Tenant is DES

 Article first published as TV Review: DES on Seat42F.

Sundance Now is streaming a three-part drama beginning this week entitled DES. Based on the true story of a Scottish serial killer arrested in 1983, the story starts at the arrest. Thus, rather than having a mystery that needs to be solved by skillful detectives, it’s a character study of a killer who has been caught, and indeed, seems to want to have been caught and surprised it has taken so long. Although he has been practicing his murderous craft for some time.

David Tennant (Doctor Who, Good Omens) stars as Dennis Nilsen, who insists people call him DES. Tennant has been lauded for many previous roles, including a good many dark villains. None of the praise for him has been overblown; he’s a very talented performer. Yet, in DES, he seems to have found something new to do, which is hard to imagine if you haven’t seen it. Des is such a specific and unique character, at least the way Tennant plays him, that he comes across as completely harmless and even polite, including when he’s confessing to the homicides. The shock on other characters’ faces as he unspools what he remembers will be matched only by the audience watching. He’s an enigma that is hard to figure out, which is part of the draw.

There are two other central characters, besides Des himself, in the show. DCI Peter Jay (Daniel Mays, White Lines, Good Omens) is the one who seems to be in charge of Des’ case, even while the higher ups get involved. A little bit of Peter’s personal life is revealed in the first hour before things really get going, though I’m not sure how that’s really relevant, given that Peter is then just shown doing his job. The other, Brian Masters (Jason Watkins, The Crown, Being Human), is an author, and a bit more of his personality is shown. This feels more necessary, as Brian will eventually write a book about Des on which DES is based, and it is nice to know what his motivations and mindset may be when he agrees to the project to inform on the show itself.

With this trio, the acting in DES is superb. Every scene drips with delicious tension, and it’s easy to be drawn into the story. Which is quite a feat when you consider not much really happens. The action part of the plot occurs off screen, prior to the miniseries, so this is all character-based. Thankfully, it’s as riveting as you could hope for, in a terrifically understated way, and the fact that the story is actually true almost feels more like icing on the cake than the point of it.

There are a hell of a lot of crime shows these days, and this is far from the only true one. Yet, I feel like DES is more worth it than most, and a great piece of programming. It is actually the ninth in a series of such programs produced by ITV, with a tenth one on the way. I haven’t watched the others, but after viewing this, I am anxious to check them out.

The three-hour running time doesn’t hurt, either. I’ve only watched the first, and it seems to me right now that three hours feels short. Yet, when these things are stretched to eight or ten (or more) hours, they often drag a bit in the middle, so by keeping it so limited, DES is sure not to overstay its welcome. It’s essentially film-length.

Sundance Now is offered as a stand-alone service where you can view DES and other programming on the network. Or you can subscribe via Prime Channels on Amazon. So there are a couple different ways to view it, though I don’t see DES available for stand-alone purchase in the United States on either streaming or discs at the moment, so you’ve got to go through Sundance Now.

DES airs Thursdays for the next couple of weeks on Sundance Now.

Nothing TABOO

Article first published as TABOO Review on Seat42F.

FX’s newest drama is TABOO, premiering tonight. It is the story of a man, James Keziah Delaney, who has spent the past decade in Africa under shady circumstances, and who has just returned home to London, England in the year of Our Lord 1814. Inheriting his father’s property and shipping business should be an easy thing, but even if Delaney were right in the head, which he doesn’t seem to be, he’d find it a challenge given the dark mysteries of his family and the many enemies who seek his wealth for themselves.

Given that TABOO is airing on FX, it stars the terrific Tom Hardy (Mad Max: Fury Road, The Revenant), and is created by Steven Knight of Peaky Blinders fame, as well as Tom and his father, I expect good things from the series. Its ensemble cast, which includes Jonathan Pryce (Brazil, Game of Thrones), Oona Chaplin (The Hour, Quantum of Solace), Michael Kelly (House of Cards), Mark Gatiss (Sherlock), Jason Watkins (Trollied), Nicholas Woodeson (Rome), Tom Hollander (The Night Manager), Stephen Graham (Boardwalk Empire), Franka Potente (Copper), Jefferson Hall (Vikings), and more, adds even more promise. There is lots of talent bringing their skills to bear on this one!

Which means it’s extra disappointing when the show ends up being a dud, a rare misstep for FX.

