’Loot’ (Season 2)

The second season of the dramedy with a social conscience starts off fairly well – the lazy storytelling and cheap laughs of season one jettisoned for a more structured narrative.

Billionaire Molly Novak (Maya Rudolph) still remains incredibly wealthy but has announced she intends to give all her money away with a focus on a string of buildings across the country catering for the homeless. Head of Novak’s foundation, Sofia (Michaela Jaé Rodriguez) is all steam ahead for the project but is campaigning for Molly to bring into the fold more of her fellow billionaires for increased reach.

The one-dimensional Sofia is thankfully less prevalent in season two – love with musician Isaac (O-T Fagbenle) a distraction. So it’s Molly and her hip life-style advisor Nicholas (Joel Kim Booster) who remain central although Molly’s uncertain relationship with employee Arthur (Nat Faxon) ebbs and flows throughout the season. But it’s Howard (Ron Funches) and his dry, off-kilter wit and commentary that comes to the fore – his new involvement in the showmanship of wrestling taking Loot into a different direction.

Sadly, ten episodes appear too much for consistency and by the eighth, Loot has slipped once more into squirm inducing embarrassments. Nicholas and Howard have become friends with the latter helping Nicholas find his birth mother: an ill-advised scene of a drunken Nicholas on the phone to Korea plummets the series to a new low. Even Molly’s overly indulgent adventures with fellow billionaire Grace (Ana Gasteyer) are (just) funnier.

Bloated and hit and miss, Loot has its charm – and Molly is incredibly likeable. But it does not quite acheive what it sets out to do.

Rating: 40%

Season 1

‘May December’

A psychological thriller as a sexual scandal 20 years earlier and time in prison is revisited when Gracie hosts the actress slated to play her in a forthcoming film.

A comfortable South Carolina homelife for Gracie (Julianne Moore), husband Joe Yoo (Charles Melton) and teenage kids is upended by the arrival of Elizabeth (Natalie Portman). A film is planned with Gracie looking to ensure she is portrayed accurately or at least sympathetically. Twenty years earlier a pregnant Gracie had been imprisoned for her relationship with a then 13 year-old Joe Yoo, schoolfriend of her son Georgie.

Moral ambiguity lies at the heart of director Todd Haynes’ latest as Elizabeth inveigles her way into the household, talking to family, friends and ex-husband Tom (D.W. Moffett). It’s a precision dissection by the actress in the warm hues of cozy households and balmy nights.

Nominated for the 2024 original screenplay Oscar

Rating: 74%

Director: Todd Haynes (Far From Heaven, Carol)

Writer: Samy Burch (Coyote vs. Acme)

Main cast: Natalie Portman (Black Swan, Closer), Julianne Moore (Far From Heaven, Boogie Nights), Charles Melton (Bad Boys For Life, TV’s Riverdale)

‘I Am Alfred Hitchcock’

A standard but nevertheless fascinating biopic documentary of one of the masters of film and (early) television.

One of the greatest directors of all time, responsible for the likes of The 39 Steps, Rebecca, Psycho, The Birds, Rear Window, North By Northwest (the list could go on), Alfred Hitchcock initially struggled to gain recognition in 1920s London. Art director, set designer, script writer, assistant director before finally taking the helm in 1927 with The Lodger, a (silent) commercial and critical success followed a year later by the first British talkie – Blackmail. He married Alma Reville in 1926 and who remained his closest collaborator for the rest of his (and her) life.

Several box office successes in quick succession saw Hitchcock invited to Hollywood under David O. Selznick and a seven year contract. It was not a smooth arrangement (reportedly two control freaks working together) but the Oscar-winning Rebecca was the first collaboration.

As revealed through archival footage, interviews and film clips, focussed, obsessed, knowledgeable and enormously talented, Hitchcock was not without humour but became notorious through his relationships with his (usually blonde) leading ladies – from Vera Miles to Kim Novak to Tippi Hedren. Success begat success but Hitchcock felt abandoned by Ingrid Bergman and Grace Kelly, both leaving for Europe for love and marriage. Not everything was plain sailing in the US in spite of critical acclaim: Psycho was self-financing, his studio unconvinced that the schlock airport novel material was appropriate.

From film to television, Hitchcock broke new ground – the shower scene in Psycho with its 78 shots and 52 cuts changed cinema forever – and I Am Alfred Hitchcock revels in highlighting the importance. But with so many other films – mostly dealt with chronologically – the Joel Ashton McCarthy documentary is not short of material. Add a great deal of archived interviews with Hitchcock himself and his actors along with contemporary commentary provides comprehensive insight into the man that was Alfred Hitchcock.

