Meet PATRICK MELROSE

Article first published as TV Review: PATRICK MELROSE on Seat42F.

Showtime has adapted the five PATRICK MELROSE novels by Edward St. Aubyn into a five-episode miniseries currently airing. Each book gets an hour to unfold, with a different chapter in the life of the titular character presented. Plagued by childhood trauma, addicted to drugs to help cope with his past, Patrick is anything but healthy. But at least he realizes that he’s in a negative cycle and would like to break free. Will he be able to?

Benedict Cumberbatch (Sherlock, Doctor Strange) is excellent as Patrick. The actor has some experience playing eccentric, substance-abusing men, and only gets better with each iteration. He captures the subtlety of the emotional journey, and somehow keeps Patrick somewhat sympathetic, even in his darkest moments. This is important when the central protagonist is not very likeable, as Patrick isn’t from the moment we meet him. It’s a case study of a broken man, and Cumberbatch exceeds expectations.

Despite Cumberbatch’s work, though, PATRICK MELROSE is still hard to watch. It is hard to see someone you care about, as viewers are apt to care for Patrick, wrestle with their demons. It’s difficult to see a battle being fought and lost. It’s even more wrenching when one knows Patrick’s problems stem from things that are not his fault, and you desperately want him to be able to claw his way out of the hole, even knowing there is nothing you can do to help. It’s easy to identify with the supportive characters in the series. Except when it isn’t because of the circumstances Patrick lives in.

It’s interesting that PATRICK MELROSE reverses the order of the first two books in the series. Part two, “Never Mind,” is an origin story of sorts, taking place when Patrick is just a boy (played by newcomer Sebastian Maltz). With Cumberbatch’s version in the throes of withdrawal, flashing back to his childhood, the installment mainly shows us Eleanor (Jennifer Jason Leigh, Atypical) and David Melrose (Hugo Weaving, The Matrix), and how they fail as parents at every opportunity. It provides much-needed insight, mostly missing from the first part, “Bad News.” The omission means it takes awhile to really root for Patrick. And while the boy isn’t immediately recognizable as the adult, given a pattern of behavior merely glimpsed in this one weekend, it’s clear how he could eventually become so.

There are questions raised here on nature versus nurture. How much of who Patrick turned out to be is the fault of Eleanor and David? How much is he responsible for his own actions, now that he is out of their home and his own man? At some point, personal responsibility must kick in, but the man is operating at such a deficit that it’s hard to fault him for much of what he does, especially when we only see him hurting himself, not putting anyone else in danger. Not yet, anyway.

It’s sort of a problem that Patrick is rich. Without money, he could not afford to behave as he does. He’d be penniless, on the streets, begging for his next fix. Arguably, a poor Patrick would be a more important and common story. Instead, this Patrick lives relatively free of consequences. This gives him the space and opportunity to figure himself out, a luxury most people would not have. But it’s also possible such a tale wouldn’t play out under other circumstances, with an earlier, more tragic ending. Many viewers may have to confront a bias against such a person to try to appreciate the story.

The first hour of PATRICK MELROSE is hard to get through without having the understanding of the second, though it makes sense to get Cumberbatch out in front at the start of the miniseries. Still, even as the backstory is revealed, and amid terrific performances, the miniseries is a hard one to sit through. Patrick isn’t a character most people will relate to, and as sympathetic as his upbringing makes him, his wealth is almost used as an excuse, at least by the character. Bad behavior unchecked is also depressing. Whether it will be worth it in the end remains to be seen.

PATRICK MELROSE is currently airing Saturday nights on Showtime.

Blu-ray Review: ‘Sherlock – Season Three’

Article first published as Blu-ray Review: ‘Sherlock – Season Three’ on Blogcritics.

The BBC’s Sherlock has been off the air for far too long. Recently, it finally returned for third season, broadcast on PBS in the United States as part of Masterpiece Mystery. Having just completed its airing, the three ninety-minute episodes that make up this run, each feeling a bit like its own movie, have now been released on Blu-ray and DVD.

