poltergeist, with lots of that kind of ghost activity, but it never attempts to be a scary film and keeps the tone light and fun.

Rick Moranis s great as the possessed Louis, but William Atherton deserves special praise for his Walter Peck, the perfect pantomime villain. But the whole damn thing justly deserves its status as a true classic.

The Adventures of Sherlock Holmes: Series 2- The Resident Patient

"I don't suppose you've read my monograph on cigars and cigar ash?"

Yes, you guessed it; another brilliant episode, superbly acted as ever, with a genuinely surprising twist although, of course, the Russian count was always more than a little suspicious. John Ringham deserves particular praise as this week's Inspector.

There's a striking opening, too, as Mr. Blessington has a surreal nightmare about finding his own body in a coffin. In hindsight, this is our first clue that his past misdeeds may be catching up with him. His mysterious behaviour is, we eventually learn, essentially his way of laundering the money from his criminal past, but sponsoring the career of a promising yet impecunious youth is certainly not a bad way to invest money.

The revelation is satisfying, and gives us a splendid opportunity to see Holmes do what he does best. Even if there's a convenient piece of karma required at the end.

And... that's it for a while. I've been recording these off ITV Encore and, I fear, a recording clashed and failed to record The Red-Headed League. But I will continue this little marathon as soon as I can...

The Adventures of Sherlock Holmes: Series 1- The Norwood Builder

"All my instincts are one way and all the facts are the other."

A superb mystery this episode, with Holmes slower on the uptake than usual. It's also the perfect introduction to the perennial Inspector Lestrade, with a battle of wits between them shaping the whole story. The device of having the main suspect for the crime be Holmes' client is a superb one. As is the gradual revelation that the "victim" was not murdered, but simply wanted to have a man hanged just because the man's mother once rejected him.

This one makes you feel clever as a viewer; I admit I may have remembered Conan Doyle's original short story, but I guessed what was going on before Holmes did. Watson, too, plays a genuinely useful investigative role here. And the revelation at the end is truly dramatic and entertaining. I'm genuinely struggling to find a bad episode.

The Adventures of Sherlock Holmes: Series 2- The Greek Interpreter

"I'm not built for running, Sherlock!"

In what must have been one of the most long-awaited episodes we finally get to meet the legendary Mycroft Holmes, and the ever-splendid Charles Gray, reprising his role from The Seven-Per-Cent Solution, does not disappoint. The central mystery is engaging too and, again, dark.

Our introduction to the sedentary genius Mycroft is well-written, superbly acted and rather faithful to the books, although what leaps up to me is that this unparalleled genius seems to do no more for his living than to audit the books for a civil service department. No hints of espionage, then. At least not yet.

The entertainment value inherent in seeing the two brothers interacting again distracts us somewhat from the nastiness of what is going on, but there's no doubting the excellence of the episode. Two episodes in and this series is unfailingly excellent so far.

The Adventures of Sherlock Holmes: Series 2- The Copper Beeches

"There has been some villainy here..."

Yet again we have a governess (a young Natasha Richardson) called Violet as usual, troubled by the odd behaviour of her employer Mr Rucastle (a gleefully entertaining Joss Ackland), and a splendidly entertaining story of an imprisoned daughter that gets more than a little Charlotte Bronte at the end.

Again, though, the subtext is of the countless young Victorian girls who are being horribly oppressed by these patriarchal figures everywhere, which is really quite dark. And, as Holmes and Watson travel on the train down to deepest, darkest Hampshire, Holmes speaks of how the pretty houses of the countryside are to him a symbol not of beauty but of isolation, of "the impunity with which crimes may be committed". Behind this often light-hearted episode lies some real darkness.

There have been some fine episodes of late but, unlike the first series, the second series starts with one of the finest episodes yet.

The Adventures of Sherlock Holmes: Series 1- The Blue Carbuncle

"Mr. Holmes, the goose! The goose, Mr. Holmes!"

"Well, what of it, man? Has it come back to life and flapped through the kitchen window?"

A splendid Christmas episode here, with geese, snow, some first class dialogue and, best of all, Ken Campbell.

A famous jewel has been stolen and an innocent man arrested, while there seems to be an awful lot of commotion about a goose. These two plot threads dovetail spectacularly as Holmes gives us a fine example of his deductive powers and the episode ends up giving us plenty of Christmas cheer as an innocent man is freed and Holmes discreetly let's the culprit off just because it's Christmas. He may be a cold fish but no Scrooge he.

The most fun part is probably Holmes' analysis of Henry Baker's hat, but this is a particularly fine episode throughout. A fine conclusion to a fine first series. Roll on series two.

The Adventures of Sherlock Holmes: Series 1- The Speckled Band

"You scoundrel, Sir! I've heard of you before. You are Holmes the meddler. Holmes the busybody. Holmes the Scotland Yard jack-in-office!"

We get a variation of the trope here. Holmes is visited by a young woman living in a big house that is being terrorised by a bounder and a cad acting as patriarch, yes, but this time she's the step-daughter and not, as is more usual, a governess. The villain revels in the splendidly dastardly name of Dr. Grimesby Roylott, and is plotting to kill his step-daughter for her inheritance. With a snake, naturally.

This episode ticks all the usual splendid boxes, with some suitably Holmesian dialogue for Jeremy Brett to deliver as only he can. And Holmes handles the case superbly, with rather more actual deductive ability that he showed last episode. Not bad for a case which begins at such an ungodly hour.

And, of course, beneath it all is the awful position of the unmarried young Victorian women at the mercy of such horrid patriarchs as this. No wonder so many of them seek Holmes' help.

The Adventures of Sherlock Holmes: Series 1- The Crooked Man

"Whoever heard of a dog running up a curtain?"

Another excellent episode, and the debut of yet another Sherlock Holmes trope; the bitter and betrayed military man, back from India for revenge. It's a superbly done piece of telly, based on one of Conan Doyle's more memorable short stories; not strictly a whodunit, but making up for that with spectacle, a mongoose and dramatic pacing. There isn't even any real detective work from Holmes, but it's all so well done you don't notice.

It's also the debut of another trope, the extended flashback from the Indian Mutiny on a television budget, and somewhat startling to see a young Fiona Shaw so soon after her turn in Tru Blood. It's incredible to reflect at this point that we're only five episodes in. The format, the look of the series, and the performances of the two leads (Brett especially) feel as though they've been in place for years.

This is the first episode, though, that doesn't quite feel as though it's from a very different time, as it may have done in 1984. Wars in south Asia are, alas, a thing of recent memory to us too.

The Adventures of Sherlock Holmes: Series 1- The Solitary Cyclist

"Did I really do remarkably badly?"

"Yes."

The first example of a big Sherlock Holmes trope debuts this episodes, as a young governess in a strange big house seeks Holmes' services. We'll be seeing a lot more of this sort of thing. But here we have a splendid tale of bicycles, silly disguises, lechery, forced marriage and South African skulduggery. Woodley, a true blackguard, is given a South African accent to show how nasty he is; it is 1984, after all, and apartheid is still practised.

The second best bit is when Holmes sends Watson off on a little mission and then bollocks him for his lack of observation although, of course, Watson's hunch eventually proves to be part of the solution. But the real best bit, of course, is the most Victorian bar brawl ever, with Holmes duffing up a "ruffian" whilst loudly proclaiming throughout that he is fighting like a "gentlemen". Naturally it ends in a round of applause...

It's another first class bit of telly from a series that hasn't had a misfire since A Scandal in Bohemia. The series is only four episodes in, but has felt fully formed for at least three. Superb.

The Adventures of Sherlock Holmes: Series 1- The Naval Treaty

"Help yourself to tobacco from the Persian slipper!"

SPOILERS

Apparent diplomatic intrigue as a treaty is stolen, seemingly by an agent of the French or the Russians; there's even a red herring with a French-sounding name. But the real culprit is, of course, obvious; he's played by the most famous actor, which tends to be a dead giveaway, in this case the sometime star of Blake's 7.

There's a lot here to remind us of just how weird late Victorian times were, though. Percy Phelps is what they used to call "highly strung", a condition not much seen nowadays. But he's posh, well-connected, and has managed to get himself a much sought-after job in the foreign office as an... office dogsbody. Yes, this posh bloke does the late Victorian equivalent of the photocopying for a living.

The tale is well told, bookended by amusing scenes of Holmes doing chemistry with a proper chemistry set complete with various weirdly-shaped glass vessels and bubbling liquids. Holmes, contemplating a beautiful flower, reveals his belief in a superior being. And we have the first of many resentful and contrary inspectors, in contrast to The Dancing Men's fawning example. And that's two superb episodes in a row.

The Adventures of Sherlock Holmes: Series 1- The Dancing Men

"Sherlock Holmes is cheerful, so Sherlock Holmes must have a case."

At last a proper episode with a mystery to solve- and it's a bloody brilliant one. We have code breaking (shades of Edgar Allan Poe's The Gold-Bug here in Watson's explanation; Poe looms large with the Sherlock Holmes stories), some Derbyshire local character, some Chicago underworld intrigue, a truly engaging mystery, and a gripping story through out. Mind you, it doesn't look very impressive to me that Holmes manages to get his client killed by waiting too long for a telegram. Still, never mind.

