Season Reviews, TV

THE FEAR INDEX is a dry, melodramatic trudge through capitalist cliches

The Fear Index suffers from a difficult to resolve problem, namely: how do you make a show about arrogant, super rich people and it be in any way relatable to the audience?

Robert Harris is one of my favourite novelists of all time. Most of his works have been adapted for the big or small screen and continue to be – most recently Netflix’s Munich: The Edge of War (suffix added to distinguish it from the Steven Spielberg thriller, most likely). Yet I’m hard pressed to remember an adaptation of his work that matched the compressed thrills inherent in the way Harris tells his stories. Many of the screen versions of his books are austere and impersonal, not to mention staid.

I’ll say this for The Fear Index – it is never staid. Across four episodes telling the story of Dr. Alex Hoffman, a genius hedge fund billionaire in Geneva who, following an attack in his home, begins to uncover a strange conspiracy against him which leads increasingly back to himself, The Fear Index uses a contained, just over 24 hour time frame to its advantage in throwing Hoffman into a series of increasingly ridiculous situations that stretch credulity.

This isn’t exactly praise but while The Fear Index is not really any good, it is at least never entirely dull.

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Season Reviews, TV

THIS IS GOING TO HURT makes you feel the pain, humour and tragedy of modern British healthcare

Have we reached the point yet where we can collectively agree that the ‘clap for the NHS’ phenomenon during the height of the Covid pandemic was a tokenistic gesture at best? This Is Going to Hurt really brings home how unintentionally insulting our efforts were.

Not that Adam Kay’s adaptation of his best-selling memoir of the same name directly covers these events, or even references Covid, but across seven episodes it rather brilliantly brings home the stark reality of just what the National Health Service does on a daily basis. To say doctors, nurses, clinical staff and more go above and beyond is an incredible understatement. Kay’s series presents them, undoubtedly accurately, as modern heroes fighting against a system driving them into the ground.

One might suspect the resulting series would be a highly depressing journey through the darkest corners of hospital life but This Is Going to Hurt is no bleak episode of Casualty or existential hour of Holby City. Kay’s show manages to accomplish what his memoir did in balancing the melancholic and downright despairing with the deeply hilarious. His series can veer from razor sharp wit all the way to tragic, shocking consequences in a heartbeat, and does so without ever missing a step.

It is, quite simply, one of the finest depictions of the NHS we have perhaps ever seen on screen.

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Season Reviews, TV

THE BOOK OF BOBA FETT should have stayed in the Sarlacc Pit

Set to go down in television history as one of the most bizarre misfires in the streaming era, The Book of Boba Fett is both simultaneously absolutely fascinating and profoundly dull.

That is quite some trick from the creative forces within the Disney Star Wars family, who since LucasFilm was bought out in 2012 and the biggest science-fiction franchise in history was revived as one of the dominant multimedia IP’s, have presided over a distinctly mixed bag of content. For every The Force Awakens, you end up with what previously might have been termed a Rise of Skywalker, and from now on could well be designated as a Book of Boba Fett.

Quite how they managed to so staggeringly get this wrong is perhaps the biggest mystery about the whole project. It was steered by Jon Favreau, the primary mastermind behind The Mandalorian which, despite the flaws that show does have, is probably outside of The Last Jedi the most broadly critically acclaimed piece of modern Star Wars that we’ve seen produced, which has managed to seep into popular geek culture relatively swiftly. Star Wars stalwarts such as Dave Filoni are involved. Seasoned directors such as Robert Rodriguez. All of the creative building blocks are in place.

This is without even mentioning that the show is about Boba Fett. Is there, outside of Darth Vader, a masked character in pop culture history, certainly in the Star Wars universe, who has been so mythologised in the last 40+ years? So how, exactly, has his first significant dramatic storyline been so utterly, completely botched?

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Film, Reviews

DEATH ON THE NILE takes us on a pretty but vacant mystery tour

In some ways, Death on the Nile feels like a film that came out years ago.

Originally slated to arrive ‘P-C’, ‘Pre-Covid’, in December 2019, a slew of delays followed as the pandemic rocked the cinematic world and further pushed back Kenneth Branagh’s follow up adventure as the self-styled ‘world’s greatest detective’ Hercule Poirot, after his successful and largely critically praised debut in Murder on the Orient Express, until finally it has arrived—perhaps more appropriately—on Valentine’s weekend some two and half years, almost, late.

The project since then has been lurking in the press for all of the wrong reasons, be it Gal Gadot’s views on the Israeli-Palestinian conflictArmie Hammer’s blacklisting thanks to some troubling sexual peccadilloesor Letitia Wright spouting full blown anti-vaccination nonsense (which she denies). Some even wondered if the film would ever see the cinematic light of day or end up sent to the streaming doldrums of Disney+ as some kind of ‘premier exclusive’. Perhaps wisely, perhaps not, that didn’t happen.

Branagh’s film is undeniably a cinematic experience but that, nor the delay, prevent the finished product being a frustrating disappointment.

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