Season two ended with Sherlock Holmes’ (Benedict Cumberbatch) death. Obviously, the series cannot continue without its hero, so it should come as no surprise to anyone that he isn’t actually deceased, having faked the demise. But those who love Sherlock have lived under this false impression for two years, making for quite a startling turn when Sherlock comes back to town.

John Watson (Martin Freeman), in particular, is thrown for a loop. Having mourned his best friend, he’s moved on, preparing to propose to girlfriend Mary (Amanda Abbington, Mr. Selfridge). This news is enough to knock Sherlock back, too, so the partners have some obstacles to overcome before they might resume the work they are familiar for.

Sherlock does have a mission right out of the gate, though. He has been summoned to London by his brother, Mycroft (Mark Gatiss), who did know Sherlock lived all this time, but doesn’t exactly count as a loved one, unlike. say, Lestrade (Rupert Graves), Molly (Louise Brealey), and Mrs Hudson (Una Stubbs). Thus, Sherlock can’t spare too much time considering Watson, having a job to get on with.

This premiere, “The Empty Hearse,” brilliantly balances many elements. There are the character moments, especially between Sherlock and Watson and Sherlock and Mycroft. There’s an exciting mystery to solve. There’s the beginning of an arc with a man who may be Sherlock’s greatest foe yet. And there’s still time for some good gags as multiple scenarios revolving around Sherlock’s survival play out on screen, with none of them possibly being the correct one.

The excitement continues in “The Sign of Three,” which takes place on the occasion of Watson and Mary’s wedding. Sherlock has the challenging (for him) task of being best man and delivering a speech. Said speech may be the longest in history, as viewers are treated to flashbacks of the bachelor party, among other things, and Sherlock deduces a would-be crime right in the middle of it. That’s not the last surprise in the installment, one jam-packed with compelling story, even as it stands as the lightest and funniest of the trio.

I’m really glad Sherlock takes the time to do this. It’s a situation that finds our protagonist supremely out of his comfort zone, but the fact that he’s willing to go through with it anyway proves the level of his affection for Watson, something reiterated strongly in all three episodes. Plus, the wedding is just so much fun, a splendid affair with a great Sherlock twist.

The year’s Big Bad fully comes out in the season finale, “His Last Vow.” The man’s name is Charles Augustus Magnussen (Lars Mikkelsen, The Killing original version), and he is a self-described businessman who controls far more than he should, especially in the arena of politics. His vast library of dirt allows him to manipulate anyone he comes across, and he has some very startling secrets about someone close to Sherlock he isn’t afraid to use when Sherlock makes a move against him.

Magnussen, though important, is only part of the story, though. Midway through the episode, Sherlock is shot in a shocking sequence that reveals something major about a recurring player. Much of the back half deals with the ramifications and fall-out from this event, which is so much more than it seems at first. I can’t spoil anything about it, just saying that it’s a beautiful, near-perfect piece of storytelling, that ends in one hell of a climax, bringing it all back around to a very memorable stand off with Magnussen.

If that wasn’t enough, “His Last Vow” ends with a wallop of a cliffhanger, after fans will think the action is done, leaving the promise of a stellar fourth season to come.

Sherlock season three is different from the first two in that Sherlock and Watson aren’t doing their traditional work together, life interfering in major ways, and the cases come to them very naturally, through personal means. There is also not a lot of plot for supporting players like Lestrade and Molly. But the character development for Sherlock, Watson, Mary, and Mycroft is fantastic, and you likely won’t think about the little bits that are missing, given what’s there on the screen.

This release also contains a trio of special features, “The Fall,” “Shooting Sherlock,” and “Fans, Villains, & Speculation.” They are interesting enough, though don’t go as deep as one would like, leaving us wanting more. Which is about par for such a Blu-ray edition.