Rating: 70%

Director: Joel Ashton McCarthy (After Film School, Taking My Parents to Burning Man)

‘Sexy Beast’

Retirement to Spain is short-lived for safecracker Gal as psychotic gangster Don Logan turns up on the doorstep recruiting for a bank job.

Cicadas, blue skies, a dip in the pool and cold beer create the perfect idyl for Gal (Ray Winstone) and wife Deedee (Amanda Redman). Until Don Logan (Ben Kingsley) arrives at the villa. He’s been charged by Teddy Bass (Ian McShane) with putting a team together – and Gal is high on the list: ‘no’ is not part of any equation. A psychological thriller unwinds as the foul mouthed, abusive Logan rants and raves, pushing the limits with Gal, Deedee and London friends Aitch and Jackie.

With a truly terrifying performance from Ben Kingsley, Sexy Beast is confronting, generally unpleasant yet, when Kingsley is on screen, mesmerising. Director Jonathan Glazer creates claustrophobic suspense and fear as the two men face off against each other.

Nominated for best supporting actor Oscar in 2002

Rating: 64%

Director: Jonathan Glazer (The Zone of Interest, Under the Skin)

Writer: Louis Mellis (Gangster Number 1, 44 Inch Chest), David Scinto (Gangster Number 1, 44 Inch Chest)

Main cast: Ray Winstone (The Proposition, Black Widow), Ben Kingsley (Gandhi, Schindler’s List), Ian McShane (John Wick, 44 Inch Chest)

’Griselda’

The ambitious Griselda Blanco takes up residence in 1980s Miami and within a short time period controls the city, becoming known as the Cocaine Godmother as well as, due to her unscrupulous savagery, the Black Widow.

Based on a true story, Blanco (Sofía Vergara) flees her native Medellín in Colombia having murdered her abusive, cartel-linked husband. Her three young sons and a kilo of purest cocaine travel with her. But being a woman in the drug distribution business is not as easy as Blanco anticipated – even with the best cocaine on the market. Slighted by city boss Amilcar (José Zúñiga), Griselda determines revenge – and going into supply partnership with Panesso (Diego Trujillo) and old friend Arturo (Christian Tappan), she soon puts Amilcar (and others) in his place. Her simple change in the supply chain to rich white people is a game changer for the drug trade.

La madrina may eventually control Miami, but the market supply for the east coast comes from the Ochoa family, represented by Rafa Salazar (Camilo Jimenez Varon) and his wife Marta Ochoa (Julieth Restrepo). Marta may be one of Griselda’s closest friends, but in a dog-eat-dog world, nothing can be taken for granted. Particularly with the newly formed, Washington-funded CENTAC on their heels. The Miami PD may have been infiltrated but, under the leadership of Raul Diaz (Gabriel Sloyer) and analyst June Hawkins (Juliana Aidén Martinez), law-enforcement and raids on drug-storage locations are starting to hurt the organisation.

Over six intense episodes, the rise and fall of Griselda Blanco in a few short years is followed. It’s a fun if violent and drug-saturated ride. From sharing a room with her three sons in a dingy Miami motel to an estate housing her family and a private army, Blanco rises to legend status. A renowned charmer but lethal, supported by husband and former bodyguard Dario (Alberto Guerra), she takes no prisoners. But in a ruthless world, Blanco always needs to be on her guard – and too much indulgence in her own product eventually makes her paranoid and inconsistent.

Sofía Vergara is mesmerising in her first serious dramatic role, essentially disappearing into the unpleasantness that is Griselda Blanco. And Griselda in general is, overall, an impressive achievement (its fluidity helped by a singular director in Andrés Baiz). Admittedly it is guilty of a level of repetition, stereotyping and a glorification of the crazed world it depicts. But as a true story it’s engrossing.

Rating: 71%

’Brokeback Mountain’

A visceral and ultimately tragic love story against the grain as two cowboys maintain a secret relationship over many years.

Wyoming, 1963 and two cowboys take summer work on a sheep farm on Brokeback Mountain that sees the two alone for weeks at a time. Against all odds a deep love forms between the two strangers, maintained over several years. Married with children, Ennis Del Mar (Heath Ledger) is withdrawn and gently spoken: Texan Jack Twist (Jake Gyllenhaal) more active in his sexuality but eventually he too marries (Anne Hathaway). Secrecy is the name of the game but Alma Del Mar (Michelle Williams) has known all along. But what is the future for the two?