I’d say the biggest problem is that it doesn’t really seem to be going anywhere. The pacing is very slow, but rather than feeding us bits of the story as it goes to keep us engaged, very little happens or is revealed in the first hour. It plods along and I keep waiting for even a little bit of a hook, but fail to find one.

The other option a series has, besides a gripping story, is to have very magnetic characters, but TABOO lacks those as well. Pryce is always wonderful, and I enjoy him as a villain here. Chaplin is very good in this, too, her character of Zilpha having a very weird relationship with half-brother Delaney. Others of the group do a decent job, but don’t stand out as all that memorable, and Delany himself isn’t well-defined enough to be interesting. He has a little bit of a presence, but trying to attribute mystic qualities to him just because he spent time in Africa (nope, doesn’t get any more specific than that) feels forced, and there really isn’t anything in the pilot to make you want to root for him, or even care what happens to him.

So what we’re left with is an hour that’s pretty excruciating to sit through, and it ends without any motivating factor to tune in again.

What TABOO does well is the production design. The gritty side of old London comes through strongly, providing nice contract to less grounded productions. For those who watch a lot of PBS, this is going to have a very different feel. The shadows and the muck work well with the tone the series is trying to set, and the opulence of the East India Trading Company clashes nicely with the more common men and women portrayed. The world is built is visually neat.

That isn’t enough, though, for repeat watching. It puzzles me why the BBC ran this, or why FX would want to pick it up, as it seems off-brand for both. I’m not sure where it fits in their lineups, especially on the American cable network, and I can’t imagine it’s going to stick around for a second season, given the lackluster reviews its getting. It doesn’t seem likely to draw many eyeballs on either platform.

TABOO premieres tonight at 10/9c on FX.

Wired hits DVD in the US this Tuesday

     New on DVD from Acorn Media is the well received 2008 British TV miniseries, Wired. Three episodes make up this tale of financial deceit, double crossing, theft, and self preservation. Louise Evans (Jodie Whittaker, St. Trinian's, Venus) is approached by her friend, Anna (Charlie Brooks, EastEnders, Bleak House), to help some bad men steal a bunch of money from a rich client at the bank where Louise works. When Louise refuses, the villains threaten her daughter, Erica (Helena Fox). Louise goes along with it, only to be approached by Detective Crawford Hill (Toby Stephens, Die Another Day, Severance) to help the cops catch the crooks. Louise ends up playing both sides as she looks for the best way out of a terrible situation.

     Totaling around two hours and fifteen minutes, Wired feels like a heist movie rather than something made for television. The acting is top notch, the directing and art design makes the entire thing look realistic, and the plot is complicated and obtuse. Many characters aren't on a right or wrong side, but are doing what they can given the circumstances. Lest you worry about being bored when the robbery merely involves electronic transfers, rather than breaking into vaults, the pacing and various twists keep things flying along at quite a fast pace. From start to finish, it's hard to really be sure what anyone's motivations are, or what they might do next.

     Besides Louise, who is the star of the entire piece, Ben (Sacha Dhawan, Outsourced) is in a similar position, and provides a nice foil. Considering Dhawan was most recently seen in a zany NBC sitcom, it is refreshing to see him work his chops, and prove he can do gritty drama, as well.

     Manesh (Riz Ahmed, Dead Set, Four Lions) and Phillip (Laurence Fox, Inspector Lewis) are the bad guys Louise has direct contact with, but as they are only in the game for themselves, their loyalty, too, is called into question. Also appearing is Jason Watkins (Being Human) as Louise's boss. Delightful to see him in an environment that doesn't include the supernatural, though he does play a similar character. Instead of sucking blood, he sucks money from those who can afford it.

     Louise is a highly sympathetic main character. She obviously needs the money being involved in illegal activities will bring, but she can do without the threat, and so is willing to forgo the payout if it keeps her out of trouble. Though, if she can snag a bit in the process, she will. Her morality merely extends to protecting her daughter and herself, and she seems to have little qualm about defrauding the bank's clients.

     Really interesting is the dynamic between Louise and Crawford. Not a typical romance, they do have some sexual tension, and there are romantic moments for the duo, including a bedroom scene. However, while Crawford does let his emotional connection with Louise get in the way of the case, he doesn't aggressively pursue her. Louise is agreeable with the attention she is getting from him, but won't let herself be distracted much when the events are so serious. It is a really neat, unexpectedly original way to handle a love story.