While not traditionally a big-budget show, I do recommend the Blu-ray version this time around. There is a lot of darkness in Sherlock, and HD will ensure the visual layering and stark colors needed to fully appreciate the scenes. There are also a couple of huge shots, such as those of the exterior of Magnussen’s home, that you’re going to want to see as much detail as possible from. The series contains a sweeping, crystal-clear score, well mixed with the dialogue.

Sherlock Season Three is available now.

SHERLOCK Lives

Article first published as SHERLOCK Review on Seat42F.

The BBC’s SHERLOCK begins its third outing on PBS tonight with“The Empty Hearse.” Picking up two years after Sherlock’s (Benedict Cumberbatch) death, everyone has accepted the detective’s fate and begun to move on with their lives. Which makes it especially messy when Mycroft (Mark Gatiss) summons his brother home to help out on a new assignment, disrupting the lives of the people who missed Sherlock.

It’s not a spoiler to reveal that Sherlock did not, in fact, die in the previous season finale because there would be no SHERLOCK with Sherlock. That’s just simple logic, easy enough for even the most amateur sleuth to deduct, and it has been pretty clear is press materials and such leading up to this run that Cumberbatch would return.

The questions are, though, how did Sherlock fake his death, why did he not tell his partner, Watson (Martin Freeman), the truth, and what has he been up to while away? Speaking of them in no particular order, as PBS has asked us not to give this stuff away, at least one of these is answered in the initial installments, one is sort of left up to the viewer to decide, and one is played with in spectacular fashion, proving Sherlock is as much as a legend as he is a person. The last I refer to may never satisfactorily be answered, but that only adds to the mystique of the character.

SHERLOCK is as much about the mystery as it is about the answers. Yes, the titular character thrives on putting together the clues, but he doesn’t have to disseminate the information to everyone. He plays his cards close to his chest, and if he didn’t, he wouldn’t be Sherlock.

Not that Watson doesn’t have a few surprises of his own. While missing his buddy, he has met and fallen in love with Mary (Amanda Abbington, Mr. Selfridge), whom he intends to marry. This throws Sherlock for a loop, with his partner’s loyalties now split. Can Watson balance a spouse and the demanding detective? Or will he have to choose? Will that decision even be hard?

Watson isn’t the only one who has a strong reaction to Sherlock’s return. Among the familiar characters featured in “The Empty Hearse” whose reactions to Sherlock’s resurrection are revealed are Lestrade (Rupert Graves), Molly (Louise Brealey), and Mrs Hudson (Una Stubbs). Sherlock does not live in a vacuum, and while he abhors a true community, he is not lonely as he accuses Mycroft of being. He has his friends, and they are happy to have him back, for the most part.

This episode is full of a number of hilarious, wonderful scenes. From Mrs. Hudson’s surprise at Watson’s heterosexuality, to a couple of outlandish theories played out, to an unexpected gay kiss that will make internet fan-fiction writers gasp, to multiple discussions of facial hair, to one-liners tossed into serious bits willy nilly, the writing is sharp and entertaining. Plus, the emotional stuff between Watson and Sherlock and Sherlock and Mycroft is very well done, deepening our understanding of these important bonds. There is a lot to appreciate and enjoy about the 90 minute installment.

There is also new danger afoot. Sherlock doesn’t re-emerge by chance, and what Mycroft wants him to do isn’t the only threat that London faces. Within the premiere, one of the main characters finds their life threatened in a very serious way. Then, Sherlock and Watson get right in the middle of a very large-scale plot that could result in hundreds of casualties, or more. As emotionally fulfilling as “The Empty Hearse” may be, it is also thrilling, too.

“The Empty Hearse” is a jolly good time, a return to form for the popular British programme. SHERLOCK premieres tonight at 9:58 p.m. ET on PBS as part of Masterpiece Mystery.

HBO's Parade's End

First published as PARADE'S END Review on Seat42F.

Grade: 91%

HBO will take its turn presenting the miniseries PARADE’S END this week, its partner in the endeavor, the BBC, having already broadcast it last fall. Perhaps HBO saved it so it would have a rich period piece this winter, just as it had Mildred Pierce last year, or perhaps they wish to attract those in the early stages of Downton Abbey-withdrawal. Whatever the reason, now seems an opportune time to air it.

