The Moving Finger (2006 Tom Shankland)

Talulah Riley led me here from Pride and Prejudice, but it was also a nice memorial for John Sessions, who died on November 2. He gives a just-this-side-of-camp performance as someone of 'unsavoury practices' - whilst Keith Allen is over the line into almost Clouseau territory as the detective - Shankland should have reined him in (he directed Les Mis and episodes of The Missing.) Like all my favourite Marples, it's the love story running parallel to the murders that makes it so warm - Kevin Elyot wrote it, from Agatha's 1942 novel, in which Marple only appears towards the end. But the rest of the story - including this romance - is all there.

Joining the fabulous Geraldine McEwan are James D'Arcy, Emilia Fox, Jessica Hynes, Sean Pertwee, Harry Enfield, Frances de la Tour, Kelly Brook, Imogen Stubbs, Thelma Barlow, Rosalind Knight. It was photographed by the irresistibly named Cinders Forshaw, who's DPed Vera, Shetland, Poldark and Poliakoff's Perfect Strangers.

Kelly Brook

Talulah Riley

Emilia Fox

Filmed in Chilham in Kent.

Tal's been in a number of little known films including having directed one, Scottish Mussel, with Martin Compston, which has very mixed reviews.

Pride and Prejudice (2005 Joe Wright)

A beautiful collision of talents. Deborah Moggach is best known as a novelist ('These Foolish Things' was adapted as The Best Exotic Marigold Hotel) and her approach was to make Elizabeth the focus, remove scenes that didn't feature her or were of less importance, and to present it realistically - 'with the girls really young, no make-up, same dresses every day'. Emma Thompson also wrote some of it, including the very ending, which was removed from the UK release as considered too schmaltzy but is present on the Blu-Ray - it works for me.

Joe Wright received the BAFTA Carl Foreman award for most promising newcomer (TV series - like Charles II: The Power & The Passion, written by My Week With Marilyn's Adrian Hodges - his only former credits) and it's a very confident and visual approach, beautifully illustrated with cameraman Roman Osin constantly giving those little push-ins (tracks in but also I think with judicious use of a zoom lens) and Paul Tothill's marvellous editing. Dario Marianelli scored and the lovely production design and costumes are by Sarah Greenwood and Jacqueline Durran.

And what an incredible cast. Whilst admiring everything that was going on I was also playing a little game of 'When was the first time I took notice of this actor?' Donald Sutherland I guess from way back in Kelly's Heroes, then my first X film, MASH. Miss Knightley - Bend It Like Beckham. Must have been aware of Macfadyen, but wasn't a Spooks watcher, so In My Father's Den in 2010 may have been the first - must watch that again. Carey Mulligan and Rosamund Pike were both An Education, Brenda Blethyn Secrets and Lies. For Kelly Reilly I'm pretty sure it was L'Auberge Español, and Talulah Riley made an impression in the Marple, The Moving Finger. Recognised Claudie Blakely from Lark Rise and Rupert Friend from Mrs Palfrey at the Claremont. No idea about Dame Judi - I guess it must have been Room With a View - nor Tom Hollander. Jena Malone I'm not sure I still recognise! 

With: Pip Torrens, Sylvester Morand, Simon Woods, Roy Holder, Peter Wight and Penelope Wilton.

Ant-Man (2015 Peyton Reed)

I was expecting a funnier film from Edgar Wright, Joe Cornish and Adam McKay (and Paul Rudd), but unfortunately it descends into the usual exhausting CGI battle.

With Rudd are Michael Douglas, Evangeline Lilly, Corey Stoll, Michael Peña, Bobby Cannavale, Anthony Mackie, Judy Greer, Hayley Atwell  and John Slattery.

I did like the way conversations were related. And the oversized Thomas the Tank Engine.