The code breaking scenes are particular god fin, as is Holmes' extraordinary rudeness to poor Hilton Cubitt. The crime scene deductions are truly satisfying, and it's amusing to see a provincial inspector so enraptured by all that Holmes says and does. This is the first time and not the last that a professional will defer to this gentleman amateur.

This, of course, is a far more accurate example of what this series is going to be like than A Scandal in Bohemia, and it sets the bar high. And those things that haven't changed- the sumptuous Victorian visuals and Brett's sublime performance- are what truly sets these adaptations apart.

Suspicion (1941)

"What did you think I was trying to do? Kill you?"

In hindsight it's easy to see why this isn't one of Hitchcock's most well-known films. Oh, Joan Fontaine and Cary Grant are their usual charismatic selves and the direction is, as one might expect, superb. Except that the story upon which the film is based is both not that good and somewhat lacking in suspense. Essentially, rich heiress Lina marries gambling ne'er-do-well Johnnie, who is irresponsible but has a good heart, ad the film comes up with unconvincing and contrived reasons for her to suspect him of trying to kill her for her money. Even the idea that he might be a killer is broached late in the film, never seems convincing even with Hitchcock;s bag of tricks as a result of the script failing to establish him as a potential threat, and the frantic ending just feels odd and at variance with the rest of the film.

It's notable how very posh the milieu of the film appears to be, just as there doesn't seem to be a war on; our couple honeymoon in Paris, Monaco and Italy- in 1941. It's engaging for much of its length, and both Joan Fontaine and Cary Grant are obviously watchable. Just... don't necessarily make this the only Hitchcock film you ever see.

The Adventures of Sherlock Holmes: Series 1- A Scandal in Bohemia

"It is a capital mistake to theorise before one has data."

Yes, I know: I'm doing so many TV series at the minute, some of which are on a bit of an unfortunate hiatus (in the case of Buffy and Angel it's a missing disc in a DVD box set!). But this is being shown on ITV Encore, I have fond memories of it, and I couldn't resist. So, you know, soz and that.

And everything about it screams class. Jeremy Brett is peerless, of course. David Burke is an engaging, if traditionally bumbling and alarmingly reactionary, Watson. The way Victorian London is presented is visually sumptuous and wonderful; this programme was made in 1984, yet its depiction of the 1880s hasn't dated in the way that programmes from the 1970s often have. It all promises much. Except... A Scandal in Bohemia has always been one of the worst Sherlock Holmes stories and a well-polished turd is still a turd.

Yes, there's Irene Adler, but she isn't really any more than a plot device and the actress is pretty blah. So much for "The Woman". And what the story's really about is trying to make sure that a philandering European royal (a hypothetical "King of Bohemia"- Prince Rudolf of Austria-Hungary?) gets away with his awful behaviour simply because he's royal. Holmes and Watson even break the law to help him. No one seems to stop and think that the King is just some over-privileged laddish twonk. But, of course, it's the 1880's.

There are interesting titbits- Holmes cocaine addiction is mentioned from the start, Holmes as asexual (a bit of a thing with late Victorian men) is explored as an idea, and we see Holmes in disguise for the first time. But, I think, we'll have to wait a week before we see the series really start.

Superman III (1983)

"I just don't believe a man can fly..."

Well, this is a very odd way to do a Superman film. We've had two films based very much on the existing mythology but here we have a perfectly entertaining film in which Richard Pryor is superb, but there's very little about the Superman mythos here, even with the same director helming the film. Even the Kryptonite used to turn Superman nasty isn't red. And Robert Vaughn, while excellent, seems to be playing an ersatz Lex Luthor. Lois Lane conveniently sods off at the start so Clark Kent can get all romantic with Lana Lang. And the film starts with an extended sequence of physical comedy. It's a very odd instalment in the series. Thing is, though, when looked at simply as a film, this is actually rather good.

Gus Gorman is unemployed, lazy, but likeable, and when he turns out to be an unlikely computer genius (of a very early '80s type) and much chaos ensues, although the film is always careful to keep him likeable and make it clear that he isn't a bad sort. We also have a rare film appearance from Pamela Stephenson as a bimbo who enjoys reading Kant.

The scenes where Superman deals with the fire at the chemical plant are awesome, and there's some good character stuff in Smallville with Clark and Lana. But possibly the best bit is Superman straightening the Leaning Tower of Pisa.

We end with a very '80s huge computer that Superman has to fight to avoid being turned into a cyborg, after a rather cliched fight in a junkyard between evil Superman and Clark Kent. It's a very weird approach to a Superman film, and I'm bemused as to how this script ever got to be the way it is. But, bizarrely, the film works.

Victoria: Young England

"She is not a queen. And I am not a cow!"

The final episode of this excellent series, then and... yes, it's an ex use for me to start yet another new series now that this has finished, but that's for later. For now all eyes are on the Queen, who is visited by her uncles, the kings of Belgium and (the sinister heir apparent should she do a Charlotte) Hanover. Meanwhile, Albert's brother Ernest (not to be confused with the Duke of Cumberland) arrives back in England and proves not to be quite as much of a bounder and a cad as we had thought.

Vicky may be the most powerful woman who has ever lived but she nevertheless chafes under the many little tyrannies of pregnancy, something portrayed quite brilliantly by Jenna Coleman. But it's quite a sweet episode, with a happy ending to our downstairs romance, Vicky and Albert clearly being in love, and ending with the birth of little Princess Victoria, who will later beget Kaiser Wilhelm II. It's a low-key, gentle but nevertheless well written ending to a series I've rather enjoyed.

Victoria: Engine of Change

"The Queen has requested a dish of bacon and peas."

Vicky is the Queen, and thus has privileges; personal performances by no less a personage than Georg Friedrich Handel, for example. But she has no exemptions from the experiences of pregnancy, and the first part of this episode charts the general realisation that pregnant she certainly is. Albert is lovingly overjoyed, but she is justifiably afraid; the precedent of Princess Charlotte is not an encouraging one.

Lord M may still be PM, just about, but the focus now moves to Sir Robert Peel, for he is the future; Albert likes him. The Queen is still unconvinced. This difference of views is echoed by their respective views of the railways, also the future, and a trip to a staunchly anti-progress Tory household in Staffordshire sees all this play out. Peel and the railways are, of course, aligned, with Albert being tempted from a lonely Vicky's bedside to play trains.

Annoyingly, Vicky must appoint a regent in case she should suffer Charlotte's fate; her choice of Albert is not popular with the many anti-Europeans in Parliament (they're just as uncaring of the country's true interests today), but supporting her allows Peel to curry her favour, and perhaps we can see the beginnings of a thaw.

Meanwhile there's a rather sweet romance going on downstairs involving decadent helpings of chocolate, and Vicky gets her own invigorating train ride. As ever this is history brilliantly sculpted into the shape of drama, and Coleman is deeply likeable as always.

Humans: Season 2, Episode 2

"Why do you hurt us?"

Two episodes in, and both the plot and the philosophical subtext become clearer. At one extreme we have Hester, the Malcolm X of the synths, who hates the oppressive humans and has no compunction about killing them. On the other we have Niska, synth, avid reader of philosophy and, as she's determined to be tried as a human would be for the murder she has committed, someone rather likely to have read The Outsider. This series seems to have moved on from literary sci-fi to French existentialism. I like it.

Niska is the most fascinating character- but she has competition. Mattie, for one, manages to work out what Niska has done with her disk, and that synths are slowly becoming sentient; just the odd one for now but... where will it end? Mattie is also quite brazenly restoring the late lamented Odi in plain sight, which shows an admirable amount of brazen cheek. I love her. Then we have the wise gentle Max, and the kind and loving Mia, who suffers heartbreak here from nothing but an act of kindness.And then we see Kate and Pete again, their relationship having grown rather lovely. Meanwhile, over in that country which seems to think that handing loads of power to Donald Trump is a good idea, Athena has decided to go to England and visit our old friend Hobb.

To an extent things are still setting up, and perhaps it's taking more time this series for things to really start to be sublime, but the philosophical heart is already there.

Angus, Thongs and Perfect Snogging (2008)

"I'll be bored to death by sheep and hobbits!"

Yes, you guessed correctly; I watched this with Mrs Llamastrangler, being a 39 year old man who doesn't usually watch films aimed at teenage girls. But this was an entertaining and diverting film which held my attention throughout, however illegal I may think it should be to be that young. And it's weird seeing QI's very own Alan Davies as a father figure.

It's a standard plot for a film aimed at teenage girls, really, but I enjoyed the fact that it's set in,of all places, Eastbourne. I also enjoyed the fact that the PE teacher is Osgood from Doctor Who, and the very deliberately obvious animatronic cat. It's fair to say this isn't the sort of film I'd probably choose to watch, but it's well-acted, shot and written for its audience and even I enjoyed it.

The Walking Dead- Season 2, Episode 6: Secrets

"There's walkers in the barn and Lori's pregnant!"

This is an episode of revelations and, again, a very well written treatment of the characters but... isn't this season going awfully slowly?

We now know why Herschel wants Rick and co to leave so quickly- he's keeping his zombie family members in the barn from a heartrendingly stubborn belief that they're just sick people who can one day be cured- an attitude that has been much hinted at; he's a good man, but not the kind of good man this new world needs. Especially as Glenn is pants at keeping secrets.