The title PARADE’S END refers to the excising of the British upper-class way of life, the manner in which the elite of society put on certain airs, stay true to traditions, and worry about the way they are perceived. There is a strict social structure in place in the early twentieth century, mostly destroyed during World War I, and this miniseries tells that tale.

Well, it tells a personal take on characters who make that transition. Yes, the piece is somewhat sweeping, and does have a large-ish cast. But there are really three main players in the story who stand about above everyone else, and who are the case study made an example of here.

Benedict Cumberbatch (Sherlock, Star Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who sticks with the way he is brought up, no matter what. This means he goes through with his marriage to the wicked, manipulative Sylvia (Rebecca Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping around on him, and it’s very likely her pregnancy isn’t a result of his actions.

Their union is predictable unhappy, and Sylvia doesn’t even try to stay faithful, spending much time apart from her groom in the company of other men. Christopher, though, keeps up appearances, even as he begins falling for the sweet, strong-willed Valentine Wannop (Adelaide Clemens, Rectify, Vampire).

Looked at through the modern eye, it’s very hard to understand why Christopher doesn’t just leave Sylvia for Valentine, a topic discussed in the series. Why should he show any loyalty to someone who is so nasty to him? But that’s Christopher’s way of life, so I’m not sure it even occurs to him to end his own suffering, at least not for awhile. Part of the beauty of the piece is the illustration of the type of man Christopher represents, a specific guy from a specific period in time in a specific place.

In fact, PARADE’S END succeeds very well artistically. The sets and costumes are made expertly, and the details that set an authentic tone are present. The writing is smart, and the characters are well defined. Presenting World War I as a catalyst is a good idea, executed with much success.

The cast is fantastic, of course, especially the three leads. For those who are familiar with Cumberbatch’s work, this should come as no surprise. The girls’ talent matches hiw, but this is Cumberbatch’s showcase, and he owns every moment he is on screen, conveying much in his sad eyes.

The supporting players also lend both a fuller picture, and some levity to the proceedings. They include Roger Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell (The Pillars of the Earth), each of whom adds a positive element.

My problem with it is that it’s slow and a bit boring. Like Mildred Pierce, it meanders for quite awhile, and there isn’t a lot of movement. Does it really take five hours for a trio to work out their romantic arrangements? Especially when we, the viewer, know right away the decision that Christopher should make. His struggle is interesting, to be sure, but the running time will likely drive some potential watchers away.

PARADE’S END is strongly British, and not completely accessible. One must pay attention to follow the story, and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I haven’t finished it yet), but it’s a miniseries I’d have to be in a certain mood to really appreciate, for sure.

PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.

Investigate Sherlock Season Two on Blu-ray

Few series are as popular as the BBC's Sherlock, especially considering the impact that it has had internationally, including in the United States, where it just finished a run on PBS. From Doctor Who scribes Mark Gatiss and Steven Moffat, and based on the legendary tales by Sir Arthur Conan Doyle, Sherlock brilliantly blends a literary treasure with the modern world. Season one was highly successful, but the game is afoot even further in season two.

Unlike in season one, which mostly deals with lesser known Sherlock Holmes stories, season two tackles three of the most infamous plots. Does it help or hurt the series to thrust itself into the spotlight, allowing fans to compare it against various incarnations that have come before it? It would be simplistic and outright wrong to say choosing stories that the public is familiar with is the reason season two is better, as character development, fantastic production value, and top notch acting and writing deserve most of the credit. However, these stories are popular for a reason, and they make a heck of an exciting run for the show!

