JAMES CORDEN - May I Have Your Attention Please? Indeed Sir You May!

Again, I know that this book was released a couple of years ago but I suppose I'm behind with my autobiographies. Anywho, James Corden is a figure of note to say the least. To be perfectly frank, until a year or so ago, I wasn't really aware of him and his work. I did not watch Gavin & Stacey at all when it was broadcast (I know shock horror!) but it was thanks to a GOLD repeat, and then a prompt box set buy that I have now subsequently watched them all and agree with most that it is a charmingly executed sitcom. I first came into contact with him when he appeared on Doctor Who opposite Matt Smith (as some of you may know I am a bit of a Whovian) in not one but two belting episodes that cemented James Corden in Who lore. Since then I have monitored Corden's career a bit more closely, past and present. From the History Boys smash hit to Gavin and Stacey, to BAFTA nightmare to Comic Relief joy to Doctor Who to the BRITS to One Man Two Guv'nors, which earned him a TONY. Yet I feel that is really a story that needed telling, despite again the author's relatively young age. You really get the feeling James Corden is not only telling us what makes him tick, but also explaining himself from birth to now, and just how he has got to where he is today. By and large, it makes for a very good read.

  

James Corden puts his story across in a most accessible way. He does not at any point try to patronize his readers, and he knows what is expected of him and tries his best to deliver. With Michael McIntyre's book, I voiced concerns about this huge comic TV presence being able to translate into a book; no problems here. Whether that's to do with Corden's proven writing ability, or a sheer knack for this, or the great way he puts his story across, who knows. I think at times, we stray slightly into the one-dimensional, and perhaps also some things come across with a touch of arrogance. I did see flashes of the old arrogant, loutish and flippant man that Corden in retrospect talks so openly and emotively about most of the time. He's not lost that sense of the attention seeking, and it seems to be happening more so when he tells of how it happened the most for him, and when it ended so badly. Yet even when we get hints of the cheeky young boy referring to things in his life, it is a lot more measured and mature, throughout all of the book. Though this could be seen as annoying, I find it makes for a more interesting read. If we were getting this book from a reformed, monk-like character who was now totally without sin and embarrassingly showing us the evil of his ways, it would be quite boring. Instead we get James Corden today doing his level best to tell us of his incredible and varied life. What's more, as previously said, he brings an incredible sense of approach-ability and emotion to it all, be it happy, sad, funny, tragic, or loving.

Today James Corden is an extremely recognizable figure, both in Britain and globally. He is still largely connected lovingly to Gavin & Stacey, which I feel he has no problem with, but I also think he is now very respected as an actor, writer, host, and general personality which I feel only reflects positively on his journey thus far. Whether you know of some of his highs and lows or not, I think if you read his memoir you will agree that to get to where he is now following everything that he has been through, good and bad, is quite an achievement. I believe his book to be quite a lovely, well written retrospective upon a remarkable life. I would say well done James Corden, and good luck in your future endeavors.  

Classic Comedy ~ DINNERLADIES

To laugh, and to make someone else laugh. There are few finer things on this Earth. There are many things that make us laugh and I wouldn't have it any other way. Great sitcoms are just a select few. I love a good sitcom me, yet I don't bow down to all of them; certainly not. I of course feel some are better than others, and that some are so wonderful that they are truly timeless. So, I thought I'd start looking at what I feel are simply classic comedy sitcoms and shows, past and present, and I begin with Dinnerladies.
Perhaps not an immediately obvious choice when when one thinks of "classic comedy", yet I defy anyone who has seen it to disagree with me when I say it is wonderful to behold. It is hard to put my finger on exactly why I like it. Intrinsically northern, intrinsic situation comedy (there is only one set and it does not move toward the 'alternative' like we see in some cases nowadays) superbly written, and brilliantly performed. To name but a few reasons why I am enamored with this programme.

Penned and produced by legendary actress, comedienne, writer, and national treasure Victoria Wood, Dinnerladies was her first, and to date her only sitcom. Anyone familiar with Victoria Wood's work will know that she is rather brilliant at what she does, and in her Dinnerladies scripts, the bones of the show, we can see inspired stories. Not just funny lines, innuendo and hilarity (though there is plenty of that) but characters that are instantly recognizable, yet highly individual. What's more each story for each character does develop and does evolve through each episode. From the very start, at nowhere do I think Wood was content to simply establish these charmingly funny characters, leave it at that, and see what she can throw at them. Rather she seemingly establishes all these wonderful figures, and effortlessly moves them forward, putting them in a variety of instances and scenarios that brings out the best in them, sometimes they are rather trivial, at other times powerful, but always for the best, both for them and the audience. That's another thing, before we move away from the conception and writing. A lot of sitcoms struggle to be funny and then to be serious also (some even struggle to be funny!) and then even if they have the two, they struggle to move from one to the other. Not Dinnerladies. Of course it is a sitcom, we know that, but there are nevertheless extremely serious, and highly dramatic moments dotted throughout that do make you stop and gasp in awe at what is happening on your screen. I don't wish to spoil anything for those who haven't seen it but, especially in the second series, there are some poignant and raw moments of drama, that in lesser sitcoms would seem woefully out of place but in Dinnerladies make you stop falling about, look and feel emotion, then a minute later have you wetting yourself again.