Mr. Sloane (2014 Robert Weide & scr)

He created Curb Your Enthusiasm (and the great Woody Allen documentary) but this isn't that. No. It's Watford, 1969, for one thing. (Weide is American - seems to have no particular link to England.) And Nick Frost's wife Olivia Colman has left him to 'find herself - whatever that means'. But he does bump into American Ophelia Lovibond (great accent) and - once we've got over some lowbrow humour - they do seem to get on. Meanwhile his pub mates are a bunch of twats (Peter Serafinowicz - you know the trouble with  Peter Serafinowicz? He does tend to look quite nasty, so right for this role, but perhaps a handicap in the world of comedy - Brendan Patricks and Lawry Lewin), and his neighbour Valerie Lilley (Shameless) is not only nosey but has a delinquent Doberman.

It's quite guessable over six short episodes, but enjoyable.

The Kinks 'A Well Respected Man' is the opening song, with plenty of Gilbert & Sullivan available as counterpoint.

I almost sold it, sight unseen. I had no idea how long we'd had it and why we hadn't watched it before.

Hillbilly Elegy (2020 Ron Howard)

Written by Vanessa Taylor, from J.D. Vance's book, film contains such wise words as "You are where you come from, but every day you can choose who you become." Hm. Vance, played by Gabriel Basso (and Owen Asztalos when younger) has to put up with dysfunctional mother Amy Adams and tough but ultimately supportive grandmother Glenn Close. With Hayley Bennett (Rules Don't Apply, A Kind of Murder), Freida Pinto, Bo Hopkins, Keong Sim.

I confess to not being terribly interested. The film has nothing new or interesting to say. Didn't like the title either. Good performances, especially from the always great Adams and Close. Great makeup.

Virgin River - Season 1 (2019 Sue Tenny Creator)

 Based on Robyn Carr novels. Set in Northern California (though filmed in Vancouver).

"This is Doc Hollywood" I thought immediately. (In recognition of this, the doc actually refers to her as 'Nurse Hollywood' at one point.) With flashbacks showing us why she's there, and giving us other back stories. It's untaxing telly, most welcome, actually, not the best acted thing, but inoffensive. I kept thinking of small rural communities in Empire Falls and Nobody's Fool, and Cookie's Fortune.

With Alexandra Breckenridge (should have known her - she's the recurring character Sophie from This Is Us), Martin Henderson, Tim Matheson (from Animal House), Annette O'Toole, Colin Lawrence, Lauren Hammersley, Jenny Cooper, Ben Hollingsworth.

Reel World for Netflix.

Emma. (2020 Autumn de Wilde)

We're seeing quit a bit of Anya-Taylor Joy lately - I'm glad to say. She's perfectly cast in this engaging reboot, written by Eleanor Catton - an improvement over the McGrath / Paltrow version, the best Austen since Joe Wright's Pride and Prejudice. Didn't know a lot of the cast, which was refreshing. Johnny Flynn (Mr. Knightley), Mia Goth (the ingenue Harriet), Callum Turner (Mr. Churchill), Josh O'Connor (a marvellous turn as the vicar) and Tanya Reynolds (his wife), Bill Nighy, Miranda Hart (a perfect bit of casting), Amber Anderson (Jane Fairfax), Connor Swindells (Mr. Martin the farmer), Gemma Whelan, Rupert Graves, Angus Imrie again and Chloe Pirrie (The Queen's Gambit, The Crown).

Loved the dance scene between Joy and Flynn. Though still don't approve of Emma not having the gumption to apologise outright to Miss Bates.

Unfamiliar with the people behind camera too. Autumn de Wilde has only made short films, Eleanor Catton had written nothing before, Christopher Blauveldt shot Jonah Hill's Mid90s and The Bling Ring, Isobel Waller-Bridge or course we know (she co-scored with David Schweitzer), Nick Emerson edited Film Stars Don't Die in Liverpool and Lady Macbeth. Incredible costumes, too - Alexandra Byrne.

Not sure what's with all the . though. Appears after the season titles too.