First up is "A Scandal in Belgravia." Before the mystery can really begin, however, some transition is needed. Sherlock (Benedict Cumberbatch, Warhorse, Atonement) and Watson (Martin Freeman, Love Actually, The Hitchhiker's Guide to the Galaxy) survive their showdown with Jim Moriarty (Andrew Scott, John Adams, Saving Private Ryan) because of a mysterious phone call.  Then, through a montage, viewers learn that Sherlock has become as famous in his fictional world as he is in the real one. Case after case is solved, a photo is captured with the titular character wearing his iconic hat, even if the wardrobe choice is an accident, and Watson's blog takes off! Watson is concerned that this notoriety will attract the wrong kind of attention. Of course, he is right.

Sherlock is asked to stop a political scandal. Dominatrix Irene Adler, a.k.a. The Woman (Lara Pulver, MI-5, True Blood) has something on a member of the royal family, and Sherlock's brother, Mycroft (series co-creator Mark Gatiss), would like to correct that. It's not a case that Sherlock would like to take, and he isn't eager to get on with it. But what Sherlock does not expect is the draw this woman has over him. Over a period of months, Holmes and Adler strike up a relationship that is as raw and real as any love story, even if their affection is never shown to be consummated.

It's funny to see how Sherlock handles romantic attraction. He cares for Watson and Mrs. Hudson (Una Stubbs, Mist: Sheepdog Tales), but that only extends to keeping them around to help him, not acting nice towards them. Sherlock isn't exactly lovey-dovey with Irene, either, but there's some palpable chemistry in the air between the, which the actors capture expertly. It's a new side of this man, one that is not explored in any other episode of the show. For that alone, "A Scandal in Belgravia" will remain one of the best entries in the series.

Next up is "The Hounds of Baskerville." This tale presents a unique challenge, in that it features a monster. It's a chilling suspense story, and, on paper, one that would be hard to match with the modern sensibilities with Sherlock. Yet, it is a triumph, too! By turning the whole thing into a conspiracy, and with a few twists I will not reveal here, this episode serves the story it is based on, but also makes itself solidly authentic in reality. Helped by a terrific appearance by Russell Tovey, who is known for playing a werewolf himself on Being Human, and treating fans to a more Watson-focused sequence, this creepy investigation should keep you guessing til the end.

Finally, the third feature-length installment in season two is "The Reichenbach Fall." Moriarty returns with a vengeance, playing a long game that Sherlock has much difficulty figuring out. The two may be a match intellectually, but if one has a huge head start, setting all the rules of the game before the other even knows he's playing, there is a distinct advantage. With Moriarty brilliantly turning the public against Sherlock, it is clear that the beloved detective is in hot water. Throughout the ninety minutes, one thing after another keeps going down, with the connections tenuous at best, making them difficult to piece together on the fly.

The tragic climax is one seen coming from a mile away, in retrospect. What happens is built up because of the two episodes before it, and while still surprising, it feels like a natural conclusion. Again, no spoilers here, but it really asks Sherlock to examine just who he is as a person, who and what he cares about, and what he is willing to do to protect them. It's a masterpiece of cinema, and should not disappoint anyone who watches. No one has publicly figured out how the ending is pulled off, though the creators assure their fans that all the clues needed to solve this final mystery are present in the episode.

The special features are a bit sparse. A twenty minute "Sherlock Uncovered" is very interesting, giving facts, secrets, and tricks that are used in all three episodes. Two of the tales have audio commentary, but regrettably, not the final one. And that's it. With four and a half hour of solid excellence, one really wants to know more about the show. But apparently, we are left to deduct our own truth, which, admittedly, is in the tradition of the main character.

Sherlock looks fantastic on Blu-ray, the recommended way to purchase this season. From the special effects in the finale and premiere, to the dark, fog-lined hollow in the middle installment, there are elements of each episode that just will not be as impressive in standard definition. Sherlock delivers for those inclined to invest in the superior audio and visual capabilities, and there is tangible reward to view it that way. It truly looks fantastic in high definition.

A third series of Sherlock has been commissioned, but will not begin production until 2013. For now, buy Sherlock Season Two on Blu-ray, on sale now.

If you like my reviews, please follow me on Twitter! Article originally published as Investigate Sherlock Season Two on Blu-ray on TheTVKing.com.