Now I think we can move to those wonderfully written and fleshed out characters, and the actors who play them. Each and every one of them is utterly masterful, each great individually, and when they come together: a joy to watch. Victoria Wood plays Bren, a middle aged loner who nevertheless has enormous heart and love for all around her; there is not one instant when you are not happy to see her on screen. Andrew Dunn is Tony, the dry and down to earth boss of the canteen, who tries to contain the chaos, often with ludicrous results. We have old acting institutions  in Anne Reid and Thelma Barlow who play love/hate best friends Jean and Dolly respectively. Shobna Gulati's dipsy but warm-hearted Anita and Maxine Peake's sarcastic but staunch Twinkle represent the youth of the catering team. Duncan Preston is the wonderfully traditional, manic and often hilarious Stan the handyman. Celia Imrie is a really interesting and very funny cast addition I find, in the form of Philippa, the posh, zany but well-meaning Human Resources manager. And Julie Walters plays Bren's mother Petula Gordino...what can I say? On the one hand she is extremely exploitative and manipulative; we should hate Bren's mum, but we really don't. This is one of the most incredible strokes of genius, in terms of writing and acting I have ever seen, not just from Wood, but full stop. Petula always makes an entrance and an exit, and everything in between is almost always comedy gold. Every word out of her mouth is both insanely ridiculous and delivered in such a wonderful way. Nevermind laugh-a-minute, this is laugh-a-second. She is a fantastic character. Even the supporting cast who pop up every now and then are superb, for example Sue Devaney's Jane and Bernard Wrigley's Bob, who appears on a few but incredibly memorable occasions.

In reality, they are all great characters and great actors behind them, not one ever feeling misplaced or expendable. Yes it is very northern, Celia Imrie playing the one person that is not, but it is incredibly accessible and watchable, wherever you're from. Dinnerladies only ever ran for 2 series, from 1998 to 2000, and I would welcome it back in a heartbeat as I know it would be just as flawless, yet if it does not return I will still be happy with what we had. If you have never watched an episode I implore you to. It is without a doubt, brilliant, a classic comedy if ever I saw one.

MICHAEL MCINTYRE - Life & Laughing: Can this cracking comedian translate onto the page?

Reviewing a book. Another thing I have never done. I love reading all sorts of different publications but I have never attempted to coherently critique a book, so I know this could go awry. I also know that Michael McIntyre's autobiography was released in 2010, but I've only just got round to reading it so there we go.

Two things struck me as slight reservations when embarking upon this book. Firstly, as with anyone writing their story at this age, Michael McIntyre was a bit young to be writing his autobiography; by my reckoning he was 34 when it came out. I know it's not as bad as some pop star wannabe thinking billions of people are interested in their life at the age of 13, but nevertheless, I was initially worried he would struggle to fill a book with enough interesting points of his life. My second worry was that he might not be able to translate his incredible like-ability and comic genius onto the page. I have come across some comedian's books who can do it, such as Peter Kay and Jason Manford, but for me it is always a worry.

All in all however, I needn't have worried. Michael McIntyre has offered us a rare insight into what seems to me to be an extraordinary life. In hindsight, it was foolish of me to think he wouldn't. From his mixed and varied heritage, to his ever-evolving family life, to personal feelings, to his breakthrough into stand up (which believe me did not happen overnight it transpires!) he mostly tells it all in a succinctly engaging way. With regards to being funny in a book, again mostly my worries were unfounded. There were occasional moments were one could tell a certain sentence was written to try and be funny and just didn't work, or where it seemed as though a live comedy routine was being squashed and pressed-ganged onto the page with odd results, but these incidents were in the minority. Most of the time, Michael approaches all manner of happenings in his life with charm and endearing sincerity, and when the time is right, no small measure of comedy. Most of the time when he refers to a routine he's done or a show he's been on which his fans, and I count myself among them, recognize, it does work and brings a smile to your face and does make you laugh too. The combination of McIntyre's highly colourful and at times extraordinary life, along with his frank and charming writing style (though it must be said at this point - it might be him or a ghost writer, currently I'm choosing to believe it's him) and his still present comic flare, make this book an enjoyable read. I am in no doubt whatsoever, that Michael is fully deserving of his current success, and long may it continue, which I am sure it will. I am also convinced that his autobiography is, by and large, a pleasant and intriguing accompaniment, to the life and work of one of the best comedians working today, and probably of all time.

  

Karl Pilkington travels the world having a right good moan. Simple as.

It's not often that I, to say nothing of the rest of the viewing public, enjoy a TV show essentially revolving around a man wandering about, and moaning. Yet I feel Karl Pilkington's the Moaning of Life is quite a triumph. I first came into contact with the work of the man from Manchester (I am very proud of this comic northern connection - come on!) when he starred in the Channel 4 series Derek, penned by Ricky Gervais, earlier in the year. His character was a no-nonsense, down to earth, uncouth, depressive care-taker and handyman. Who also happened to be hilarious. I didn't know it at the time, but this is essentially how Pilikington is in real life, minus the care-taker/handy man bit. Discovered by Ricky Gervais and Stephen Merchant some years ago, Karl has been given a gradually larger set of roles and involvement in their shows, yet now Sky 1 have made a series about him and only him, displaying his unique outlook on life.

Obviously, if we watched an annoyed man travel the world and just be nasty to everyone and about everything, that wouldn't really be any good. Yet it is the uncanny way Karl gives his unabashed take upon everything he sees which is both incredibly funny and completely straightforward, without agenda or shame. This can be illustrated straight away in how he advertises his show in the promotional advert:- "watch the first one and if you don't like it, don't watch the next four, simple". 

It is difficult to get across just how wonderfully gems like this and more pour out of his mouth, resulting in a laugh-a-minute minimum. Of course it is supposed to be informative and educational, and indeed it is interesting to see all the various people and cultures encountered around the world, and how they deal with various issues such as life, death, birth and marriage etc. Yet what we are always watching for as an audience, is Karl and how he approaches and then tries to immerse himself into the thick of it all, often with very odd and hilarious results.

