Howe's World of Film and TV

The Simpsons Season 30 (2018) – TV Review

‘Bart’s Not Dead’ is one of the strongest season premieres that the show has had in a while, with the focus being mostly character driven and Homer, Bart and Flanders being allowed to shine.

‘Daddicus Finch’ is a successful episode on multiple levels, firstly as a genuinely well executed and funny spin on a literary classic, and secondly, it is an addition to the long archive of strong explorations of the Homer and Lisa relationship.

‘Bart vs Itchy & Scratchy’ is a surprisingly well done take on the increasing push for representation on the media, and how some are resisting it. It manages to make a point whilst mostly being a funny and entertaining story.

In what is now a remarkable 30th season, The Simpsons has found a happy groove of being mostly entertaining light entertainment. It is no longer the boundary pushing or game changing hit that it once was, but it is still worth sticking with.

Rating = 3.5/5

The Simpsons Season 29 (2017) – TV Review

‘Grampy Can You Hear Me’ is a classic set up and comes close to being a real stand out Simpsons episode. However, despite just falling short of that, it is still a real charming episode and has some strong laughs.

‘The Old Blue Mayor She Ain’t What She Used to Be’ is not just a fun examination of Homer and Marge’s marriage, but it is also a political commentary of current times as Marge’s rise to power as Mayor relies on the selfish, knee-jerk reactions of an easily swayed town.

‘Gone Boy’ is a really strong narrative and perfectly utilises Bart’s relationship with Milhouse and Sideshow Bob. Has some strong laughs and character moments.

In general, this was a strong season for modern The Simpsons, and while the show is far from its original consistency, it is still a good watch.

In this season, the show reached the remarkable achievement of being the longest-running scripted series in primetime television by number of episodes.

Rating = 3.5/5

Des (2020) – TV Review

Des is a three-part drama which follows the arrest and trial of infamous serial killer Dennis Nilsen (David Tennant). Written by Luke Neal, the drama is based on material from the book Killing for Company by Brian Masters. It is directed by Lewis Arnold and it co-stars Daniel Mays and Jason Watkins, alongside Tennant.

One of the key aspects of ITV’s TV line-up any given year is the true crime drama series that they produce; whether it is The Pembrokeshire Murders (2021), Little Boy Blue (2017), or Mrs Biggs (2012), they thrive off this type of content and do it better than most. This is the case again with Des (2020), where they are tackling one of the most infamous and gruesome killers in recent British history, and it brought them great acclaim and ratings. Whether due to the quality of the show, a country under quarantine restrictions and looking for something to watch, or due to the great popularity of David Tennant, the show was able to attract over 10 million viewers each episode and be one of ITVs biggest hits for years.

As for the show itself, it is a smart, respectful, but deeply compelling look at the man behind the murders, and the battle to find all the identities of the victims and bring them some sense of justice by arresting Nilsen and make sure he faces the longest conviction he can. The story is told from the perspectives of DCI Peter Jay (Daniel Mays) and biographer Brian Masters, as both of them in their individual ways get to know Nilsen after his arrest and work out who he really is. In doing this, it doesn’t make Nilsen sympathetic in anyway by making him the protagonist or the audience’s eyes to the story, he is just the focus via these men.

The three episodes play out in a slow build but gripping and at times shocking fashion, as new revelations come to light and Nilsen reveals himself even more, you feel gripped to the screen. The choice to tell the story of just three nights worlds perfectly, as there is no baggage and the story is told tightly in the time that it needed. It also perfectly portrays the graphic horror of these crimes, without ever having to show them to us, and I think this is a great way to have handled something where it is necessary to emphasise the seriousness of the crimes, but also respect the victims and their families.

The show touches on some more topical elements about how society at the time allowed Nilsen to get away with his crimes, and the homeless crisis and mistreatment of gay men in Thatcher’s Britain left these men incredibly vulnerable to a predator like Nilsen. It would have been fascinating if the show had addressed this in more detail, but it is clear that the show only wants to touch on this and stay more focused on being a character study of a killer.