There's an underlying theme here, established visually at the start, of carnivorousness and the food chain, an ominous metaphor. This apparent stability at the farm now seems all the more illusory with all these secrets. It's hard to adjust to this new world, as we see with Lori and Rick arguing over whether Carl should learn to shoot- and whether Lori should keep the baby. It's unquestionably Rick's; her angst, it seems, is far more existential. What sort of life could the baby have? Yet humanity must endure.

Maggie is furious at Glenn and therefore, this being TV drama with all its attendant tropes, ends up aggressively kissing him as the prelude to some no doubt angry sex. Shane, fresh from kissing his shooting pupil Andrea, is accused by Dale of not telling the truth about Otis; showing a truly dark side. I doubt either of them will survive the season.

It's a heartwarming ending, though, with Lori and Rick coming to terms over the baby- and he knows, of course he does, about her and Shane, and understands. Rick is a good man.

All this is plenty of evidence of good writing, I suppose. I just wish something would happen.

Doctor Strange (2016)

"What's this? My mantra?"

"It's the wi-fi password. We're not savages."

This may not be the best Marvel film ever, perhaps. It's not even the second best I've seen this year. But you know what? It doesn't need to be. Yes, it may be a fairly standard fantasy/sci-fi plot to the point that you know the Ancient One's going to die because Obi-Wan Kenobi, but it's standard stuff done very well, shot superbly with some splendidly trippy and Ditko-esque magic special effects and the perfect Stephen Strange in Benedict Cumberbatch, who not only plays the character superbly but looks exactly like him. There's no witty dialogue, which is odd for a Marvel film, but the brilliantly stylised and trippy direction and effects really elevate the film visually.

The Escher-esque weirdness with the cityscapes of London and New York is what I'll probably remember most from a film with a deliberately predictable plot, but the film just looks and feels exactly as Doctor Strange should. It feels trippy, Ditko and as psychedelic as the snippet of Pink Floyd's "Interstellar Overdrive" that we hear at the start. It doesn't feel like a Marvel film, but then Doctor Strange never felt much like the Marvel Universe anyway.

So, yes, an average Marvel film, if very far from a typical one. But Marvel set the bar high, and an average film of theirs is well worth seeing.

The Walking Dead- Season 2, Episode 5: Chupacabra

"Don't be too hard on yourself. We've all wanted to shoot Daryl."

Again we begin with a flashback, this time of Lori, Shane and Carl making their way away from the many others fleeing and observing as Atlanta gets napalmed. It makes you appreciate the sheer horror of events while Rick was asleep and how they were just trying to do what was best. It's a contrast to the present day where a darker, balder, nastier Shane wants to give up the search for Sophia.

Where is Sophia? This sub-plot is being dragged out so long that she can't simply be dead. Daryl is certainly dedicated to finding her, leading to his accident and his getting unfortunately shot by Andrea. Worst of all, he has a hallucination of his deeply unpleasant brother that feels, at first, as though Merle is genuinely back. Foreshadowing?

There's a fascinating conversation between Dale and Glenn which illustrates, again, how women's rights have gone backwards, subtly and otherwise, since civilisation ended. Maggie is a grown woman, but Dale is terrified that Glenn may have offended their host Herschel by sleeping with his daughter Maggie. She is, in a sense, property; that's the implication.

We end with an awkward dinner showcasing tension between the two groups, and Glenn discovering that Herschell is keeping a bunch of zombies in a hidden place. It's quite a cliffhanger, and quite a well-crafted plot line as ever, but this season is beginning to feel a little too slow-paced.

Humans: Season 2, Episode 1

"If I was here to kill you all, I wouldn't have rung the bell..."

It's always been interesting to speculate how the second season might go; the first season, after all, was based on a Swedish original. This season is uncharted territory and seems to be exploring very real themes. There's the very real threat to our jobs from robots, for a start- even Joe's management job isn't safe. And then there's the ever-present Singularity, which here has only just occurred and which, with Niska's uploading of the disk, is beginning to spread.

This in turn raises further questions about using synths as slaves- here we see a hellish Bolivian mine (poor Ten), and factory worker Hester, whose owners see her simply as property much as slave owners once did. These are rich themes.

We begin, though, in Berlin, as Niska starts an abortive relationship with poor Astrid while reading lots of philosophy- this being Germany, we naturally get a bit of Hegel. And the episode ends, of course, with Niska asking the Hawkins family to try her for murder like a human, an interesting twist. Oh, and Max is alive, a cause of much rejoicing, and still with Leo and Mia, who is as kind as ever.

Laura and Joe are still working through their relationship ship, and it's fascinating to see them with a synth relationship counsellor, played by an excellent Josie Lawrence. And the whole family is, of course, suffering with not being able to reveal what they know.

There's a new sub-plot in San Francisco, too; none other than Carrie-Ann Moss plays Athena, a professor who has secretly created an AI, eventually agreeing to help the very rich Khoury (Tommy from True Blood) to study the newly sentient synths.

As ever for a first episode this is all really set-up. But the world-building is brilliant as ever. I'm excited...

Superman II (1980)

"Well, geez, Mr. White! That's terrible!"

"That's why they call them 'terrorists', Kent..."

I'll come back to the Richard Donner cut later; this blog post is about the theatrical release credited to Richard Lester; a straightforwardly directed, action-packed and, without comparing it to the other cut, magnificent film with only two drawbacks, both of which are arguably excusable in context.

This is 1980; to produce a superhero film that is both excellent viewing for a wide audience- with romance as well as thrills- and to remain broadly faithful to the spirit of the comics while doing this is  a considerable achievement. Mario Puzo's script (what a writer to get!) respects the characters on their own terms while giving us a truly epic tale of a god who gives up his powers for love and ultimately gives up his chance of happiness for the greater good. We're halfway to the cliche that is a Christ metaphor but it isn't overdone. I'm not sure that Superman's regaining his powers is adequately explained- finding the crystal at the Fortress of Solitude is not really enough- but I suppose we don't have to be splinter anything. More problematic is the reset button at the end, both in narrative terms (it renders the romance between Lois and Clark meaningless after all they've been through and all the weight that was placed upon it) and in terms of the simple fact that the main female character has her freedom of action taken away be a man to the point of altering her memory, which is undoubtedly a kind of violation. Still... it's only 1980.

Christopher Reeve and Margot Kidder are superb as individuals and, just as importantly, together; they carry this film. Terence Stamp is an effective if actually underplayed villain; I would have liked a little more overacting for a part like this. It's surprising to see Clifton James from Live and Let Die here... in Idaho??? Is the state really as southern as its being portrayed here?

All that notwithstanding, though, this is easily the best superhero film up to this point and arguably for many years after. The bar is well and truly set.

Theatre of Blood (1973)

"Critics all make errors. We're only human."

"An opinion I find myself incapable of sharing!"

Before I'd even watched a frame of this it was abundantly clear that it was spiritually a second sequel to The Abominable Dr. Phibes; Vincent Price plays an eccentric craving revenge and drawn to carrying out a series of grotesque murders upon a particular theme. In this case, with Edward Lionheart being a bad Shakespearean actor (I wonder how Price reacted to being offered the part of a ham actor...?), the theme of the murders is Shakespeare, the Titus Andronicus one naturally being the best, the play being just as Grand Guignol as the film itself.

Such a premise cannot fail and, indeed, it doesn't. Unlike the Dr. Phibes films this is set in the present day, but otherwise it feels much the same and follows the same template. The plot may be predictable but it's all about the spectacle. Diana Rigg is superb as Lionheart's daughter and accomplice and the murdered critics include the likes of Arthur Lowe and Dennis Price. We even get a scene, Avengers fans, in which Diana Rigg and Ian Hendry are in a car together.

It may not be big, it may not be clever- although it certainly appeals to the Shakespeare geek- but it sure is fun.

Carry On Sergeant (1958)

"Your rank?"

"Well, that's a matter of opinion..."

It's almost a cliche to point out that the first of the Carry Ons is not in any way like what we would later think of as a Carry On film. There's relatively little smut, not many of the tropes and it feels very much like a one-off comedy about National Service. William Hartnell is excellent in one of his signature sergeant roles- he was horribly typecast at this point- while Bob Monkhouse is, well, Bob Monkhouse. But the film is only mildly diverting, holding the attention but not exactly a laugh a minute. What raises a so-so script from mediocrity are the performances of certain members of its ensemble cast.

Charles Hawtrey, to begin with, is a huge comic talent wherever he appears. And you know exactly what to expect from him. Kenneth Connor is superb in his major role as Horace here, and a strangely non-camp Kenneth Williams impresses in what is only a middling part. Hattie Jacques is also superb as the exasperated doctor. This is a textbook case of a film being elevated by its cast.

Yet Hartnell, too, is an excellent straight man and it's a shame this is his only Carry On. It's a film well worth seeing for the performances and the curiosity value.

Airplane! (1980)

"I haven't felt this awful since we saw that Ronald Reagan film."

Obviously this is a true cinematic comedy classic from what would become the Naked Gun team, a harbinger of a style of humour that will prove successful and funny, time and time again. Equally obviously, it's a spoof of the many high profile disaster movies of the '70s. And, for my hat trick of pointing out the bleeding obvious, it marks Leslie Neilsen's great career shift from square jawed straight actor to the master of deadpan absurdist comedy.

Watching it today it's very funny, of course, but also very much of its time- a world where everyone smokes, Afros abound and there are copious references to disco and a recent war which is carefully not stated to be Vietnam. The cast are universally brilliant, but the standout turns are from Lloyd Bridges and the extraordinary Nielsen. The jokes about the captain being a pederast are a little disturbing, mind.