If you've never come across the work of Karl Pilkington, or the Moaning of Life, I implore you to do so. In fact, the final episode has not yet been transmitted, being postponed due to the typhoon disaster in the Philippines, so if anything just give that a go. I promise you, this is not just about a man from Manc having a moan. Well...it is, but he's hilarious with it.

THE DAY OF THE DOCTOR

WARNING: POTENTIAL SPOILERS BELOW

Well...that was different. And 1udjfjfidjndivfodondonoommyyygofnodgogdddsoasosjdndncnddksndbcdjekskssjdbdjdjSDKCSKKXOCOVJAARHFCDODFJTTRRAAAR!!! Sorry. The Day Of The Doctor was rather good, it must be said.

Honestly, as a Whovian, I can say it lived up to the height of expectation, when even I doubted it would for a moment there. I don't even know where to begin in trying to write about it. It was brilliant. Plus, I really don't want to reveal that many plot details, more so than usual, because it really needs to be seen this one. So apologies if you don't find this quite as succinct as it could be. 

Right, lets start with a major point of the show - the three Doctors! And then some! Firstly it was a joy to see David Tennant step back into his togs again.Several years on and he has not lost one ounce of what made him such an iconic Tenth Doctor. The cheeky chappy, the emotional power and that great Doctor swagger was all still there, and we got to see his screwdriver and TARDIS again too (definitely not a euphemism, I would not stoop so low). Then there was John Hurt, the mysterious War Doctor as he is now apparently known. Of course we got the John Hurt treatment in spades; here is an acting legend that strode onto the set of Doctor Who. But Hurt's Doctor was a joy to watch also. Yes he is aged, desperate, ravaged and dark, yet woven throughout his performance there were moments of bemused curiosity, glinting backchat, and warm charm, all presented by the incomparable John Hurt. We certainly cannot forget Matt Smith. Though we had all these fantastic elements and surprises to deal with, thankfully we never lost sight of the fact that he is still the present incarnation of the hallowed character; this is as much his time as anyone elses. Thus all the quirks, the costumes, the mannerisms and the characteristics of the Eleventh Doctor that we've come to know and love, and that I'm sure we shall miss terribly after Christmas, were there in spades. Needless to say, it was fabulous watching all three of these Doctors.

Also, just as an added extra, there was more from the Doctor to come. Rather sweetly, at the very climax of the action, archive footage was used to bring all the Doctors back to help save the day, to remind us of what we are celebrating (how could they not really? It's the 50th). We even got a momentary glimpse of Peter Capaldi as the next Doctor, right in the mix of all the action in a fleeting but memorable moment. Yet there was still more to come, right at the end. I shall say no more specifically here, but just to all those Whovians who were a bit miffed that there were no truly classic Doctors featured in this landmark episode, you shall not be dissapointed, as one last figure steps out of the shadows in a great scene towards the end.

Other characters...well we got some very nice new faces in this hallowed adventure. Comedienne and actress Ingrid Oliver was rather sweet as a devoted fan, of science and the Doctor. We also saw the beautiful and charming Joanna Page give a very watchable performance as Queen Elizabeth I, and we welcomed the return of Jemma Redgrave to the Doctor's entourage.

Monsters, you can't have Doctor Who without them. Well the Time War was key to this episode so, as fans will know, that can only mean the return of the Daleks (again, how could they not?). We welcomed the iconic villains back with a vengeance, and better still we got to see them at the height of their destructive power in war, and incidentally getting torn apart, literally, by the Doctor which is always a thrill. Another classic monster returning to much applause was the Zygon, very alien looking shape-changers. They were given at least equal monster billing as well in this episode, which I think is a plus as it could very easily have turned into the Doctor vs. the Daleks again on a massive scale. Also for me the Zygons were a novelty, as I confess I'm not as clued up on classic Who, so for me, as I'm sure was the case for many others, it was a case of seeing the Zygons a fresh.

Companions. Well again I commend the minds behind this episode as Jenna Coleman's Clara certainly did not shrink into the background, which considering she is a relatively new edition to the show, she could be buried under all these old faces and barn-storming plot twists. But if anything she was given a bit more character to play with than we have seen before I think. Now, many may think there was one more companion to make an appearance, when it became apparent Billie Piper was returning along with Tennant. Yet here I think we see one of the cleverest twists in the episode, if not all of Who. It would have been so easy, and I'm sure brilliant, to simply bring Rose Tyler back alongside her Doctor, but no. Instead Billie's character was that of The Moment, the personified living conscious of the Gallifreyan doomsday device Hurt's Doctor steals to end the Time War, that just happened to "assume the appearance" of Rose (following this OK?).

Ah, I've just realized that might make for quite a spoiler...Nevermind, it's my blog, live with it MWAHAHA (I'll put a spoiler alert at the top - aren't I a good boy?). Indeed, this Moment looked like Rose, but that is where the similarities end. The Moment was an all-powerful, time travelling, selectively invisible, reality-altering being. Yet I feel Billie Piper pulled it off brilliantly, in her own striking and beguiling way. 

Faults? Not many. At all. I suppose I feel it would have been nice to see Rose with her Doctor again, yet Billie's character only interacted with John Hurt's Doctor. Maybe the producers thought Rose had come back too many times previously, and to be fair given the circumstances it might have been quite confusing, even for the most hardcore die-hard fans. Others? Well I was slightly left in a bit of nervous anticipation following how it all ended. Oh don't get me wrong, it was incredible, jaw-dropping, epic stuff, but it did alter radically what had gone before, as Stephen Moffat promised. I just hope he has a concrete, great direction to take Doctor Who after this, in other words - I bloody hope he knows what he's doing. Oh and finally I like others was slightly crestfallen that other past Doctors weren't appearing proper. Particularly Christopher Eccleston's Ninth Doctor, a.because I think he was great and b. then we would have at least had all the "modern" Doctors since 2005 reappear. But hey ho.

