‘Mama’ review
Despite having the name Guillermo del Toro emblazoned all over the posters, Mama lacks any of the originality or charm of the man behind Pan’s Labyrinth.
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Despite having the name Guillermo del Toro emblazoned all over the posters, Mama lacks any of the originality or charm of the man behind Pan’s Labyrinth.
After a couple of episodes in which the series arc has been at the forefront of things, it’s a change of pace this week.
The ending is downbeat, full of a sense of hopelessness and hugely challenging; brave and gripping television.
On the evidence of this excellent premiere, the final season will be able to provide Spartacus with the ending that it deserves.
The third episode of Dancing on the Edge is a slower, quieter affair.
In a week where we found out that Series 5 would be Being Human‘s funeral march, it’s fitting that we have an episode which harks back to the show’s beginning.
If there’s one thing horror movies have taught us, it’s that you really shouldn’t take people at face value.
This is in stark contrast to David Oyelowo’s previous work – Complicit is the anti-Spooks.
There’s a point in many circus acts when the ringmaster, introducing the next death-defying act, calls for absolute silence, warning that even the slightest slip or miscalculation could result in injury, dismemberment, or even death. There’s no chance of that in Circus of Horrors, and not just because it’s a couple of hours of lots of sound and fury.
Three years on from Funny People, Judd Apatow has returned to the director’s chair with this take on the mid-life crisis.