Often, as here, there's only so much that can be said about a brilliantly successful comedy, and I admit I'm probably not getting all of the pop culture references, but this is possibly my favourite comedy film not made by the Monty Python troupe. And that's high praise indeed.

Quatermass 2 (1957)

"This is the food, and it burns..."

I understand this is the first ever time a sequel was demarcated with the number "2" in the title?

It's interesting seeing this so shortly after its TV predecessor, as I was unable to do with the last film for obvious reasons; it all seems so rushed and fast paced. So many characters don't appear. The ending is more rushed than anything. No one goes into space. And Sid James is playing Roger Delgado. That's weird.

Add to that the fact that Brian Donlevy isn't at all likeable and you have a film that seems to be treading water and is disturbingly lacking in charm. Yes, it's in colour, it's often on location and it's all so much more expensive, but the sense of scale is so much less. There's only a vague sense of where the meteorites come from and the end- just firing a rocket- comes as a sudden deus ex machina. And don't get me started on all those Cockney natives of Cumbria.

Something of a damp squib, then, although I'm left wondering if I'd have liked it more if the TV series hadn't have survived.

Quatermass II: Episode 6- The Destroyers

"This should have been a great moment..."

Mere weeks after a probe was landed on a comet it's instructive to watch this, where Quatermass and Leo make a manned flight to the aliens' comet home, one without fanfare or glory. But Nigel Kneale doesn't do fanfare or glory.

It's a fitting, tension-fuelled and deeply tragic finale, as the likeable boffin Leo meets a horrible end and the final shot is of a visibly shattered Quatermass. Still, cheer up; the great Cyril Shaps unexpectedly turns up. And it's clear that there was never a time when he looked young.

There's some hope, I suppose, in that the aliens are thwarted and those who are controlled, including Dillon, are themselves again. But the price, as always with Kneale, is high indeed. Trying landmark television.

Quatermass II: Episode 5- The Frenzy

"And we've only wiped out a single nest..."

The penultimate episode is a tension-fuelled base under siege narrative as Quatermass and the striking workers are trapped in the factory by the murderous aliens whose promises of lenient treatment are horrible broken; the scene where blood drops from the pile is horrifying. This is a lesson on how to build tension and suspense without actually showing much of the threat; television as theatre rather than cinema.

Our friends win out but, as the quote says, this is just one of many nests. And we end with the aliens in control of the Rocket Group- in the person of John Dillon. 

Quatermass II- Episode 4: The Coming

"I'm not listening to reason..."

This is, of course, the episode that climaxes with the excellent Roger Delgado as journalist Conrad, infected  by the alien has, makes a desperate and probably fruitless phone call back to the news desk before he inevitably succumbs to its effects. And we end with a glimpse at the alien, which looks absolutely nothing like a kind of proto-Nestene. Absolutely not, guv.

Before that, though, we have both Quatermass theorising on somewhat dodgy grounds that the alien consciousness comes from a moon of Saturn. He seems on firmer ground in theorising that it may be a hive mind. He's brave though, Quatermass, stopping at nothing to investigate this plant and always getting away unharmed, whatever vile fate always seems to be incurred by those whose help he enlists. He's not an entirely sympathetic character, whether you consider him as written or with the harder edge as portrayed by John Robinson. He's certainly called a lot of people fools so far. I suspect he isn't, quite, the voice of the author.

Nevertheless, this is still first class telly.

Quatermass II- Episode 3: The Food

"These questions must not be asked!"

This time round I noticed it: the father at the picnic is played by Sydney Bromley, who would (much) later play Engywook in The NeverEnding Story. Fancy that.

The plot thickens further as Bromhead is seemingly brainwashed, the picture quality unfortunately decreases (but we should be glad to have this at all), and Quatermass sneakily arranges to be let into the plant for a look. All this happens gradually, extracting maximum suspense and mystery, and allows time for Quatermass to be gloriously rude to people.

Quatermass is brave to visit the plant: it seems that most whom have visited before eventually came back... changed. The food produced seems not to be amenable to human consumption, And the domes appear to be intended to support an ammonia breathing life form in the same way as Quatermass imagined domes on the Moon. At last we have an inkling of the nature of the threat.

We end back at the lab, with asteroids approaching. Excellent, still.

Daredevil: Nelson v. Murdock

"A blind old man taught you the ways of martial arts. Isn't that the plot to Kung Fu?"

This episode is both an extraordinary character piece, earned by the way the characters has been gradually developed, and brace in making the early decision to have Foggy discover Matt's secret early on. Not to do so would have risked making Foggy appear stupid, and doing so allows for this rich examination of the relationship between the two of them, complete with flashbacks. It's an extraordinary episode. And you always side with Foggy in the brilliant philosophical debates.

We also get an interesting scene between Fisk and Madam Gao which, after the ending of the episode, looks like foreshadowing; will he choose light or dark? And we see heartbreaking scenes of the dementia of Doris Ulrich. Poor Ben. But Doris' dementia is key to an important plot development, if a rather convenient plot coincidence; Fisk's mother happens to be the person Ben and Karen visit at a care home they're thinking about for Doris. Could this be the lead Ben needs?

Fisk, meanwhile, is at a charity event of his where the wine is poisoned. He doesn't drink any- but Vanessa does. I suspect she'll die..

Quatermass II- Episode 2: The Mark

"Dillon, there's something on your face!"

The plot thickens as Quatermass finds odd and evasive goings-on at the mysterious factory site, and Dillon is taken away without explanation. Even odder, these people have friends in high places, there are identical facilities in Brazil and the Soviet Union, and we end with Quatermass and his tenacious northern MP friend Bromhead finding that it's official representatives all have that distinctive mark.

Wilfred Brambell appears as a tramp with a strangely southern accent and a willingness to provide useful exposition. Quatermass makes a thundering speech on civil liberties- John Robinson is splendidly rude at times, and an obvious influence on Jon Pertwee's Doctor. And the meteorites, it seems, are not natural objects. The pace is slow, but this provides for atmosphere and intrigue. This is just as good as the first episode; telly of the very first rank.

Quatermass II- Episode 1: The Bolts

"Things were better when there was less government about!"

The second series of this famously pub-emptying and pioneering piece of television starts out as superbly as the first, although John Robinson, who does a good job in the circumstances, has clearly been parachuted into the part of Quatermass at the last moment. This tale of hollow alien meteorites being sent from above with nefarious purposes has been deeply influential (as we Doctor Who fans well know). Yet it obviously comes from another age, when scientists were treated with deference and the power of the benevolent State is questioned only by silly old men. Even a science fiction conspiracy theory thriller like this, in 1955, can casually have all of its heroes be public sector employees.

The early scenes with the soldiers would have had an extra resonance, too, in the days of National Service. And the flourishing and ambitious British space programme- prior to the awful disaster- reflects a very pre-Suez view of national importance.

It's a slow-paced start, full of unease and subtexts everywhere. The opening titles are, again, inspired and forward-looking. This is brilliant, first class telly.

The Rocky Horror Picture Show (1975)

"Planet, schmanet, Janet."

I'm not sure, in hindsight, that watching this film on the telly, alone, after Mrs Llamastrangler had an early night; it's a film that should be watched with others and with audience participation. Oh, I enjoyed it, but I've seen the live show- and can do the Timewarp flawlessly, he said, trying to keep a straight face- which was a much more fun experience than seeing the film. It falls rather flat when watched alone on a small screen. I've seen it, but not, I suspect, at its best.

Still, I love Tim Curry's performance. And the Charles Gray cutaways are a brilliantly cinematic touch. The design is inspired, the clothes a clear influence on punk fashion. And, well, it's Rocky Horror. And this time I get the film references. It's an inspired one-off, and it's amazing to think that such a very LGBT film was getting such a following back in 1975, just eight years after homosexuality was legalised in England and Wales- and was still illegal in Scotland and Northern Ireland. Brad and Janet, the essence of heteronormativity, are thrust into a joyously gay, bisexual, transsexual milieu which gleefully seizes control of the narrative from them- and note that Frank N Furter's sin is none of this, but the murder of Eddie; his alien executioners are as LGBT as he is.

I enjoyed this film but, well, it's not one to be watched alone.

Marvel's Agent Carter: Hollywood Ending

"I don't speak megalomaniac. Fortunately Mr. Stark does."

I've got a lot of TV series on the go and have started three more lately; time to finish one, I think. And the last episode of this season- indeed, it seems, the last episode ever- delivers in spades.

There are several types of season finales; this one, quite appropriately is a fun romp with lots of action, the good guys winning and Peggy finally getting the guy (Daniel) in a knowingly and delightfully cliched way. But the main thing is, of course, Howard Stark arriving like a whirlwind and, while not saving the day, becoming an indispensable part of the team with his wit and genius and, rather neatly, ending up with giving Jason a job; few others would in the racist 1940s. Even
Manfredi joins in as everyone uses cleverness to stop Whitney at long last. All this, and Howard putting golf balls into the portal to zero matter, as you do.

We end on a cliffhanger, as Jack is mysteriously shot dead and the dirt on Peggy stolen. Will
This ever get resolved? Regardless, this is a superb ending to an excellent two seasons. I'll miss Peggy Carter and co.