The Crown - Series 4 (2020 Peter Morgan)

Good to see that this has not dipped in quality. Great to see everyone again, especially Olivia Colman (great scenes with Thatcher) and Helena Bonham Carter and the splendid Josh O'Connor. (Looking forward to Mothering Sunday, in post-production with Olivia and Josh - and Colin Firth.) No changes in main personnel in front of or behind camera. 

Recalling my previous review I thought it was all getting too recent, so staggered to learn there will be two more series.

Opens slowly, thoughtfully, with 'Gold Stick', in which we meet Diana (Emma Corrin). Then the shocking murder of Mountbatten, artfully executed. We're under the boat they're on, you see a fish being discarded and start to sink, then the clouds of explosion.. then we go to above and the bomb blast(s). Good editing too, Frances Parker. Thatcher is Gillian Anderson (she's rather good). 

'The Balmoral Test' has Thatcher invited there, made to feel silly. Result: she returns to London early and gets rid of any of the Cabinet who she sees as privileged toffs. Interesting line drawn there, the personal to the political. Then Diana is invited and everyone loves her (her face at the end when being photographed by the paps, I mean we actually remember that, but she looks shy and crafty and naive at the same time). Unpleasant backstory involves wounded stag, a beautiful creature (glad to say that's now illegal), one who has figured in Morgan's own feature The Crown, where the monarch has one in her sights but decides not to shoot.

Diana then learns what it's like to be a neglected wife (Emerald Fennell getting lots of good screen time as Camilla), whilst the Queen surveys her children, including Edward (Angus Imrie, son of Celia) and Andrew (Tom Byrne), and finds them all wanting. "We have never shown affection in this family - we're just like everyone else" a telling line. Meanwhile Thatcher's distress over her son Freddie Fox missing in the Sahara at first blinds her to what's going on in the Falklands, then makes her overreact, against ministerial advice. Stephen Boxer is Denis, Rebecca Humphries plays Carol.

An episode focuses solely on Michael Fagan and the two break-ins - he's played convincingly by Tom Brooke, who we probably know from Sherlock, Bodyguard, Restless, The Death of Stalin and The Boat That Rocked. Then we're in Australia, where the relationship between Charles and Diana seems to be improving, until she steals the limelight. Then, seemingly unaccountably, we're in a mental institution (the cross-cutting between the patients and Edward's 21st birthday party is disconcertingly effective, editing by Morten Højbjerg, who also worked on Trust). Margaret, who's been to see a psychiatrist, uncovers the truth about hidden away relatives - echoes of The Lost Prince.

Thatcher is the only member of the Commonwealth not to oppose apartheid - she and the monarch fall out. And then the focus on the last two episodes is the continuing deterioration of the Charles-Diana relationship - the Queen tells them there will be no divorce - and thus condemns them to unhappiness. It's something of an anticlimactic ending.

Adriano Goldman shot the first five, 7 and last two were by Ben Wilson, 6 & 8 by Stuart Howell. Good ASC interview with Goldman here.

Lovely shot by Ben Wilson

There's lots of CGI of course. The entrance to Buckingham Palace and Downing Street (ground floor only) are on the same lot at Elstree with green screen all around.

Roadkill (2020 Michael Keillor, scr David Hare)

Good cast led by Hugh Laurie: Helen McCrory, Saskia Reeves, Millie Brady (troublesome daughter), Sidse Babett Knudsen, Pippa Bennett-Warner (barrister), Shalom Brune-Franklin (supposed daughter), Emma Cuniffe, Pip Torrens, Tony Pitt, Katie Leung, Ophelia Lovibond, Guy Henry.

Run through with a pianoy (?) score which sounds like it's from The Conversation. The plot seems a little lacklustre, like we don't really care what's happening. A Tory politician becomes the Minister for Justice, has done something dodgy in Washington. Some girl claiming to be his daughter contacts. Meanwhile he has a dysfunctional family, plus a mistress (well, he is a Tory). He ends up PM in a way we know has been left deliberately open.

The last thing Hare did (Collateral) we also found disappointing, The Reader too...