Both Mays and Watkins do a really good job as the audience’s way into the story, providing some heart and two differing perspectives on Nilsen and his real motives. However, the real star of the show is the remarkable David Tennant, who for years has been told (rightly) he bares a striking resemblance to Nilsen, and here utterly transforms into the chain-smoking serial killer. His performance is incredibly restrained, never breaking into melodrama or attempting to steal scenes, but Tennant’s natural charisma and the dead eyed stare he brings to Nilsen does that anyone. He draws you in just enough, and then repulses you again, with a terrifying ease. There are very few people on British TV who are as good as David Tennant.

Overall, this show is a perfect example of why no country does true crime drama’s as good as this one, and proof even more that David Tennant is one of the most talented actors of his generation, full of range that very few can match.

Rating = 4/5

The Simpsons Season 28 (2016) – TV Review

In the show’s 28th season, they experiment with the first full on two parter episode with ‘The Great Phatsby’, a spoof on all the different variations of The Great Gatsby in all its mediums. The episode itself isn’t anything special but it’s references are entertaining and it is the sort of thing the show should be trying so far into its run.

‘Fatzcarraldo’ has a smart premise and allows for a good dive into Homer’s backstory and some of the things that made him who he is. Not many laughs but a good character episode.

‘Pork and Burns’ isn’t a particularly stand out episode but bringing back Plopper/Spider-Pig back is a smart call back for fans of the movie and Homer’s relationship to him is always entertaining to see.

Overall, it was another solid season, not high on stand out episodes or real laughs, but entertaining nonetheless.

Rating = 3.5/5

The Simpsons Season 27 (2015) – TV Review

Maintains the steady run the show is one where it produces a few real great episodes, a few really bad ones, and a majority of solid entries. Not what it used to be but still it’s still great to spend time with this group of characters.

‘Halloween of Horror’ is an interesting change of place, a horror based episode that takes place in the main timeline and is actually a week before ‘Treehouse of Horror’. It is a great story about kids fears and parents responsibility, and is a real stand-out episode for both emotion and laughs.

‘The Marge-Ian Chronicles’ is a very high concept episode, that doesn’t deliver on the bold set up but chooses to tell a deeply human story and is one of the best examples of a dynamic that the show doesn’t explore much, the relationship between Marge and Lisa.

Rating = 3.5/5

Lovecraft Country (2020) – TV Review

Based on Matt Ruff’s novel of the same name, Lovecraft Country follows Atticus Freeman (Jonathan Majors) as he meets up with his friend Letitia (Jurnee Smollett) and his uncle George (Courtney B. Vance) to embark on a road trip across 1950s Jim Crow America in search of his missing father (Michael Kenneth Williams). Misha Green is the showrunner and brings together the widest range of HP Lovecraft ideas and mixes them with her own to create a fascinating cocktail.

The opening episode is essentially some of the best content in any form that you will see this year. The episode, titled ‘Sundown’, mixes multiple different genres and introduces us to these characters that you can immediately tell are going to be iconic, especially the ones played by Jurnee Smollett and Jonathan Majors. However, the main focus of this episode is the true to life horror (not the spectacular sci-fi horror we also get) that shows the deadly racism in the 1950s American south.

There is a sequence, with the context that when the sun sets it is legal to kill people of colour, where the police and others chase our lead characters in their cars as the sun is setting in the background, and it is like a sequence from Jaws with all the tension that entails, but this time a setting sun is used as the ‘ticking clock’. It is a truly incredible pilot episode and is one of the finest pieces of TV of the year, and while the rest of the season is unable to live up to these highs, it sets the ground work for a fascinating series.

There are so many twists and turns that I won’t go into too many specific details so that people are able to enjoy this for themselves. However, what the show does do is essentially takes on a brand-new genre every couple of episodes, whether it is sci-fi, time-travel, body horror, or straight up supernatural horror, and this does come with some issues as the show struggles for consistency, but it also a launch pad to allow the show to be bold and try new things.

