Television: Sherlock (BBC1)

The beeb have done it again. Last night saw the return of the brilliant serial, Sherlock, and with it the captivating Cumberbatch! Not sure what it is about the lead, but he makes for a delectable Sherlock. And let's not forget his partner, Watson, as portrayed by Martin Freeman- a man who can always be relied upon to bring a touch of humour to the floor.

Writing appears on screen as Sherlock makes his deductions and we hear the cogs of his brain whir. The episodes are intelligent. Often a challenge to follow- but surely that's the point? No need to explain, that's Sherlock. And we, the audience, are almost as much in the dark as John Watson when it comes to Sherlock's mind and methods.

This is a faithful portrait of the title character and really captures the spirit of his relationship with John Watson (the term 'bromance' springs to mind). Brilliant characterisation and  humour.

The series brings Sherlock Holmes into the 21st century, not just via setting (a London of IPhones and the Eye), but also in its narrative style- fast moving, sharp and exciting. Can't wait for the next instalment!

Television: Great Expectations (BBC1)

Miss Havisham- fair play to the production team for trying something different but for me it just didn't work. Some critics are suggesting she (Miss Havisham, played by Gillian Anderson) is too beautiful but the problem is that she is not convincingly evil.

I wasn't a fan of the decision on Havisham's first appearance. She leaves the bedroom, to which she normally keeps, and walks down the stairs, barefoot, towards Pip. She has a fairylike quality and is not the Havisham that I remember from the book.

The power of the character lies largely in her mystery but she has become a cartoon character in this adaptation. Her appearance is extreme white. The interpretation lacks subtlety. She cranes around Pip, leans into him in an exaggerated manner where the dialogue should speak for itself.

That said, touches such as the scratching of the skin did bring the character to life.

Film: The Twilight Saga: Breaking Dawn Part 1

Within the first thirty seconds Taylor Lautner (wolf boy) has torn off his shirt to reveal that taut, toned torso, setting audience members' pulses racing and prompting rollicking laughter from yours truly. The film knows its audience, that much can be said of it, and, I have to admit, I was quite excited by the prompt flash of Taylor's torso.

The film continues in a similar vein. An unintentionally comic vein, that is. Not long after a Bella-style dramatic dream in which the party of wedding guests have been massacred and their bodies piled high (by her undead husband-to-be??), the pair are in an exotic location happily honeymooning. Reading between the lines you may gather that I am not what they call a 'Twi-hard'. 

The long awaited consummation finally arrives in this instalment of the saga and following a night of vampiric lovemaking the pair awake to find their bridal bed destroyed. The sex scenes however are decidedly tame especially when compared with the graphic birth scenes towards the close of the film. Another stand out comic moment is when Bella is offered a plastic cup of human blood to drink through a straw in order to help restore some of her strength and feed her unborn child. I could not watch this film without continually asking myself if the producers were aware of just how funny it is.

Film: The Shawshank Redemption

I've long waited to see this film having been told by many just how fantastic it is. They weren't wrong. Or, in any case, they know me well. The other day I found myself walking into the local music store and walking out with a copy of  Shawshank.


The film reserves judgement on the central circle of inmates of Shawshank prison and draws our attention instead to the atrocities of the prison guards and the warden. The warden is the film's vision of evil epitomised. He uses Andy to pursue his corrupt money-making ends and hides behind the veil of religion. We realise, however, to what lengths Warden is prepared to go midway through the film. On learning of Andy's innocence, he tricks and subsequently kills the young inmate, who leaves a wife and child on the outside, in order to keep Andy imprisoned and his own corruption under wraps.


The group of inmates, whom Red deems are not homosexual because "you have to be human first", are the single truly demonised group of prisoners, in their relentless treatment of Andy; those who are entirely lost. Red, however, after thirty years inside, is a repentant soul who gives a compassionate narration of Andy's prison time.


The men describe themselves as having been "institutionalized". They are no longer able to function in the outside world, with the freedom which it brings, having spent so many years under the jurisdiction of the prison officers, as Red puts it:"Forty years I been asking permission to piss. I can't squeeze a drop without say-so." However, it is Red's friendship with Andy and the family which the men create within the walls of the prison which serve as the emotional heart of the story. It is the loss of this family which makes it near impossible to cope on the outside.


The inevitable tears came as the film drew to a close and I found myself agreeing with a commentator on the DVD's 'extras' who suggests that this film has helped many through some tough times. Shawshank is a powerful story of human spirit, resilience and hope, and, I can imagine it doing just that.

Film: Il y a longtemps que je t'aime (I've Loved You So Long)

Every week I read the TV listings and every week I hope for a cinema gem. Having long waited to see Kristin Scott Thomas's performance in Il y a longtemps que je t'aime I jumped at the chance to record it's showing on (the ever faithful) BBC4.

My curiousity lies largely in  Scott Thomas's bilingual performance. We are used to seeing the likes of French actresses Leslie Caron, and more recently Juliette Binoche and Marion Cotillard in English speaking roles as they make the move to Hollywood but it is a rarity to see a native English-speaker switching to a French language role.

In spite of the unsatisfactory explanation of her English accent (she is of English parentage and has spent a period living across the Channel), the film does not disappoint.


Scott Thomas plays a woman released from prison following a fifteen year sentence. The main body focuses on Juliette's struggle to readjust to life after prison. She is detached, distant and largely silent. The film shows the effects of her crime and subsequent imprisonment on her relationship with her sister (touchingly portrayed by Elsa Zylberstein). The pair begin to reconnect and in the emotional revelation of the film's finale, in contrast to the film's largely sombre look, there is a sense of hope.


If you're looking for a bit of light entertainment this is not the film for you but Scott Thomas's poignant performance is undoubtedly worth a look- thank you BBC4!