     There are no special features.

     Wired will be released this Tuesday, June 21st on DVD. I highly recommend purchasing a copy.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

Article first published as DVD Preview: Wired on Blogcritics.

Being Human (UK) fires "The Wolf-Shaped Bullet"

     The British show Being Human ended its third series last night on BBC America. Not to be confused with the American version on Syfy, which ends its first season Monday (check back Tuesday for that review). The finale is amazing, quite possibly the best episode they've done yet, at least the final ten minutes or so. It is a real game-changer, taking the characters and plot to unexpected places. It's hard not to wonder if the American version will be so open to such drastic developments when they reach the same part of the story.

     Before the ending, there is resolution on a number of running stories. Firstly, Lia (Lacey Turner) tricks Annie (Lenora Crichlow) into returning to purgatory. It is presented as a mission Annie must undertake, creepily delivered by a dead body in rhyme, but actually, Lia just wants to deprive Mitchell (Aidan Turner) of his love. Annie is forced to watch a major confrontation among her friends, helpless to do anything, so that Lia can take her revenge. Surprising to Lia, revenge isn't nearly as satisfying as she assumed it would be. Chastised, and realizing she is creating new victims, she lets Annie go.

     Though relatively small, this is a wonderful piece of the finale, and a pay off from the series three premiere featuring Lia. The writers really dig down into what it means to get even, and how collateral damage is assured. Lia's thinking it too narrow, not considering how what she has done will impact people she doesn't even think about. Revenge can become a never ending cycle, which is what Lia seems to realize by the end of the whole mess. Well done!

     Tom (Michael Socha) also concludes his run with McNair (Robson Green), who is killed in the penultimate episode. McNair knew chances were great that he would not survive, so he has left Tom a note asking him to stop the cycle of violence. Unlike Lia, McNair realizes the bigger implications of what he has been doing, and doesn't want Tom to get caught up in the same things.

     Sadly, a note is not nearly enough to sway Tom in his anger and grief. Tom goes after McNair's killer. Luckily, Mitchell stops him, and that's the last we see of Tom, for now. Tom is not a strong character, always having had someone by his side to guide him and teach him. It is likely that Tom will begin to quickly come into his own, and return to the series next season a more formidable werewolf. For now, pursuing the revenge would have only gotten him killed, so it's a very good thing someone is there to prevent that.

     The vampire that Tom wants revenge on is Herrick (Jason Watkins), who is killed by George (Russell Tovey) at the end of season one, only to be resurrected from the dead. His return to top villain status has been a very slow burn, and it's not clear that Herrick ever becomes as much of a threat as he once was. Sure, he leaves behind a huge pile of bodies, but he never gets to the point where is making any dent against society at large, his goal. However, what Herrick represents is very dangerous, and he seems to only be the appetizer to a much bigger obstacle.

     Side note, how exactly did Nina (Sinead Keenan) survive and heal so quickly after Herrick's attack on her? Sure, Annie does something at the hospital, which while unexplained, seems to heal Nina. Annie's powers aside, Nina may be a werewolf, but she goes from the brink of death to walking around in a kitchen in what seems like a day or so. And how is the baby completely unharmed? The knife went in pretty close to where the little whatever-it-is is growing. At best, the hospital would have a lot of questions about the miracle. Her rapid recovery is definitely the weakest link in the entire episode, and screams for further explanation.

     Back to Herrick, he used to be smart. In the finale, he puts Mitchell and George in a cage and expects they will fight to the death. Does he seriously believe that any goading he provides will cause the two to battle so fiercely? George has a much deeper bond with Mitchell than Herrick ever had, and after observing them from his attic these past few weeks, he should have realized that. Especially once it becomes apparent that George already at least suspected Mitchell is behind the massacre of the Box Tunnel Twenty, and looked the other way.