Some of the stand out episodes are the social commentary body horror episode ‘Strange Case’ where Ruby (Wunmi Mosaku), a Black woman, is able to take on the form on a white person and live out life through their eyes. It not only features some truly disturbing body horror elements, but it has some fascinating commentary on white privilege as well.

‘Meet Me in Daegu’ is a fascinating episode that essentially total diverges from the main story to give us the backstory of Ji-Ah (Jamie Chung), and her relationship with Atticus. The episode is packed full of style, gross out horror, and is one of the most-creepy yet erotic pieces of TV in years. Jamie Chung comes from out of nowhere to carry the whole episode and is brilliant in the role.

‘Rewind 1921’ is the penultimate episode of the show and features some huge twists and revelations so I will not go into too much detail, but the Tulsa Race Massacre is covered with such honesty and authenticity, allowing everyone a moment in between the time-travel madness to truly grieve and appreciate just what an atrocity it really was. This is an episode where Michael Kenneth Williams is able to really shine.

There is clearly a lot of money up on the screen, as you would expect from an HBO production, and the production design, costume design and visual effects especially are all very impressive, and clearly crafted with a lot of care and quality. In particular the varying outfits of Leti, whether it is her eye-catching pink jeans or her stunning red dress, often she steals the frame and Jurnee Smollett embraces this, and it is very much part of Leti’s character that this is a power move she would want to make. The cinematography is also very string in the series, with the pilot, and the penultimate episodes, being the best examples of this and providing a real visual treat.

The cast is made up of a large ensemble and most people do great work here, with the like of; Aunjanue Ellis, Courtney B. Vance, Wunmi Mosaku, Jamie Chung, and Michael K. Williams all providing really strong supporting performances and be ready to shine in the episodes where they take centre stage. However, the heart of the show and much of the screen time belongs to Jurnee Smollett and Jonathan Majors. They, along with some really impressive character development from showrunner Misha Green, create very distinct personalities for the characters that make them particularly compelling. When they are together in scenes, the chemistry is simmering and one of their sex scenes blows most other sex scenes of recent years out of the water in terms of passion and sex on screen. Majors brings an internal pain and yet a quirky edge to Tic, whilst Smollett makes Leti loud and badass, and yet vulnerable deep down, therefore making them both feel like truly real people.

Overall, this is very much an up and down season that takes some wild swings, with only some of them working and others not, but when they did, the highs were some of the standout moments of TV in 2020. Misha Green clearly loved the genre bending she was able to do, and still managed to root the true horror in the lack of progress in racial justice over the years. The entire ensemble is superb, but Jurnee Smollett and Jonathan Majors both give two true movie star level performances that deserve both awards recognition and to lead to even more opportunities for both of them.

Rating = 4/5

The Simpsons Season 26 (2014) – TV Review

At this point in its run, The Simpsons has settled into a comfortable lull whereby even though it repeats well-established character patterns and doesn’t meet the highs of previous seasons, it remains entertaining viewing with characters we know and love.

‘Super Franchise Me’ is not a laugh riot and repeats the classic ‘Marge at work’ trope, but it does it so effectively, finding a smart way to include the entire family and also make some commentary about franchise culture, so it is a memorable one.

‘Treehouse of Horror XXV’ is a real stand out here, with the smart decision made to bring the original Simpsons design from The Tracey Ullman Show to haunt the modern day family, and it is fascinating to see the difference now that nearly three decades have passed between these specific iterations.

‘Waiting for Duffman’ is an entertaining episode with a smart concept, that really allows for Homer to let loose and shine like we know he can.

Rating = 3.5/5

The Simpsons Season 25 (2013) – TV Review

After a couple of season where the amount of standout episodes dropped, this is a nice return to form with some funny and memorable episodes. The consistency is still uneven but it is an enjoyable season.

‘Steal this Episode’ has some entertaining commentary on the state of the cinema industry and pirating, as well as a really funny Judd Apatow gag that slides in to multiple pop culture references in this episode.