A study of love under siege, adapted from a short story by Annie Proulx, Brokeback Mountain is a sublime, tender, achingly beautiful story. Understated performances from Ledger and Williams in particular with a haunting soundtrack (Gustavo Santaolalla) and ravishing cinematography (Rodrigo Prieto) combine to ensure director Ang Lee has produced a modern masterpiece of filmmaking.

Nominated for 8 Oscars in 2006 including best film, actor (Ledger), supporting actor, supporting actress (Williams), cinematography – won 3 for best director, adapted script and original score

Rating: 93%

Director: Ang Lee (Life of Pi, Crouching Tiger Hidden Dragon)

Writer: Larry McMurtry (The Last Picture Show, Terms of Endearment), Diana Ossana (Joe Bell, TV’s Dead Man Walk)

Main cast: Heath Ledger (The Dark Knight, Candy), Jake Gyllenhaal (The Sisters Brothers, Southpaw), Michelle Williams (Manchester by the Sea, Blue Valentine)

’Rita, Sue and Bob Too’

Raunchy comedy as two Bradford schoolgirls take on more than simply babysitting for Bob and his aloof wife Michelle.

A hard as nails housing estate is home for Rita (Siobhan Finneran) and best mate Sue (Michelle Holmes). But every Friday night they escape the alcoholism and motor bike parts to babysit in the posh home of Bob (George Costigan) and Michelle (Lesley Sharp). Stereotypes abound as an uptight Michelle is blamed for Bob playing the field – and play he does with the two schoolgirls. But there’s never any question as to who has the upper hand – even when Sue moves in with taxi-driver Aslam (Kulvinder Ghir).

Of it’s time, social mores come under the microscope from playwright Andrea Dunbar, a resident of the housing estate where Rita, Sue and Bob Too is filmed. Brash and with a roughness to its edges ensures a level of social realism beyond its nudge nudge wink wink sexual promiscuity.

Rating: 61%

Director: Alan Clarke (Scum, Billy the Kid and the Green Baize Vampire)

Writer: Andrea Dunbar – adapted from her stage play

Main cast: Siobhan Finneran (TV’s Happy Valley, Downton Abbey), Michelle Holmes (TV’s Coronation Street, Hollyoaks), George Costigan (Calendar Girls, TV’s Happy Valley)

‘New Amsterdam’ (Seasons 1-2)

An extraordinary 40 episodes make-up seasons one and two of New Amsterdam, a New York hospital-based drama that follows the professional (and occasional personal) lives of a select number of medical staff based at one of the (fictional) oldest public hospitals in the US.

Adapted from the memoires of Dr. Eric Manheimer, former Chief Medical Officer of Bellevue Hospital in New York, the authentic series creates a supportive environment for staff and patients alike as the arrival of Dr Max Goodwin (Ryan Eggold) as the new Chief Medical Officer sees him embark on major, effective changes administratively and medically. Break the rules: heal the system. Goodwin is on a campaign to ensure the best service is provided to all patients, even reaching out to those who are not medically insured. He may ruffle a few feathers initially, but he quickly gathers a small band of allies among senior doctors/surgeons who form the basis of the melodrama that is New Amsterdam.

But at home, Goodwin has problems – a pregnant wife (Lisa O’Hare) who is less than impressed with his taking on the mantle of CMO within discussing the demands such a position would entail. Much of the first season sees Max navigate the schism in his marriage.

How can I help? is the mantra for the series as the new boss looks to solve problems. Dispensing with the waiting room for the Emergency Department immediately wins him the support of tough-talking Dr Lauren Bloom (Janet Montgomery) and the promotion of Dr Floyd Reynolds (Jocko Sims) to the head of the newly created Department of Cardiothoracic Surgery does him no harm. But arguably his major achievement in episode one (yep, it’s all undertaken at breakneck speed) is reining in Dr Helen Sharpe (Freema Agyeman). A glamorous spokeperson for the hospital, the Head of Oncology spends more time fundraising through TV appearances than at the hospital. Dr Helen becomes Max’s closest ally with more than a hint of sexual attraction developing between the two as the two seasons evolve.