Honestly though, that is just me nit-picking, perhaps unfairly. This was the 50th anniversary episode. This was a fantastic celebration to say the least. This was as brilliant as everything we'd been promised and had dared hope for, and more. This was...The Day Of The Doctor.

An Adventure In Space and Time - A beautifully executed tribute to the mad man with the blue box

Anyone who owns a television in Britain cannot have failed to at least notice the huge and seemingly never ending build up to the barnstorming 50th anniversary celebrations of Doctor Who. Make no mistake, as a self-confessed Whovian I am rather loving it and am greatly looking forward to The Day of the Doctor like everyone else. However I feel that we need to at least step back first and marvel at this jewel in the celebratory crown - BBC2's An Adventure in Space and Time. Not just a great part of the Who celebrations, but a supremely great piece of television, full stop.

Penned by Doctor Who and Sherlock great Mark Gatiss, this is a self-confessed "love letter" to Doctor Who. Intrinsic to that is a marvellous story that also greatly allows for non-fans who are presented a marvelous dramatization of television history, oodles of wonderful moments for fans, and incredible amounts of character and great performances. 

Historically the attention to detail is stunning. The props, the sets (a lot of which also seemed like a homage to the iconic and now sadly defunct BBC Television Centre) the costumes, even the lighting, all scream 1960's Britain and BBC. Not only that but getting the time and setting right on screen only increases the sense of purpose, and power and eventually legendary status that the whole process of making Doctor Who was. I think the temptation to make the conception a rosy tale of success after success would have been prevalent for the 50th, but no, this is a continuing story that builds, has set backs, builds some more, has more set backs and tragedy, and gets back up again until finally celebrating the finished product.

Now for the true Doctor Who moments, and I am quite sure fans won't be dissapointed. We saw the conception of the show itself, we saw the bespoke original Doctor come to life, we saw the conception and sketching out (literally) of the TARDIS, we saw the first companions, we saw the script ideas that were trashed and we saw those that triumphed to launch this wonderful story. I could go on...so I shall. We saw the First Doctor get to grips with his console, we saw the first outing of the Daleks and their infamous evil, we even had quotes and references from "the future" of the show; to hear the First Doctor issue those immortal and heart-wrenching words - "I don't want to go" was a real moment for me. AND THAT CAMEO! I don't want to spoil too much for people (if I haven't already - sorry!) but it was the best cameo, Doctor Who-based or otherwise, that I have ever seen. So simple, yet so powerful, not just another Whovian thrill but a terribly emotive moment that was the culmination of a fantastic programme.

The cast. Starting from the top, I believe David Bradley (or Argus Filch for those of you routed in Hogwarts) was perfect as William Hartnell. He gives huge gravitas to the back story of the First Doctor, making people, as was apparently the case with Hartnell himself, feel on edge and slightly in fear of this eccentric old man, but also feel tremendous love, sympathy and warmth, for the actor and the Doctor he portrayed. Getting to see Hartnell's journey from creating the Doctor, to stepping off the TARDIS to make way for Patrick Troughton, was a real treat for me, as I'm sure it was for everyone else who witnessed it.

We get treated to some other gems too.Verity Lambeth, who at the time is portrayed as a struggling yet aspiring woman in a man's world, and who went on to be a television production legend, is played by the beautiful, measured and incredibly watchable Jessica Raine. In An Adventure in Space and Time, Doctor Who is as much her story as it is Hartnell's. Young yet experienced actor Sacha Dhawan gives added charm as the first director of Doctor Who, Waris Hussein. Legend of stage and screen Brian Cox rounds it all off with healthy and regular infusions of the comical, manic and passionate Sydney Newman, Head of Drama at the time and co-creator of Doctor Who.

So there we are. I'd just like to say really a heartfelt well done to all involved in An Adventure In Space and Time. The Doctor Who 50th celebrations have been wide and varied, and look to culminate magnificently. Yet I am glad we got to see this masterpiece of television, that also happened to have something to do with the Doctor. 

The Kennedys

There have been many television documentaries and specials in recent days to mark the 50th anniversary of the assassination of President John Fitzgerald Kennedy, on November the 22nd 1963. As part of these broadcast proceedings, BBC2 has been repeating a series first aired in 2011, the miniseries titled The Kennedys. Whether or not you hold a lot of historical interest in a president whose life and death is still controversial today, I do believe as a piece of television this series is certainly worth watching.

When it was aired, The Kennedys split the critics, some saying it was little more than an awful soap opera, whilst some declaring it quite a triumph. Yet general viewing figures were fairly high and audience opinion was broadly positive. I suppose for me the case is split two ways too, though perhaps not so drastically as others make out. To my mind a lot of "historically based" drama series' or films, whether American, British or otherwise, tend to either get too caught up trying to be historically accurate without making enough effort to hold an audience, or else try and produce too many liberal interpretations and Hollywood-style plot devices. The Kennedys to me seems to be a rare instance of a nice balance between the two. The historical events covered, despite being done so in sometimes confusing time jumps between years and decades, are presented well and I think the show tries to stick to what actually happened. Saying that there is also enough drama, grit and plot to keep you following the show. I feel this has a lot to do in no small part to the cast of the Kennedys.