Misbehaviour (2020 Phillipa Lowthorpe)

From a story by Rebecca Frayn (based of course on actuality), written by her and Gaby Chiappe (Their Finest). Nicely cross cuts between two groups of women - the Miss World contestants and the Womens' Lib, focusing in on certain characters. They'd be disillusioned student Keira Knightley and activist Jessie Buckley, and Miss Grenada Gugu Mbatha Raw, Miss USA Suki Waterhouse and Miss Africa 'South' Loreece Harrison. Finds sexism everywhere.

Great cast: Keeley Hawes and Rhys Ifans as the organisers, Greg Kinnear and Lesley Manville (Mr & Mrs Bob Hope). With Phyllis Logan, Lily Newmark, Ruby Bentall (The Personal History of David Copperfield, Lark Rise), Miles Jupp, John Heffernan (sympathetic husband).

Photographed by Zac Nicholson, edited by Úna Ní Dhonghaíle (Stan and Ollie, The Crown, The Missing).

Cold Feet - the later years (2017-20 Mike Bullen)

Highlights include hold up in convenience store, Pete's almost suicide, David's prison experience, and meeting criminal Tim Dantay, Adam literally arguing with himself.

Ramona (Spanish accent): " 'E is a count."
Jen: "Well why are you marrying him then?"

Cancer choir. Choirmaster. "Is somebody flat?"
Jen: "That's a bit insensitive. Glenda's had a double mastectomy."
But Charlie's not laughing...

David on not selling an insurance policy: "They'd probably say old age was a pre-existing condition."

Adam seeing all his work colleagues as children. Thinking he'd picked up a barista who turns out to be Matthew's girlfriend. The drama therapy session in which actors turn into his friends. Jen confronting the kid at Chloe's school by taking off her headscarf, great moment, but then it completely backfires. Just don't understand later feelings of anger when Adam and Karen get together, particularly from David, who has been massively supported by Adam.

Manchester has some very handsome buildings, bars (The Woodstock, the back of which looks like it stands in for the care home) and The Midland Hotel.

Those posters on Adam's walls e.g. La Derniere Danse a Paris, by Tony Davies, don't exist, so this is Mike's little in-joke of some sort.*

Ceallagh Spellman is pronounced 'Kellak'. (Gaelic = 'bright-headed'.)

Robert Bathurst and Sunetra Sarka

* Nope - he hadn't spotted it. Thought it was more likely some art director's joke..

Cold Feet (1997 - 2003 Mike Bullen)

Mike's a very dextrous writer.

Have to point out some lovely photography in Millennium episode - Sean Van Hales.

And Season 4 - the heartbreaker season. We're missing Fay Ripley (she actually wanted to leave, though Mike refused to kill her off, luckily) but Hermione Norris is absolutely fucking fantastic, whether she's being slyly funny or blowing a gasket or going into alcoholic meltdown. But also Adam and Rachel's attempt to adopt is another tearjerker.

Over to the writer:

Happily CF series 4 was not taken from life! Well, not mine anyway. When I was researching the adoption storyline I interviewed agencies and people who'd been through adoption. I remember one of the case workers saying how they felt that TV usually portrayed them as uncaring bureaucrats when in truth they care deeply about the outcome of each case. As a result, when Adam and Rachel's adoption is stopped (because Rachel is miraculously pregnant - a change to the original script we had to include due to Helen Baxendale who played Rachel herself being pregnant) and Adam rants at the social worker, we later cut outside to see the social worker crying in her car. This was not a necessary scene and broke our rules about telling the stories through our main characters but I included it cos I wanted to do right by the social workers I'd met in the course of research.

The finale (Season 5) is interestingly open-ended. The moment Jen turns up again after several months' absence is another quivery moment. There's a 'fuck' in one episode, which must have been quite unusual then in prime time.

Hot Fuzz (2007 Edgar Wright)

 Chris Dickens' awesome editing received a total of no award nominations.