Doctor Who: The Timeless Children (S12E10) Review

*SPOILERS* After last week’s cobbled together chaotic opener, “The Timeless Children” continues Season 12’s trend of two-part continuations which aren’t really two-part stories. With the arrival of The Master on the scene, the Cybermen and their Cyberprophet are relegated to disposable henchmen as the real master plan, Chibnall’s master plan, takes centre stage and he…

Doctor Who: Ascension Of The Cybermen (S12E09) Review

*SPOILERS* There’s no denying it’s a classy and confident opening to this archly hyped ‘game-changing’ two-part season finale, even if it does evoke David Lynch’s “Dune” just a little. Falling through the floating cyberman eye into the credits is a lovely move although I have to admit as the titles faded, I thought I’d fallen…

Gordon Gekko lied to us. Greed (2020) is not good.

Michael Winterbottom’s unfortunately unfocussed polemic takes a swipe at the lifestyles of the rich and the shameless, or maybe at the grotesque exploitation underpinning the ‘fast fashion’ industry or perhaps at the financial chicanery that underwrites those big blockbuster boardroom deals you read about in the Metro while on your commute or even the humanitarian…

Dolittle (2020) does more than you might be expecting…

Almost universally condemned to be a ‘flop’ before it was released, Robert Downey Jr’s passion project ‘Dolittle’ seems to have fallen foul of an adult critical groupthink who, while quick to remonstrate with critics who differ in gender, ethnicity or sexuality who criticise a work ‘not meant for them’, have singularly failed to take into…

Doctor Who: Fugitive Of The Judoon (S12E05) Review

*SPOILERS* Time to dial up a confession of my own – when the writing credits for this week’s episode resolved and Chibnall’s name was there alongside Vinay Patel (writer of last year’s ‘Demons Of The Punjab’) I feared that he’d decided to meddle in what might have had the chance of being a decent script….

War is hell but 1917 (2020) is heavenly film making

Astonishingly, breathtakingly, technically brilliant, “1917” is a mesmerising, masterful achievement in the art and technique of cinema. But this is no cold, Zemeckis-like exercise in technological advancement and instead uses its relentless focus and visceral real-time storytelling to relay the human tragedy of warfare at its most grandiose and grotesque folly. April 1917: The German…