The Hollywood figures come in the form of Greg Kinnear who plays JFK in a charming, measured way that for me makes the character watchable throughout. By the time his assassination is covered, despite knowing what's coming, you do feel the loss due to the slow but steady development Kinnear provides. Katie Holmes is his leading lady playing the iconic Jackie Kennedy. Her performance, whilst maybe leaning towards the cheesy on occasion, is still beautiful and fragile and well placed most of the time. The relatively unheard of Canadian actor Barry Pepper is the one I cannot really wrap my head around, in his portrayal of Robert "Bobby" Kennedy. He was nominated along with Greg Kinnear for an Emmy award for Outstanding Lead Actor in a Miniseries or Movie, along with other awards, and Pepper won. Most of the time I would say that this, and any other praise and accolades given are deserved, and that broadly speaking his Bobby Kennedy is incredibly authentic and subtle, yet powerful if needs be. Yet there are moments throughout the series, at least one per episode, when he just seems to teeter over the top, as if you get the sense he is trying far too hard, and all the depth and emotion previously built and established is shattered and we are left with a very one-dimensional attempt. However as I say by and large, I think Barry Pepper's performance deserves to be marked.

We also see a few seasoned mature actors to balance the Kennedys; transatlantic acting royalty Tom Wilkinson who plays Joseph Patrick Kennedy Sr, the aging yet ambitious don of the Kennedy family, and his wife Diana Hardcastle who plays his on-screen wife and mother of the Kennedys, Rose. 

For me, though she was heavily praised, Diana Hardcastle's Rose, whilst portraying some level of emotion and character, tragically falls short of blowing us away. I feel this is a real shame because out of all the cast I believe we can truly see the effort she puts into becoming Rose Kennedy, but whether due to her fault or that of the writers, by the end of the series I did get very tired of seeing her appear, preach about God and Mass, look at her husband witheringly then stare stricken into the middle distance.

I do agree with most of the critics that Tom Wilkinson's performance was a definite stand out. He very subtly and slyly edges Joe Kennedy Sr toward the path of a hated villain whilst still keeping us emotionally invested with him all the way through. We see Joe Kennedy go from the height of glory, to behind the scenes mastermind, to struggling dictator, to broken cripple, all served to us masterfully by Tom Wilkinson. 

I feel the Kennedys worked as much at its original conception as it does now in the midst of the anniversary of JFK's death. I thank the BBC for giving me and others the chance to revisit a series which I feel was broadly a success.

Atlantis - New prime time BBC drama - was it worth the hype?

The department heads at the BBC certainly worked hard to impress upon their audience the need to religiously watch and follow their brand new fantasy drama series - Atlantis. The idea behind it was to provide a new programme to fill the void left by Merlin, which chronicled the younger years of Merlin and King Arthur. It was a series which ran for five seasons, amassed global acclaim and legions of fans (including yours truly). So, after viral marketing campaigns, blazing social media trails, and cinema-style previews, Atlantis hit our screens. That was several weeks ago, and we are now eight episodes into the new series. Now, as Atlantis takes a slight week long break in its run to make way for the stonking anniversary event of Doctor Who (one assumes the BBC wanted to give the Timelord the predominance of the spotlight) I think its a good time to reflect.

Well in a word, I rather like it. As with other TV shows, it has to be said Merlin included, I was not immediately blown away from episode one, and I am reserving total judgement until the last of this series at least. Yet I am definitely hooked enough to keep on coming back for more. Atlantis for me started strongly enough and has gradually evolved and ingrained itself more and more with the viewing audience. In terms of plot, there certainly are enough elements of action, love, drama and comedy per episode to thrill and retain audiences. The plotlines and characters are of course routed and based upon Greek mythology, tales of ancient gods, heroes and monsters.
The classicist in me was split two ways. On the one hand, my interest was pricked upon recognizing all these names and references, and on the other I was quite confused and a tad dissapointed to see that the writers are taking constants and episodes of Greek mythology and then tearing them quite asunder. The result, from a strictly academic and a mythological point of view, is a right muddle. However, I am very aware that as each week passes, there is a resolute web of intrigue threading through what they have done with these mythical characters, and how they have brought in elements that seem alien, but somehow work, and seem to be leading to something incredible. I do not wish to provide any spoilers here, but whatever your knowledge of Greek mythology I do feel that it is certainly worth watching.

In terms of casting, I feel Atlantis is a slightly mixed bag, but one generally swaying toward the positive. Newcomer Jack Donnelly plays the lead hero Jason, and whilst his acting is strong and consistent, there is for me quite an air of the one-dimensional about him. As yet he just seems to be scraping by with his leading man status, the action is there and so is the intrigue, but this character still seems to be a slow burner (a rare find I feel with a leading character) which is fine, but will not be forever. I just hope we get to see Jason's character cover some ground before interest is lost.
There are many highlights among the cast however. Renowned acting staples Sarah Parish and Juliet Stevenson play the striking and manipulative Pasiphae and the mysterious, ethereal Oracle respectively. Robert Emms' Pythagoras provides comedy as well as fragile drama, and Jemima  Rooper plays Medusa in a beautiful but reserved way. The stand out star by a mile for me though is Hercules, as you've never seen him before, played by the incomparable Mark Addy. The character of Hercules hits you every week with a bombardment of character and comedy, which Addy delivers wonderfully, and yet when the time comes the tables are turned effortlessly to heartbreaking drama, and often a fantastic mix of the two. Yes indeed for me Mark Addy is currently the star of this ensemble, and I am very glad he is recieving star billing and praise thus far.

So, hype aside, I do believe that Atlantis is definitely worth watching and sticking with. Time will tell if it is a match for established BBC offerings like Merlin or dare I say it Doctor Who, but judged upon its own merits without comparisons and I do feel that we could be potentially watching Atlantis for a while yet.