Admittedly, aspects of New Amsterdam have to be taken with a pinch of salt. The six main medical characters seem to be everywhere – in the basement dealing with electrical shortages, on the streets helping sick homeless, campaigning for better treatment on the prison ward, Head of Oncology helping in the maternity ward and so many more unlikely scenarios. But the attraction of the series is the investment in the characters. How can I help is the mantra. Dr Iggy Frome (Tyler Labine), head of psych, has an eating disorder but constantly finds himself desperately in need of supporting his patients (particularly kids) beyond the norm and to the detriment of his homelife with husband Martin (Mike Doyle) and their four adopted kids. Iggy’s closest friend, the widowed yet wise Dr Vijay Kapoor (Anupam Kher) struggles through loneliness and an unexpected visit from someone from his past.

Whilst home life tales build our investment in the main characters, New Amsterdam still remains a predominantly medical drama. Patients and storylines come and go from episode to episode – most contained within a single episode, some spread out, a few constant within a season. The structure creates an engrossing drama. It can be confronting – it’s a hospital drama afterall and most episodes will see a graphic operation (usually headed by Reynolds) or two to add to the authenticity. It also wears its heart on its sleeve regarding health insurance politics and that New Amsterdam is a public hospital for all. And the ending of the last episode of season one is possibly one of the most dramatic captured on television.

Rating: 70%

’Memento’

A fascinating, cerebral thriller as an ex-insurance investigator looks to find who murdered his wife. But his search is compounded by a rare and untreatable form of memory loss.

The last thing Leonard (Guy Pearce) remembers is the death of his wife. But he now lives in a snapshot of repeats, aided by a Polaroid camera and notes jotted on the image or tattooed onto his body. The confusion of time is part of the quest – one part moves forward, the second part moves the narrative backwards. Where did the car and fancy suit come from? Just who is Teddy (Joe Pantoliano) – friend or foe? And waitress Natalie (Carrie-Anne Moss). What is her role in his narrative?

Captivating, occasionally confusing and expansive in its ambition within a confined chronology. Only director Christopher Nolan’s second film, it’s a quiet, low-budget character piece that avoids much of the bluster and bombast of his later films.

Nominated for 2 Oscars in 2002 – original script, editing

Rating: 76%

Director: Christopher Nolan (Inception, Oppenheimer)

Writer: Christopher Nolan (Inception, Oppenheimer), Jonathan Nolan (The Dark Knight, TV’s Westworld)

Main cast: Guy Pearce (L.A. Confidential, Holding the Man), Carrie-Anne Moss (The Matrix, TV’s Wisting), Joe Pantoliano (The Matrix, Bad Boys For Life)

‘Stax: Soulsville U.S.A.’

The bittersweet story of the rise and fall of the American soul recording label Stax working out of Memphis, Tennessee in the 1960s and ’70s.

Otis Redding, Carla Thomas, Isaac Hayes, The Staple Singers, Booker T. Jones – just a few of the Black Music superstars who were part of the Stax legend. Detroit had Motown, Memphis had Stax. Yet the recording studio and attached record shop were founded by brother and sister duo Jim Stewart and Estelle Axon as an outlet for country music! Cheap rents saw the siblings set themselves up in the black neighbourhood of South Memphis. And slowly, the community began to use the local resource – unusual for white and black to mix in ’60s Tennessee.

A bevy of interviews build the history of Stax – from founder Jim Stewart to former CEO Al Bell; artists Carla Thomas, Booker T., David Porter, Steve Cropper; songwriter Bettye Crutcher; sound engineers, marketing staff and more. But Stax: Soulsville U.S.A. also contextualises – an enormously successful Black-owned company in Memphis went against the grain. Al Bell in particular watched, learned, negotiated out of the suspicions of the (white owned) market: distribution contracts with Atlantic and CBS sadly went pear-shaped, a move onto the west coast culminating in the legendary Wattstax concert at the LA Colosseum attended by 100,000 people. But the record label also had to navigate the tragic death of Otis Redding and members of The Bar-Kays in a plane accident in 1967 and the assassination of Martin Luther King in Memphis itself.

Knock them down and back they come even stronger. Stax notched up more and more record sales and exposure, with one of their greatest achievements the Isaac Hayes Oscar for best song – the theme song to Shaft.

But sadly, the final nail in the coffin for Stax came in the late 70s when financial mismanagement and embezzlement at the Memphis Union Planters Bank implicated Stax and Al Bell in particular. Although cleared, the company was left bankrupt and Bell so disillusioned he left Memphis for good.

It’s an engrossing four part documentary with archival material of Otis Redding, Carla Thomas, Rufus Thomas in performance, home footage of life in ’60s Memphis, and interviews that leave little doubt that racism in Memphis and beyond was a major contributory factor into the decline of the company.

Rating: 78%

Director: Jamila Wignot (Ailey, Town Hall)