Foxy Brown (1974)

"You pink-ass corrupt honky judge, take your little wet noodle outta here and if you see a man anywhere send him in because I do need a man."

I've already blogged one Blaxploitation film; why not, I thought, blog another, this time an iconic one that actually stars Pam Grier herself? Well, this is certainly a watchable film and possibly the most '70s thing ever. I mean, Huggy Bear is in it. And it's always good to see Sid Haig.

Foxy is, essentially, setting out to avenge her murdered cop boyfriend armed with no more than a gun, a whole lot of sass and some enormously cliched dialogue. There's not a lot more to it than that but it's enormous fun, and Grier certainly has the charisma. There are car chases, there is action, but it's all about her. And..  that's about all that can be said about the film.

Marvel's Agent Carter: A Little Song and Dance

"We walk? We walk?! This is your grand plan???!!!"

It's unusual, and refreshing, that this penultimate episode begins with a little damage to the fourth wall- well, a dream sequence at least- in the form of a big song and dance number, featuring cast members past and present, culminating in Peggy's having to choose between Daniel and Jason. Then Peggy wakes up.

We still get a fast-moving, witty and fun piece of television, though, as Peggy and Jarvis first escape and then have a character moment in which they fall out and then reconcile. But here we face the fact that, for Jarvis, this has all been an adventure and that, with Ana's injury meaning infertility, this and s the first time that he, unlike Peggy, has to face the consequences.

Meanwhile Whitney tortures Jason to get the zero matter out of him and the rest of our friends, including Jack Thompson, are forced into an uneasy alliance with Masters to stop Whitney. This leads to a wonderful moment where the escaped Peggy walks into Masters' office and starts giving him a right old kicking. But soon they're all off, with yet another MacGuffin, to stop the troublesome Miss Frost. But, in amongst these scenes of action, double crossing and triple crossing, there's a heart-warming chat between Edwin and Ana Jarvis and, in a nice touch, we only watch silently through a window as he breaks the sad news to her. We end with Vernon Masters, a betrayer betrayed, suffering his deserved fate at the hands of Whitney as Jason walks into the room and explodes...

An awesome piece of television that really heightens my excitement for the finale.

A Midsummer Night's Dream (David Kerr, 2016)

"Lord, what fools these mortals be!"

It's tempting to belittle the work of adapting Shakespeare- after all, the words are already written and can hardly be much improved upon- but this adaptation by Russell T. Davies, fitting into a tidy ninety minutes, reminds us that there's a real artistry to it. The words, although abridged, may be Shakespeare's, but this production is fresh and original. Top marks for the casting, too, letting the likes of Bernard Cribbins and Richard Wilson play minor roles and leaving the principals (Theseus, Titania and Bottom aside) to promising newcomers.

John Hannah's Theseus is dictator of a totalitarian state, festooned with fascistic imagery, and Hippolyta is his prisoner, the spoils of war, kept rather kinkily in a constant state of bondage. All this fits in rather well with Egeus' tyranny towards his daughter Helena, of course, and makes a nice constraint with the humanity of the "mechanicals", rehearsing in their pub with Matt Lucas being rather good as Bottom. I love everyone's hostility to Theseus on the pub telly.

The final act looks rather different with this slant on the play, with Theseus literally dying of laughter from the mechanicals' play and the end of tyranny. As a final touch we see that Hippolyta is in fact a fairy, and that Oberon and Titania have been plotting her rescue all this time. An inspired take on the play which looks magnificent throughout.

The Mouse That Roared (1959)

"Even a complete nincompoop like Tully can't spoil this war."

It's a nice idea- an obscure little English-speaking microstate, a kind of Monaco of the Alps, declares war on the USA so they can lose and receive US aid to solve their financial problems but, through a series of mishaps. Accidentally wins. Oh, and it's all against a themic background of nuclear annihilation. It's a great idea on paper, but in practice this is neither funny enough nor clever enough to be more than mildly diverting. Still, Peter Sellers is always good, if never quite as good as his reputation, and William Hartnell always does a great sergeant major.

Still, if you don't insist on your satire being too incisive, the film is entertaining enough. It looks good, it's all very Cold War and there's some nice slapstick with the bomb. But there really isn't all that much to say about it.

The Sorcerers (1967)

"Intoxication with no hangover. Ecstasy with no consequence..."

I've been wanting to see this hard-to-find film ever since I first saw Michael Reeves' Witchfinder General. And it didn't disappoint. Thank you, Keith Richards and BBC4.

Boris Karloff, in a rare British film appearance towards the end of his life, is Professor Marcus Montserrat who, with his equally elderly and bitter wife Estelle, seeks to use his invention to take control of someone young and feel their experiences, vicariously but literally, in what looks awfully like a metaphor for hard drugs and how they can harm others and not just the user. Ian Ogilvy's bored Mike is an ignorant but willing victim, casually submitting to Montserrat's very psychedelic machine and all of its terrible consequences.

And terrible those consequences are; Mike suffers the destruction of his relationship, his friendships and his life in indulging the increasingly Grand Guignol-like excesses of Estelle, whose deliciously evil nature emerges from the facade of a nice old lady. The film is both enormous fun and very much of its time- the Sixties of Alfie rather than rock 'n' roll, of ordinary '60s youths who are not particularly cool and listen to, ahem, Cliff Richard. Highly recommended, if you can find the damn thing.

Arrow- Season 1, Episode 1: Pilot

"Oh, and Lost? They were all dead."

This is not the straight superhero show I was expecting; instead it's the tale of Oliver Queen spending five years as Robinson Crusoe on an island in the South China Sea, emerging as a kind of Robin Hood figure (secretly), reintegrating himself into society. And the mystery of what happened over that five years is clearly going to unfold gradually. An awful lot is deliberately not explained. It's a very promising premise, but not what I was expecting. Mind you, I know very little of the Green Arrow comics.

So Oliver is very rich, has inherited his vast wealth, has been a bit of an irresponsible playboy figure, and was the only survivor. During the accident he was cheating with the sister of his girlfriend Laurel: that's awkward. Laurel and her mate are lawyers helping little people against big bad corporate types.

Intriguingly, Oliver is briefly kidnapped by masked men who are very keen to know what happened during the shipwreck, and what his father said to him; this highlights to us, the viewer, that what was said must have been significant. And Oliver has a list from his dad, seemingly of rich had people; the first from the list has had his money transferred to the bank accounts of good causes; it seems that Green Arrow is Robin Hood in more ways than one.

And then we get a final reveal- the baddies are working for Moira, Oliver's mother! This is addictive stuff already.

The Flash- Season 1, Episode 3: Things You Can't Outrun

"He saved so many lives that day. And no one will ever know what he did,"

The A plot here is similar to last week's- a villainous metahuman created by the particle accelerator explosion (this one can become gas and looks just like Count Orlok from Nosferatu) is killing people in revenge and Barry stops him. This is, presumably, the format of the show. But there's a lot of character stuff going on, and arc stuff being seeded, beyond that.

But the episode starts with Barry and Iris at a zombie movie, and the first thing we see is an extra who looks delighted to be on television. But, by means of a "Ward Boulevard" (nice touch) we are immediately brought into the story of the week. We also see Barry and Joe begin their search to price Harry's innocence. And we see further evidence that Dr Wells is not a nice man and has both an agenda for Barry and a mysterious past- or perhaps future. So far these early episodes are masterfully constructed, so pregnant with storyline possibilities.

But we also get a flashback to the explosion nine months us ago and the tragic, heroic death of Caitlin's fiancé. This packs a heavy emotional punch and acts as serious development for Caitlin as a character. This episode is superb, but I'm a little concerned about this extra-judicial prison at STAR labs. Still, I suppose that as the state here is shown to practise judicial killing by the barbaric means of the electric chair it can claim no moral legitimacy; certainly the judge who sentenced Count Orlok to this death deserves no sympathy as, by her own twisted logic, she deserved to die.

This will be the last blog post on this excellent series for a bit as I'll be turning to Arrow until I catch up. But this is yet another superb forty-three minutes of television.

The Flash- Season 1, Episode 2: The Fastest Man Alive

"No more heroics!"

Our first "normal" episode, then, and our first supervillain- is Damian Black, or "Multiplex" according to Cisco, a villain from the comics as I assume? I'm afraid I never read the comic; I was more of a Marvel kid back then.

Anyway, we have another first person intro, so I assume this is going to be a thing. And we have Barry gradually easing himself into the idea that his new abilities mean he can actually go and be a superhero; this is the ideal moment for an "early crisis of confidence" episode.

It's also pretty cool for Iris to become obsessed with the "Red Blip"; I like this. It's one of many little touches that give this an old-school superhero feel, like an updated and better written episode of George Reeves' Superman.

It's a nice ending, with Joe finally able to encourage Barry to be a hero, and Barry accepting that Joe is indeed another father. The characterisation and character relationships are already strong in what seems set to be a masterful show.

The Flash- Season 1 Episode 1: Pilot

"You're not a hero. You're just a man who got struck by lightning."

Yes, I'm jumping straight into the Arrowverse, as though I didn't already have enough ongoing TV shows, but bear with me. I'm not necessarily going to start watching them in strict order but I'll get it sorted before any real crossovers, if you'll please ignore Green Arrow's cameo here!!!