The Hearth of the Ram ~ A Righteous Revamp of a Ramsbottom culinary gem

Forgive me but this is very new territory for me; turning critic within the realms of food and restaurants. As is the case when I'm reviewing anything, be it a film, a theatre production, whatever; I am still letting loose my opinion upon the world with the slightly deluded notion that it is warranted. Also an issue is that I don't really feel I have the cut and thrust ruthless attitude that a lot of critics, professional or otherwise, are portrayed as having. No matter how good or bad something is, I still try to find at least some of the good points, I will do my utmost to salvage some saving grace, even if whatever I am discussing seems pretty woeful. This I feel is the antithesis to what many critics (and indeed people I know personally) do; sometimes using their opinion to completely shatter something. HOWEVER,  the Hearth of the Ram in Ramsbottom has thankfully made my first attempt a thoroughly easy and enjoyable one.

The whole restaurant experience was stunning. As I understand it, until seventeen months ago, the site was home to an aged, perhaps average pub, but in May 2012 The Hearth of the Ram opened its doors to the public, under the leadership of Scottish couple Euan and Dena Watkins. If this is the state they're at less than two years on, I commend them hugely. Chief for me I have to admit was the stunning food. It is widely held that the whole foundation of a restaurant is based upon their chefs, and what they can produce. Head Chef Naz Abdullah (who apparently joined the team having left potential Ramsbottom rival Ramsons) is clearly incredibly knowledgeable, inventive, passionate and the results are delicious to say the least!

 

 

I myself started with partridge, and followed with fillet steak, all of which was utterly divine, but I have no doubt that all the food that read so well upon the menu, would have looked and tasted great. They even finished our evening with a rather sweet gesture of homemade ice cream to celebrate my birthday - feast your eyes on those piping skills!

The fare they served at The Hearth then was faultless, but as I am sure we all know, even great food can be let down if it is surrounded by staff and atmosphere that are lackluster. Again I am happy to report this was not the case. In terms of the restaurant itself, the new development gives a a sense of effective simplicity and elegance, whilst still maintaining a definite air of coziness; with roaring fire aplenty. In terms of staff and service, I do feel that the Hearth was represented well, with smart and attentive staff, who were neither too lackadaisical nor too intrusive. They were led in the house by charming and chatty restaurant manager Elecia Heywood, who not only catered to our every need, but who also avidly and openly had a good chat at any opportunity, which I know some people may disapprove of when dining out, but I welcomed heartily. She even had a few funny tales to tell. A remarkable example of this being that apparently the logo and insignia chosen for The Hearth of the Ram, though definitely bringing together images of a warm hearth and the ram of "Ramsbottom", has also been referred to by some gynecologists as being reminiscent of a biological diagram of certain parts of the female anatomy.

I shall leave that for you to ponder, and on that note simply say that The Hearth of the Ram is deserving of every bit praise it receives. I am sure that a great many of their customers will, as I shall, be returning again and again.

Last Tango In Halifax - Huzzah for the return of a Yorkshire cracker!

If you have not watched an episode of Series One of Last Tango In Halifax, then I urge you to do so. Last year's biggest BBC new drama was a heartwarming, tragic, comedic and incredibly and joyfully watchable piece of television. Now the difficult second album has begun, and in my opinion, is as wonderful as the first outing. I do not wish to spoil anything, but the opening premise was that Yorkshire pensioners Alan and Celia, played wonderfully by acting royalty Derek Jacobi and Anne Reid, reunite after their childhood sweetheart days, finding each other again over Facebook, and gradually rekindling their deep felt love for one anther. They start to bring themselves and their lives together, and with them their wildly different and quite dysfunctional families.

Each unit is headed by the mothers, who initially struggle to see eye-to-eye on anything, but must work together to keep their families intact, and their ageing parents happy in love. Caroline, played by Sarah Lancashire, is the career-driven, upper middle class headteacher, who is maritally in turmoil, and is developing a new side to her personality and sexuality. Nicola Walker's Gillian is the struggling farmer who just wants to do right by her family. The ensuing farce and madness is both brilliantly written and acted, and ends on a tragic cliffhanger.

Now, in Series 2, the cliffhanger is resolved (again not wanting to give away too much) and the story looks to be moving forward with much of the same charm and warmth that seems to be setting Last Tango in Halifax as an ongoing hit.

VICIOUS – The End, The Beginning, & The Future

I freely admit that, for me ITV’s Vicious definitely got better as it went on. Hardly beginning with a show stopper, my reaction to this sitcom gradually went from laughing occasionally with waning confidence to being utterly charmed and in utter hysterics by the end. From Vicious’ first outing on our screens, critics were notoriously quick to pan it, most not being readily impressed, and may have stuck to that following the final episode, but I disagree, and here’s why...

The final episode of Vicious offered us all “the best bits” as it were, of the series. As if those behind it needed five episodes beforehand to completely cull and hone all the aspects, characters and elements to produce a truly cutting, slick and funny programme. We were treated to just the right amount of interaction between Frances de la Tour (who in the past episodes sometimes presented a slightly see-through and clichéd character) as Violet and Iwan Rheon as Ash. We also had the well-timed extras from Marcia Warren and Philip Voss, and even an unexpected but wonderful cameo from the voice of Dame Judi Dench. Yet most of all we were treated to two fully blossomed comedic characters, Freddie and Stuart, played by the legends that are Sir Ian Mckellen and Sir Derek Jacobi, who have managed to lead Vicious thus far and, judging from more recent episodes, thoroughly deserve to lead it into at least another series.

A Look Back At A Good 'Un - Kate & Leopold (James Mangold, 2001)

A rom-com, with time travel! That may be an acceptable premise to label this film with. Made in 2001, only a little over a decade ago, Kate & Leopold may not be as classic and as well-aged as other pieces we drag out of the vault. It is still possible to find people who remember this one, who are maybe even fans of it. Yet again however, I choose to highlight the virtues of this film because I fear it is rapidly dwindling into the dark shadowy corners of the genre archives, three shelves back into DVD collections; into the almost forgotten faded memories of audiences. That I feel would be a shame. Taken as one of the million romantic comedies ever made, or perhaps as a mere, and sometimes simply plotted, time-bending piece maybe, but put these, and various other elements together and for me this film has the makings of something of a classic in years to come.

