‘John Carter’ review
In a blockbuster landscape that’s obsessed with everything being “dark”, Carter is a rare ray of cheesy sunshine.
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In a blockbuster landscape that’s obsessed with everything being “dark”, Carter is a rare ray of cheesy sunshine.
Sky1’s remarkable drama from 2011 proved such a success that a further two series were quickly commissioned, and it’s not hard to see why.
Just when you thought salvation was at hand, Season 3 represents very much business as usual for everyone’s favourite pill-popping nurse.
One of the most impressive things about Homeland is the way it treats viewers like adults.
Like last week’s opening episode, it’s intelligently-plotted, well-acted and makes exceptional use of a small budget to end up looking extremely stylish.
Whether or not people like Allison actually exist outside of the wish-fulfilment fantasies of cult fiction writers is a moot point. But as played by Ellie Kendrick, she’s utterly endearing nonetheless.
We recently went along to a screening of The Cabin in the Woods, the latest celluloid offering from Joss Whedon, with a (brief) introduction by the Buffy creator himself.
The real draw of this deliberately silly – and occasionally, surprisingly moving little programme – is to see a ‘new’ version of the Python boys do their stuff.
Love is a dangerous luxury in the Being Human universe. So Hal and Tom going on a double date promises only two things: trouble, and maybe the best episode yet of Series 4.
Skins really is a series that should be fearless, a series that can do anything and it’s utterly gratifying to see it live up to that potential.