‘Specs and the City’ is an episode that gets a bad reputation but for me it has some of the biggest individual laughs I’ve seen in a The Simpsons episode in a long time, particularly Homer’s antics in the episode.

Rating = 3.5/5

The Simpsons Season 24 (2012) – TV Review

With its 24th season, ‘The Simpsons’ is now well established in a new groove whereby people don’t expect the consistent highs that it once provided, but it is still able to provide nostalgic comfort and some occasional Greta episodes.

‘The Saga of Carl’ isn’t a particularly iconic episode, but it features some good laughs and due to its creative concept, and focus on a character we rarely see much of, it proves to be a standout.

‘Love is a Many-Splintered Thing’ is a disappointing episode for me, purely because the romance between Bart and Mary has never worked for me, and whenever they decide to do an episode that focuses on them reuniting, it just falls flat.

‘Dark Knight Court’ is an interesting exploration of Mr Burns as a character and allows for some funny set-ups, but the episode is too unfocused to be as effective as it should have been.

Rating = 3/5

Herself (2020) – London Film Festival Review

An Amazon Studios Picture, Written by Malcolm Campbell, Clare Dunne, Directed by Phyllida Lloyd.

Young mother Sandra (Clare Dunne) escapes her abusive husband and fights back against broken housing and justice systems. She sets out to build her own home so that she can have somewhere to raise her two children safely, and in the process, rebuilds her life and rediscovers herself. The film is co-written by star Dunne, and is directed by Phyllida Lloyd, of Mamma Mia (2008) and The Iron Lady (2011).

This film is one that people who have suffered domestic abuse should be warned about beforehand as the film opens straight away with a brutal and incredibly distressing scene of domestic abuse being perpetrated on Sandra by her husband Gary (Ian Lloyd Anderson), as he viciously attacks her in front of one of their kids. This proves to be a launching off point for the story as when she physically recovers, she leaves her husband and attempts to find a life on her own with her two kids.

However, as the housing system fails her and doesn’t provide a home for her and her kids, a desperate Sandra finds respite in her employer and friend Peggy (Harriet Walter), who allows Sandra to use land at the bottom of her garden to build a house for Sandra and the kids. Along with the help of some kind new friends, including Aido (Conleth Hill), Sandra sets to the project of planning and building this home for herself and giving her family the second-chance it desperately needs. This doesn’t always run smoothly and there are some devastating twists and harrowing turns along the way, but the journey allows Sandra to find her joy again, in herself, her family, and her new friends. There is a real sense that loving family and community can overcome most things if people work together for the common good, which is a lesson we may need to hear now more than ever.

The film is very much a character-based drama, and doesn’t particularly venture into genre, but the scenes where Gary is in the same place as Sandra play out like slow build horror, with the tension and threat of violence hanging over every moment, and it effectively portrays the way in which a person in Sandra’s position would be terrified at every moment in that scenario, and how it should never be allowed to reach that stage.

At times the film does start to lose focus and occasionally battles to maintain a consistent tone, with one of the main reasons for this is the strange and at times jarring decision to occasionally play very loud and upbeat pop music at dramatic moments. It is very clearly a specific choice from Lloyd, but it may have the effect for many of taking them out of the moment.

Clare Dunne, in a role that is clearly very personal to her, gives a totally natural and completely devastating performance. Every note of what she does on screen is full of authenticity, never slipping into melodrama, and despite the suffering she has to go through, Dunne still finds a way to find a humour and fully rounded personality to Sandra, never allowing her to be defined by the abuse. There is one scene in particular, in a court room as Sandra is forced to fight for custody of her children against the man who abused her, and Dunne delivers one of the most heart-wrenching speeches put on film in many years.

Overall, this film is a moving and truly important exploration of both domestic abuse and of the Irish housing crisis, whilst also giving us one of the years finest performances from co-writer/star Clare Dunne. It is not an easy watch at any point, and the ending is no different, with a realistically bittersweet note that both devastates and uplifts you. Despite being such a tough watch at times, it is an incredibly important one and people should seek it out.

Rating = 4/5