Filmed after Meg Ryan achieved global fame in films such as When Harry Met Sally, Sleepless in Seattle and You’ve Got Mail  (cynics would say she’s not really bucking the trend here) and just as Hugh Jackman was about to launch into a blockbuster career playing Wolverine in the X-Men franchise, and enjoying all that followed. This leading pair has, or had numerous glittering film credits to their names, so I suppose it is easy for even the most die-hard Ryan or Jackman fans to forget this little nugget. Yet forgotten it should not be, for the chemistry between these two throughout is no less than sizzling. Throughout the journey their characters go on, Ryan’s Kate McKay initially steering clear of Jackman’s seemingly insane Leopold, time travelling Duke of Albany from 1876. Yet, perhaps predictably but still enjoyably, they transcend boundaries of context, custom, mindsets and centuries to eventually live lovingly and happily ever after.

Fine. Audiences used to this type of film go away happy, perhaps shedding the odd tear. What makes this film so appealing to a greater audience in my view are the other aspects and ideas that decorate this central romantic core. Firstly in sheer terms of acting ability one cannot fail to appreciate Hugh Jackman’s performance. At this point in his career, people would have probably only known him as the iconic Marvel comics hero Logan a.k.a Wolverine, as the first X-Men film had been released the previous year in 2000. Here mainstream film audiences got to experience, perhaps for the first time, Jackman’s worthy range as an actor. Leopold’s charm, romanticism, bravery, character clash and comedy moments did nothing but showcase Jackman’s ability as an actor and can only have helped increase the amounts of glowing popularity he has to this day.

Meg Ryan’s response to him is great at several instances too. Opposite Jackman, she perhaps is not presented as such a sycophantic one-dimensional character as critics of her previous work have suggested. Indeed for me, this pairing works wonderfully well. What’s more a supporting, but wonderfully measured and powerful performance from Liev Schreiber is not to be overlooked. Interestingly Liev Schreiber would go on to star opposite Hugh Jackman again to massive acclaim as Wolverine’s nemesis Sabretooth in 2009.

Add to this surprisingly well played romantic comedy, the slightly mysterious, edgy, and exciting world of time travel and this film is just about made. Time travel is not presented in a massively sci-fi-esque, light saber filled, Doctor Who – style way, but instead is subtly employed for an intriguing beginning, a romantic end, and of course the key mechanism to bring our two lovers together. All this serves to present a film that I certainly do not feel should be overlooked, in term of the careers of its stars, of an example of the genre, or just as an incredibly approachable, and enjoyable light-hearted film.

FILM REVIEW: STAR TREK - INTO DARKNESS

In 2009, with J. J. Abrams at the helm, a revamped crew of the USS Enterprise rose again to boldly go where no one had gone before...again. A mixture of euphoric excitement and careful scepticism greeted the first Star Trek adventure of this new generation, yet it was a massive hit, making stars of the new actors behind Kirk, Spock, Scotty and the rest of the crew, as well as truly establishing the film within the legendary Star Trek saga. Now, they’re back to conquer the final frontier once more, the difficult second album from the new team bringing forth an old idea.

Yet they’ve done it again. The effects, the action and the good old fashioned sci-fi are bigger and better than ever. Phasers were set to well and truly stun here (I hope to God this is the last of the terrible clichéd Star Trek references – I apologise). Yet epic in every sense of the word, this film is.

We of course see the glorious return of staple figures James T. Kirk and Spock, played by Chris Pine and Zachary Quinto.  From these new faced characters being firmly established in the first film, we see some genuine progression within them which pleasantly surprised me. Chris Pine’s Kirk goes on a journey of self-discovery when his triumph from his first outing is quickly inverted then restored just as quickly, as he must prove himself as captain and leader of the Enterprise, as well as learn what it takes to accept such responsibility. His time on screen presents us with brilliant, if slightly predictable moments that only go further in familiarising us with this 21^st century Kirk. The half human, half Vulcan Spock would always have been a go-to-guy for character development. Yet for a lot of the film we see Spock as he always was, daring, impassive, occasionally touching, logical and supremely competent. It is only in the latter half of the film I feel, that Spock truly comes into his own, giving audiences some incredible emotional and physically powerful moments (with a little help from his predecessor Leonard Nimoy who makes another brief appearance – which diehard  fans will probably faint at).

We also see other familiar faces we were introduced to last time. Hikaru Sulu’s responsibility increases along with Kirk’s, we welcome back the ever-down-to-Earth Bones played by Karl Urban, Zoe Saldana’s Uhura gains more depth too. Her new female co-star, Alice Eve (in the midst of her own slight controversy at the moment regarding her “gratuitous” underwear scene in the film) as Carol Marcus, and a well needed injection of humanity and comedy with Simon Pegg’s Scotty. But the big new addition to the cast is of course the superbly sublime Benedict Cumberbatch, the film’s main antagonist. I don’t wish to spoil it for anyone yet to see the film by going into his character detail too much, let me just say that it will appeal to Star Trek virgins and age old fans alike. Not only that but his sheer power as a performer comes across in spades, in pretty much every scene he is in. His range is deep enough to give him an incredibly interesting, and emotive character, as well as his presence being ample enough to give us an established sci-fi villain. Interestingly however, and greatly to his credit, Cumberbatch’s performance does not totally dominate every scene he is in, moreover he enhances the watch-ability of those opposite him as well as himself with every direction his character takes. Such a thing was truly a joy to watch.