This is a very assured pilot episode, especially as superhero origin stories are notoriously difficult to make narrative sky interesting. This manages to be both gripping TV and to set up a premise with lots of hooks for future narrative use. Barry Allen is a police pathologist who is extremely good at his job, as shown by the Sherlock-style visual narrative tricks. He also has a traumatic event in his childhood in which his mother Nora died in bizarre circumstances and his dad Henry was wrongly imprisoned for the crime; that's powerful stuff right there.

We're introduced to his step-sister Iris West, with whom he has a bit of romantic tension, and his solid detective step-dad, Joe. All this is established before the inevitable Event; a particle accelerator which gives him super-speed, and he's helped in this by Dr Harrison Wells of STAR Labs, ably assisted by Caitlin and Cisco. That's a solid set-up right there.

Issues? Well. Grant Gustin is a good actor but I'm not sure if his boy band looks are quite appropriate for a part like this, but time will tell.

Incidentally, it's a nice touch that Barry's dad is portrayed by the same actor who played the Flash back in the early '90s.

Marvel's Agent Carter: The Edge of Mystery

"Lift the chorus, speed it onwards!"

It's getting close to the end now and the level of excitement duly intensifies, although not for poor devoted Jarvis at his vigil by the bedside of his injured wife. Eventually we see her recovery but not, alas, unharmed; there will be no little Jarvises.

Whitney, meanwhile, has Jason , and eventually persuades him to side with his fellow dark matter hybrid person although, after a shocking scene where he explicitly switches sides, this doesn't seem to do Whitney much good by the end of the episode. While sinister plots are being made by Masters to accuse Peggy of war crimes (is there any truth to this, though?), Jack finally realises what side he's on and joins Peggy, Sousa, Jarvis and the ever-chippy Dr. Samberley for a showdown in the desert. And we get a dramatic ending.

Amongst all this plot stuff, though, there's still room for an amusingly Sopranos style matriarchal Italian family with a drama-addicted comic relief matriarch. But we end with Jason- not Whitney- being briefly taken through the dark matter portal. What happened? Things are, perhaps, beginning to tread water a little ahead of the finale. But this is still bloody good stuff.

Victoria: The Queen's Husband

"Ten times?"

Vicky is married, very much enjoying the bedtime activities that come with that, but rather concerned to avoid children for the time being. Abstinence is, of course, not an option, but the only options for contraception that she's made aware of are somewhat, er, Victorian.

Meanwhile, continuing Tory wariness towards Vicky manifests itself at dinner; it is not Albert but one of Vicky's uncles who must escort her every evening. Yet Vicky soon deploys her Machiavellian wiles to engineer a victory here, while Albert begins to find a role in supporting those causes that the Sovereign cannot, making a well-received speech against slavery. The history is very logically turned into a narrative structure that works, but leaves us in no doubt that the problem of Albert's role is only partially solved. He is an intelligent man, not an ornament.

Meanwhile, Miss Skerrit discovers that Francatelli's liking for her may be less creepy than she'd assumed; he risks his life to help her relatives and all he want in return is her first name this, I begin to suspect, may be a budding romance "downstairs" to balance out the events "upstairs"; ordinary people matter too.

I Walked with a Zombie (1943)

"There's no beauty here- only death and decay."

This short film is an instructive reminder that, before 1968 and George A. Romero, zombies were a voodoo, Caribbean thing and not somerging that would ever be done without a Caribbean connection- and yes, this being 1943, there is indeed casual racism all over the place. But what's really surprising is that this isn't an action-filled horror film as such but a small-scale character drama. The zombie in question is just a catatonic woman who may have briefly died; she isn't after you, she doesn't want your brain, and it's even ambiguous whether anything supernatural happened at all. The character of Carrefour is scary to look at, but I wouldn't call this a horror film.

Still, once you accept that this is a simple drama about a burgeoning connection between a nice girl and a man from nasty slave-owning stock who struggles with his sadistic urges. There's even a nice twist at the end. Just be aware of the sort of film this is and be prepared for the cadual

Fantastic Four: Rise of the Silver Surfer (2007)

"I should be on that list!"

Best Stan Lee cameo EVER.

After the travesty of the 2015 film it's so good to see a cinematic version of the FF which faithfully reproduces the characters, makes them engaging, is full of thrills and action, and generally continues in much the same vein as it's excellent 2005 predecessor. There's very much a '60s feel, adapting one of the classic Lee/Kirby tales and including Reed's and Sue's wedding to boot, and even turning Johnny into a kind of Super-Skrull for the climax after an inspired sub-plot where he swaps powers with other team members, which has particular resonance for Ben. Yes, we hardly see Galactus and that's disappointing, but there's precious little that's wrong with this film.

The film is well-scripted, the cast continue to be excellent and the characters are all true to themselves, with the continuing exception of Dr Doom. The Silver Surfer is done well too, although Laurence Fishburne is a little wasted in a voice only role. I had to laugh at the set piece in London, something which is happening a lot in films I'm watching at the moment, but it works well.

Yep. That's how it should be done, Fox. Let's be more like this and less like the recent film, hmmm?

Pixels (2015)

"Don't tell anyone I killed a smurf..."

I am, to put it mildly, far from an Adam Sandler fan. Worse, this film seems to have left the critics unimpressed. But, perhaps because I'm very old school when it comes to computer games (I was born in 1977 and pretty much stopped buying new games in the early '90s as albums by rock bands replaced games in my limited teenage budget), I found this film pleasantly and nostalgically entertaining. I'll admit, though, that I'm still not particularly enamoured with Sandler as such.

The film looks great, and it's huge fun seeing Space Invaders, Centipede, Pac-Man and Donkey Kong recreated in real life. And Ludlow is an enjoyable piss-take of conspiracy nuts ("JFK shot first!"),  so insane that he actually uses 4chan. The film also makes a good point; those 8-bit games from the '80s relied on recognising the pattern, not something that applies these days.

I love the scenes in London- Hollywood certainly seems to love our visually arresting national capital, and Fiona Shaw gets a great cameo as the prime minister. There's a lot to love. But I'm a little disturbed by the treatment of Fox News as a legitimate news source and the troubling idea that it's ok for  a US president not to know big words. But there's no denying how much I enjoyed this film.

Fantastic Four (2015)

"Its clobbering time!"

This may just possibly be the worst film I have EVER seen. It really is that bad, and it's depressingly clear that Fox only made the film to retain the rights- not the only time this has happened with a Fantastic Four film, unfortunately. You can certainly understand Marvel's disquiet.

So what's wrong with the film? Well, Reed Richards is blatantly too young; the character of Doctor Doom is mishandled in exactly the same way as the otherwise excellent 2005 film, portraying him as simply an arrogant scientist who may as well be American; and it does the bloody origin again, which is something I keep banging on about as something films should avoid as they're essentially just exposition and it's best just to skip to the action.

But what's truly unforgivable about the film, aside from the cast's utter lack of charisma, is that it utterly fails to do this. It's boring. Literally nothing exciting happens until the last ten minutes. It takes a lot to make a film about the Fantastic Four that's just dull, but this has managed to do it.

I suppose you could say that the film successfully conveys the horror of Ben Grimm's situation, and it's nice to substitute another dimension for cosmic rays, but this film has no other redeeming features. This is one to be watched only for the purpose of slagging it off in blogs, which is my way of trying to justify wasting my time on this dreck.

Marvel's Agent Carter: Monsters

"He kissed me. I indulged him."

Masters has Dottie all there and ready for, ahem, "advanced interrogation techniques" but it seems she has the upper hand. What with him now being Whitney's bitch he probably isn't a very happy male chauvinist. No wonder he's out to get Peggy.

Jason is now corporeal but still not quite stable. He's still able to snog Peggy, though, adding yet more complications to her tangled love life. She's still Peggy, though, and both she and Jarvis cheerfully walk into Whitney's trap. There follows an interesting scene with Peggy and Dottie in a cell together desperately trying to escape first while Dottie makes some interesting comments about how corrupt the SSR is; I suspect that by the end of the season we will find that she was right in every detail and that Peggy will either leave or end up in charge. That's my prediction.

The big twist, of course, it that the trap is not for Peggy and Jarvis- they're only imprisoned to keep them out of the way while Whitney jabs the real prize- Jason. Which she does. And the episode ends with a shock as she shoots Ana Jarvis in cold blood to aid her escape. This despicable act rather undermines the noble sentiments she was just espousing to Jason about racism and misogyny, but she is a baddie, after all.

We end with an infra-SSR coup as the dastardly Vernon Masters seizes control from Sousa. The season hasn't long left to go but I'm certainly enjoying the ride...

The Walking Dead- Season 2, Episode 4: Cherokee Rose

"I'll have sex with you!"

There's an uplifting beginning to this more contemplative and less intense episode as Carl wakes, and he's ok. God-bothering patrician type Herschel conducts a moving Christian funeral for Otis which includes the inevitable awkward moment for Shane. But, underneath it all, Sophia is still missing, and it's been so long. We, being seasoned viewers of television, are quite aware that so much narrative time being spent on the search for her is unlikely to end in an anticlimax, but the characters don't. So it's fitting that the title of the episode refers to a moving gesture of hope from Daryl to Melissa.

Rick manages to negotiate with Herschel for his tribe to stay there for a while, and there's a spot of bother with a zombie in a well. Lori seems to be pregnant, and Maggie and Glenn take advantage of a rare bit of privacy to have a bit of a shag, taking what joy they can from their bleak and likely short existences. Still, both of these things recognise that life goes on.

Still, whose baby is it? Another brilliant episode, and this is shaping up to be another excellent season.

The Walking Dead- Season 2, Episode 3: Save the Last One

"Call that payback for laughing about my itchy ass..."

Sophia is still missing and it's all getting rather concerning. Still, it would be an anti-climax after all this for her simply to have suffered death by zombie. Meanwhile we end the episode by seeing a very dark side to Shane, via flashback, as he shoots the brave and resourceful Otis, after many close scrapes and what seems like a genuine friendship, as soon as he becomes a liability. Shane is getting darker and darker and will surely get his comeuppance before the season is over.

Meanwhile, Dale and T-Bone join the rest at Herschel's farm as Lori and Rick debate whether, given Carl's dire situation, this is a world for children to live in any more. Is it cruel to propagate the species now that there can no longer be such a thing as a true childhood?

In the event Carl survives, but the argument still resonates. Elsewhere Glenn and Maggie seem to connect, and we see a hanged zombie with half-eaten legs, the result of a stupidly done suicide. It's the image of the episode but it is Carl's survival and Shane's perfidy that linger. Another superb episode.

Minions (2015)

"Gentlemen do not steal ladies' crowns!"

This is yet another instalment of Minion fun; by no means one of the greatest comedy films of all time but a thoroughly entertaining romp with a first class '60s rock soundtrack. It's 1968, and the pre-Gru and tragically bossless Minions seek to become the underlings of the splendidly supervillainous Scarlet Underkill (Sandra Bullock in a rare appearance in a film that isn't rubbish).

I love the gentle mockery of us Brits as unflappable and always reaching for a cup of tea in a crisis (I certainly do so, in a crisis and at all other times), however much I somehow doubt the constitutional validity of Bob becoming king by simply drawing a sword from a stone, which is apparently a tourist attraction in central London. It seems the Glorious Revolution never happened. Hmmm. I also loved the inevitable Beatles cameo, and the nice family of bank robbers who kindly pick up hitch hikers.

It ends entertainingly, with Scarlet turning into a massive Dalek and a final intervention from a very young Gru. This is a very silly film and one I much enjoyed.

The Walking Dead- Season 2, Episode 2: Bloodletting

"Am I the only one zen around here?"

This episode deals with the awful aftermath of a traumatic event, as Rick, Shane and their new acquaintances- mainly Maggie, Herschel (fortunately and conveniently a medic) and guilt-ridden shooter Otis- struggle chaotically to save Carl's life while, elsewhere, the rest of the gang continue their increasingly desperate search for Sophia; suffer the little children indeed. Only Daryl is calm and quietly optimistic, and he should know.

It's brace to introduce new cast members under such conditions, perhaps, but this helps to flesh out Herschel as a calming and authoritative presence at a time when Rick is unable to be those things.

There's a nice contrast at the start, with a flashback of Carl having to be told about Rick's shooting being contrasted with the reverse. It's clear that the lad may not live although, you know, this is a television drama and we all know the tropes.

Meanwhile, T-Bone is injured from last episode, and we're reminded that he could die without antibiotics, a diminishing resource as the trappings of civilisation continue to slip away. Carl can only be saved if a perilous journey is undertaken to take medical supplies from under the noses of loads of zombies; this falls to Shane and a conscience-stricken Otis.

Maggie manages to find the tribe and have everyone (aside from Sophia, of course, and both Dale and T-Bone at the motorhome) arrive at the house, meaning that keeping track of the characters becomes a fair bit easier for the writer. We get a nice chat between Herschel and Rick- Herschel is confident that the zombie outbreak is just a big disease and will eventually come to an end- and an interesting revelation: he's a vet, not a doctor!

We end this typically superb episode with Shane and Otis seemingly under siege...

The Walking Dead- Season 2, Episode 1: What Lies Ahead

"This gross bastard had himself a woodchuck for lunch"

We start the season with the tribe in a desperate situation, as we hear via Rick's walkie talkie message to Morgan (I'm sure we'll see him again, but for now this is a handy excuse for a bit of exposition). They have ahead of them an exodus of a hundred miles across potential zombie territory with absolutely no way of maintaining their vehicles other than what they can do themselves. Many, including Rick, are teetering on the edge of losing faith.

There's a great set piece for the episode of everyone hiding behind beer eath various vehicles from a passing herd of zombies, with some very close calls. And, as part of this, twelve year old Sophia gets lost in the woods shortly after Rick has saved her but had to leave to deal with the zombie. It says a lot for this show that we all feel the agonised hope and despair of the tribe as they search for her without any success, but Daryl Dixon turns out to be quietly amazing, with his tracking skills and his temperament.

We also hear of Andrea's resentment towards Dale for presuming to thwart her attempted suicide under such a hopeless background- perhaps she has a point. The gang end up in. Church where, cruelly, Sophia's mother Carol reveals in her prayer that she feels she's being punished for wishing her abuser husband dead. But the final moments are of beauty, in the form of a deer, and shock, as Carl is shot...

This is gripping and bloody good telly.

Victoria: An Ordinary Woman

"We've been replaced, Lord Melbourne."

"That's as it should be."

Getting hitched is, sadly, always a political act for a monarch, especially if one's spouse is a German prince. What should his title be? Certainly not "King Consort" says the House of Commons. What should his allowance be? Not as much as the amount King Leopold I of Belgium is getting, says Sir Robert Peel. And what, in fact, should he do as opposed to be? All of this is gendered, of course; none of these issues would be so vexed for a female consort to a king with her uncomplicated title of "queen". Here, in Victoria and Albert, we have a situation where the male appears to be oppressed somewhat by the patriarchy.

Albert is, of course, a clever and principled man; he needs to define a role beyond shagging the queen. He needs an income of his own. Vicky, meanwhile, is anxious lest he find himself a mistress as her uncles tend to do. And the Duke of Wellington makes mischievous Tory noises asking how we can be sure that Albert isn't (shock horror) a Catholic.

Still, it's cute that Albert makes use of a prostitute before the wedding, but only to ask her for sex tips.   The couple are, in the end, married, and we end with a discreet sex scene, although not before Vicky says goodbye to her faithful Lord M. Another well-produced if stylistically conventional episode of period drama.

The Walking Dead- Season 1, Episode 6: TS-19

"This is what takes us down. This is our extinction event."

This is a fascinatingly different and daringly philosophical finale, first allowing the characters a much-deserved break with safety, wine, hot showers and area scientific revelations- zombies are not the same individual as the person they replaced- but we are brought down to Earth hard; this sanctuary, like all science, technology and culture, is seemingly moribund, and this sanctuary has only a few days before, inevitably, the power runs out- and the place blows up.

It's a nice examination of the philosophy behind the show in a one-episode microcosm. Another point that arises is, of course, whether or not there's any point in continuing to live if the future is so bleak and unpleasant.  Is there any hope? Rick and Andrea are on opposite sides here, and there's a powerful scene where Dale essentially mansplains Andrea out of suicide.

We also get a flashback of the "event" from Shane's POV, and a scene where he tries to rape Lori, an act which immediately and permanently loses him the sympathy of the viewer and probably makes his death next season inevitable; that's an actual prediction. We also get theheartbreaking revelation that the French came close to a cure before- what else?- the power ran out.

This is a powerful and extraordinary episode, where the CDC building's falling apart is a rather apt metaphor. But we end with a superb and deeply appropriate Bob Dylan track...

The Walking Dead- Season 1, Episode 5: Wildfire

"I bet there isn't even a single son of a bitch out there listening, is there?"

This episode consists of a desperate exodus over dozens of miles, to an uncertain promised land (the Centre for Disease Control in Atlanta) with a great deal of faith required: it's not difficult to see a religious subtext here. It's also an episode defined by moving scenes of the wounded and infected Jim  volunteering to be left behind to face certain death out of sheer selflessness. As is becoming habitual for this show, these scenes are dwelt upon, with lots of lingering for the camera, but the script is nicely restrained in letting us decide for ourselves how we ought to feel about it. That's a sign of quality.

It's a superb episode for character development generally as these individuals continue to be fleshed out more and more. Andrea's vigil by Amy's corpse, and her insistence on personally shooting the zombie as it wakes in her sister's body, is handled no less superbly than is Jim's death. Death brings out character in a way few things do. It's an episode about the human side of undeath.

We end with our friends, surrounded and seemingly doomed, being allowed into the CDC by a mysterious scientists whose desperate broadcasts we have been made privy to throughout. It seems the finale will explore new ground, but if this is anything to go by then it will probably be excellent.

The Walking Dead- Season 1, Episode 4: Vatos

"Admit it, you only came back to Atlanta for the hat."

These are still early days for this fledgling show, and each episode is unveiling more and more about this post-apocalyptic show and what it can do. This one plays a trick that can only be done once early: there's another group of humans nearby (it'll be interesting to find out how common this is) and, while at first they seem threatening, they are only being that way out of charity towards their elderly patients. They know that, in the long run, they are all doomed, but as they await their inevitable fate they do the right thing. It's all very noble.

We begin with a bit of bonding between sisters Andrea and Amy, which ought to give us a pretty strong hint that not both of them will survive the episode. Another subtext here is, of course, traditional gender roles as touched on last episode; fishing is traditionally men's work, and the sisters are causing a bit of friction with the more reactionary of the menfolk.