So then, I feel the people behind this film should be very proud indeed. It surely matches its predecessor in terms of sheer Star Trek appeal, if not more so. The cast, the story, the visuals; it is simply all there to behold. And, as the newly re-christened Enterprise embarks on her first five year long mission in the film’s final moments, I cannot wait for the next blockbusting adventure, which surely has to be a must. Until then I will simply say to all those behind the film, and the legions of fans who go to see it... “Live long and prosper”. I just couldn’t help myself!

MRS. BROWN’S BOYS ~ 3 SERIES AND COUNTING OF THE IRISH MATRIARCH TURNED BBC COMEDY PHENOMENON

Yes, the ever-growing popularity of Brendan O’Carroll’s Mrs. Brown’s Boys is steadily becoming hard to ignore. What started in 2011 as a seemingly experimental move to late night BBC One for the Brown family has rocketed skyward ever since, garnering huge audience numbers and recognition for all involved. Though it must be said that the journey of Mrs. Brown is by no means a young one. The creator, writer and actor behind the Irish matriarch, Brendan O’Carroll, has been entertaining the public, often surrounded by an acting and production entourage of his family and closest friends that have by and large stuck with him from the beginning, for decades. Up and down Ireland, the stage show versions of Mrs. Brown’s adventures have been going strong for many years and, in between filming the hit TV show, the cast still go on the road in the UK. Though their popularity is now so great that this year’s tour features exclusively massive arena venues, such as the O2 Arena and the M.E.N Arena (I have booked my seat for one of these shows and am very much looking forward to it!).

By now some critics have panned Mrs. Brown’s Boys most with much frustration, saying that it is simply and grossly rude, pantomime humour, and that O’Carroll is milking the undeserved success he has now achieved. Opinion is entitled and is of course bound to be varied, but I could not disagree more (‘the feckin’ eeedjits!’ as Agnes might say). Yes I, as I’m sure many other fans will, openly admit that the language is often crude , but this does not detract from, or is separate to, the pure comedic value of Mrs. Brown’s Boys, but simply adds to it. That along with many other elements, such as the hilarious outtakes and bloopers that often make it into the finished broadcasted piece, the ludicrous hilarity that often occurs week by week in the Brown household, and the warm and experienced atmosphere that radiates from the cast.

What’s more, the success of Mrs. Brown’s Boys is not measured in fans, both in the UK and globally alone.  For it has also garnered many awards in the two years it has been shown by BBC One, including multiple BAFTA awards and nominations.

O’Carroll does seem to me to be embracing his success but not undeservedly for it is plain to see that he and his loved ones have worked incredibly hard for a long time to get to this point, and long may they reign as the team behind one of Britain’s now leading comedy shows. Indeed this seems to be just so, as a game show, animated series, and motion picture, all revolving around Mrs. Brown are said to be in the pipeline.

For me then, Mrs .Brown’s Boys is a wonderfully hilarious and charming show, and if you haven’t seen it yet, I urge you to do so, and also I defy you not to laugh.

FILM REVIEW: DJANGO UNCHAINED

Quentin Tarantino. A name that has become synonymous with a certain type of film. Let me state openly here and now I do not worship Tarantino and everything he does; I can see why many around the world do, and I respect the iconic figure within the film industry he has now become. Yet I try to judge each of his films that I see, as I would any other film, on its own merits. I am pleased to say that in the case of Django Unchained, Tarantino has not disappointed. Yes there are the usual amounts of gore (including some genuinely chilling moments that one probably would not find in the grossest horror) and the openly up-front handling of sensitive, perhaps even controversial issues, and an intriuging cameo from the director himself. Nevertheless I feel this story brims with visceral and powerfully emotive moments. Not only that but Django Unchained also features compelling historical and social backdrop, a beautifully suited soundtrack and a surprising amount of laugh-out-loud moments.

Jamie Foxx is suited to the role of Django right from the off. In a film that wastes no time in introducing its main character, so Foxx wastes no time in giving us a freed slave who, though thrown into a world he does not always understand, adapts endearingly and who audiences immediately root for from start to finish. On the other end of the scale we have Leonardo DiCaprio, who gives us a rare, but sublimely played turn as the villain of the piece, achieving that rare thing of a character that we recognise as evil, but who also has an incredibly watchable quality.

Two people who I feel might be slightly unsung heroes of the piece are Samuel L. Jackson and Kerry Washington. We know Samuel L. Jackson is a seasoned actor with a wealth of great performances under his belt. We also know he has a habit of collaborating with Tarantino (perhaps most famously appearing in Pulp Fiction). Therefore audiences could be forgiven for perhaps taking him slightly for granted. Yet I feel this would be folly as Jackson delivers a performance that is full of the charisma unique only to him, whilst being directed into quite a villainous role, as well as providing some much needed humour. Kerry Washington plays very much the damsel in distress in Django Unchained, yet she does so with fragile and beautiful individuality. Again you would be forgiven for not recognising her performance straight away when it is surrounded by so many wonderful characters, yet for me she is a joy to watch.

However for me, and many others, the stand out star by a mile is the wonderful Christoph Waltz, who plays Dr. King Schultz, Django’s liberator, friend, mentor and fellow bounty hunter. It does not surprise me that Waltz has received oodles of recognition and accolades (including an Academy Award) for his performance. He is just the right mixture of loveable rouge, comic funny man, suave gentleman, formidable killer and gentle heart. He steals almost every scene he is in, as well as emphasising the worth and talent of whomever he is opposite. Django Unchained provides many characters one can invest in but Waltz provides Schultz as the easiest and most loveable.

So yes I understand that a Tarantino film might not be for everyone. Yet this one, his most recent and, despite being released for a fairly short amount of time, already his most successful, certainly did not put me off. For me this is Tarantino’s best work by far; giving audiences a brutal, powerful yet wonderful story, told by incredibly talented people.