Meanwhile, Jim is going a bit peculiar and digging a load of graves in a vaguely supernatural
Premonition of the zombie attack on the camp that is coming at the end of the episode. This is shocking when it comes, and the death of Amy on the eve of her birthday is utterly heartbreaking. Her death, in a nice touch, is properly dwelt upon and given meaning, not least by a lingering camera, but the gang ends the episode homeless, fleeing in a motorhome...

The Walking Dead- Season 1, Episode 3: Tell It to the Frogs

"I miss my vibrator!"

After a couple of episodes of set-up we settle down and get to know our now-larger cast a little better while we explore the human dimension of how the little post-apocalyptic tribe is functioning- the reassertion of traditional gender roles, in spite of resistance, is depressingly realistic, as is the domestic abuse and the reaction of the abused party to Shane giving the prick the beating he deserves ("I'm sorry, Ed!"). We also see Merle realising the full horror of his situation and starting to escape, but his full fate is uncertain.

Rick slowly integrates himself into the community, helped considerably by the fact that his wife and son are already part of it. There is awkwardness; Shane and Lori have to discreetly end their relationship, while both Rick and T-Bone have a confession to make to Merle's hunter brother Daryl, leading to Rick doing the honourable thing and offering to join Daryl, T-Bone and Glenn on a rescue mission. It's a good narrative way for him to earn the trust of the whole tribe.

We end, as might be expected, with Merle's fate still unknown, but it's becoming increasingly clear, now that the writing has time to breathe, just how good the characterisation of this show is. I think I'm going to enjoy it.

Update

I sat my exam today so the semi-hiatus is over: expect the normal frequency of blog posts from now on.

The Walking Dead- Season 1, Episode 2: Guts

"You're the new sheriff come riding in to clean up the town?"

Rick isn't alone any more as we're introduced to our new supporting cast; we have Rick's saviour, the young and plucky Glenn; the cynical Andrea; the quiet and wary T-Bone; the loud racist redneck Merle Dixon, and what I presume to be a couple of redshirts . All of them are trapped in a department store in central Atlanta under siege from zombies. This is a trope if ever there was one, and a chance for Rick to prove himself to his new gang. Again, though, tropes have their uses; they cut down on an awful lot of exposition.

Meanwhile, back at camp, Lori and Carl are alive- and the assumed widow Lori is now sleeping with Shane. That's a bit awkward. At the mall, though, as needed for the narrative, Rick saves everyone by thinking outside the box. A good thing, too, as it was him who put them in danger, but it's all a good bonding experience. But Merle's racist thuggishness means he's cuffed to the top of the building as the zombies attack. He's doomed, surely?

What else? Rick sees a helicopter, which I'm sure will be relevant later. But we're still in the realm of set-up, albeit damn good set-up.

The Walking Dead- Season 1, Episode 1: Days Gone Bye

"Is this real? Am I here?"

So, er... about me finishing off Buffy and Angel before I start anything else? I'm on it, really I am, but we have a missing disc from Angel season four that I suspect to be 200 miles away and... Mrs Llamastrangler and I just happened to start watching The Walking Dead. So I might as well blog it.

This is an extraordinary looking piece of television and, while pilot episodes are never the best ones as they have so many jobs to do and are setting the stage for good stuff later, you can tell that this is going to be a well-written, well-acted and thoughtful take on the zombie apocalypse

I watched Teachers back in my university days at the turn of the millennium, so first impressions of seeing him as a sheriff in Georgia with an accent to match are bloody disconcerting, but once I'd got past that barrier it was easy to appreciate his strengths as a sympathetic everyman, a hero with problems in the form of a rocky marriage- very much a hero in the Marvel mound; being a trained cop is very much a superpower after the zombie apocalypse.

Yes, this origin story, with Rick waking from a coma to find that the zombie apocalypse has happened, is more than a little Day of the Triffids, but it's also a neat short cut; we all know the zombie tropes, which also helps. It's an extra-long opening episode, but a lot of its work has already been done with the tropes being familiar. Including the cop show stuff at the start, which was pure Dukes of Hazzard.

The only possible criticism I have of this is to ask who carries a match in the twenty-first century, but that's a minor quibble. And I have to raise an eyebrow at both Rick and exposition man Morgan are American characters played by British actors, but this is brilliant, constantly and gradually revealing the true horror of the situation. We end with Rick trapped inside a tank, surrounded by the extremely large zombie population of Atlanta...

Victoria: The Clockwork Prince

"I do not need you to tell me what to think, Albert."

"No, Lord Melbourne does."

This is the one in which Albert woos Vicky and then, being queen, she proposes to him, patriarchy or no patriarchy. He's a bit stiff but decent, kind and sympathetic to the viewer, being shown to be very progressive, more so than Lord Melbourne; he appreciates the social commentary of that young Dickens chap.

It's nice to see the penny post being introduced, and Vicky's observation that anyone wanting to send any post must lick her face! We get allusions to the First Afghan War, too, and hints of parliamentary stuff, but it all takes a back seat to Albert.

Miss Skerritt, meanwhile, comes through a test of her honesty that introduces us to her impecunious sister and niece and hints yet more at a very tough background, far from Victoria's. This sort of thing is necessary to provide a context, of course; ordinary people matter a damn sight more than royalty.

This episode may be relatively light on theme, being about a wooing and such forth, but the series continues to be superbly written, shot and acted.

Marvel's Agent Carter: The Life of the Party

"You look terrible."

"Says the woman with the rebar through her abdomen..."

Taking a chance to catch up with Agent Carter; bear with me. My wife has already seen this and I'm not around much at home on my own these days. I'll get it all done, trust me.

Anyway, we get an entertaining episode, if a but perfunctory, as a still injured Peggy is forced to rely on the decidedly dodgy Dottie in order to get a dark matter-infused tissue sample from Whitney Frost, which is rather urgently needed if Jason is to avoid losing physical form completely. It's a funny and eventful episode, just one whose function in the arc is perhaps just a little too obvious. You can see the joins a bit.

Ominously, Peggy's boss is informed by the powers that be that he's not simply to sack her but to utterly destroy and discredit her; none too nice times are ahead. And Whitney's speech towards the council goes unexpectedly- their attempt to kidnap and use her utterly fails and she takes over, killing those who stand in her way- including her husband. The episode ends with the season's big bad looking frightfully powerful.

There's room for the human element, too, as a guilt-ridden Peggy learns why Sousa's engagement has been broken off. I suspect dark times lie ahead.

Steve Jobs (2015)

"I play the orchestra."

Five years after Aaron Sorkin scripted a biopic of Mark Zuckerberg he does the same for the late Steve Jobs, another scion of the Silicon Valley aristocracy, this time helmed by Danny Boyle, whose London Olympics opening ceremony has certainly not harmed his career. The result is gripping, full of quick-fire dialogue (that'll be Sorkin, then) and plenty of zingers and little nostalgic touches. Throughout it all is a portrait of a confident- nay, arrogant, bordering on unlikeable visionary who, while not an engineer or a programmer, is the conductor who cannot play an instrument but plays the orchestra superbly.

The film is structured around the preparation to three distinct big speeches in 1984, 1988 and 1988, all big product launches. It's a brave yet ultimately successful way of limiting the palette in order to produce a cohesive narrative. Michael Fassbender is spellbinding and the excellent Kate Winslet is barely recognisable; a leading Hollywood actress actually playing a role that isn't sexualised.

The emotional centre of the film is Jobs' relationship with his daughter Lisa, starting with his denial of paternity but ending with his actually delaying his speech- a big thing- for her sake. We also see his abrasive relationship with his underlings, but he inspires loyalty in spite of everything. In the end, his vision triumphs, although it's interesting that the film ends in 1997, before Jobs' biggest wave of successes.

I like the nod to the fact that you can't get inside any Apple device without special tools, the grainy picture, the nod to the iPad's origins in Jobs noticing the clinginess of Lisa's Walkman, but at its heart this is a masterful character study. It is an artfully constructed and fascinating little film.

Victoria: Brocket Hall

"I am plagued by uncles!"

We begin with Chartist demonstrations juxtaposed with Vicky's upbeat speech; all is not well in our Vicky's kingdom. And worse, Uncle Leopold, on holiday from being King of the Belgians, has arrived to nag Vicky to marry her first cousin- yes, first cousin, uuurgh- Prince Albert of Saxe-Coburg. And, in commoner news, Mrs Jenkins' nephew is to be hung, drawn and quartered for demonstrating with the Chartists, which seems a bit harsh. Still, at least Vicky has got Conroy to bugger off by simply taking advantage of his greed.

The episode asks the question of whether Vicky should marry or not; the shadow of Elizabeth hangs over the episode, with the subtext very much losing the "sub" when Vicky and Lord Melbourne dress up as Elizabeth and Leicester. But she is slowly persuaded that she must marry to perpetuate the Royal bloodline. It sounds trite but is well-written and acted to give the impression of substance.

As well as finally acknowledging the sexual tension between Vicky and Lord Melbourne, the episode tacitly acknowledges the trivialities of Vicky's vicissitudes in comparison to the lives of those among the Chartists. Importantly, it still lets her be likeable as she commutes those horrible traitors' deaths to transportation to Australia; Mrs Jenkins will be relieved. Throughout it all Coleman successfully walks that fine line between naivety and sheer ignorance sufficient for Vicky to retain our sympathies.

We end, however, with Albert's arrival...