     Herrick's ending is perfect. In this episode, especially, Herrick's affection for Mitchell is often shown, but it is much less acknowledged that Mitchell feels something back for Herrick. The two have much shared history, and were very close for quite awhile. Mitchell knows he cannot allow Herrick to go on, because he knows that what Herrick has done, and what Mitchell has done when emulating Herrick, is wrong and must be stopped. But Mitchell decides to give Herrick a parting gift, allowing him to die while looking at a spectacular view. It is a nice acknowledgement of their past association, while still serving the purpose. Mitchell could have been cruel, but it emphasizes the good he strives for to have him give Herrick a final touch of mercy.

     Would the American version of Being Human ever kill off one of the main trio, especially with so much more story left to go? Somehow, that seems hard to believe, since American shows seem so much more tied to their central characters than British ones. Yes, there are exceptions, but I'm speaking as a general rule. From a storytelling standpoint, it's brilliant. It almost provides a reboot, and pushes the show to be different, trying some alternate paths. From a fan perspective, it's much sadder, and if not done right, can kill a series. It remains to be seen which is in evidence here, as the fourth series is far off, but I'm already inclined to lean towards this being a good move.

     The death itself is done with so much care and sadness. There is a very long sequence where the characters debate whether Mitchell should be killed, then say goodbye once the decision is made. Against stereotype, the girls are the ones arguing for execution, citing that they will be responsible for any future murders Mitchell commits if they let him walk out of the house alive. Of course, they aren't the ones being asked to take his life, so it might be a little easier for them to judge. Nina also doesn't have that close love and connection that George and Annie do for Mitchell, so there's that.

     For a second, a reprieve seems likely, as Edgar Wyndam (Lee Ingleby) (next season's Big Bad?) shows up and interrupts George. But George turns and does it anyway, to stop Mitchell from being forced to massacre others under orders from Wyndam. As George proclaims he is doing this because he loves Mitchell, and Mitchell replies that he knows that, one of the sweetest deaths ever shown on screen unfolds. All the characters have previously had tears in their eyes, and viewers everywhere likely joined them by then. Perfectly executed. Excuse the poorly timed pun.

     So what next? Wyndam seems bent on vampire world domination, and George is equally determined to stop him. I, for one, am just as curious as Wyndam about what will come out of Nina's far-too-rapidly growing stomach. Annie is promised more ghosts, and as she seems to have the power to stop Nina from dying, it looks likely only the tip of her powers have come out. And I think it's safe to count on more action, danger, and bloodshed in series four than in this past season. I can't wait!


Article first published as TV Review: Being Human (UK) - "The Wolf-Shaped Bullet" on Blogcritics.

For all of Jerome Wetzel's Current Season Reviews, please click here.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

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Being Human (UK) searches for "The Pack"
Being Human (UK) meets "Lia"
Being Human (US) moves into the neighborhood

Being Human (UK) searches for "The Pack"

     The third series of Being Human, airing on BBC America in the states a few weeks behind England, is shaping up to be very exciting, owing mainly to a series of interesting guest stars. The main characters each have their own stories, too, but on the whole, they don't seem as dangerous or urgent as past plots. In the last few weeks, we have met a young vampire named Adam, a 'type four' (zombie?) named Sasha, and the father / son werewolf pairing of McNair (Robson Green) and Tom (Michael Socha). The latter made their second appearance this week in "The Pack".

     Tom believes he was born a werewolf, and that his mother was killed some time ago. McNair actually killed Tom's parents during one of his wolf nights, and found the baby boy, bloodied but alive, the next day. Not knowing what else to do, McNair takes Tom under his wing and raises him as his own. Nina (Sinéad Keenan) gets a clue to the real story after running tests on an injured Tom at the the hospital, and when confronted by his son, McNair makes a full confession. It's hard to blame the man, as he can't control what his wolf-self does, and he handles the situation as best he can. Tom realizes that, and sticks by his dad. A moving, fairly stand-alone story.

     Tom and McNair aren't one-episode characters. They were seen in the first episode of the season, and according to imdb.com, they will return at some point later this year. I do not know what will bring them back, since they had a nice, tidy ending this week. McNair originally threatens Mitchell, but while they still don't like each other, they seem to end at an understanding, with McNair not planning on killing him. But perhaps something will happen to change that. Which has me wondering, will Tom or McNair be the werewolf that is supposed to kill Mitchell (Aidan Turner)?

     Mitchell is convinced that he will die at the hands of a werewolf, per something he is told while rescuing Annie (Lenora Crichlow) from purgatory. Signs keep popping up, convincing Mitchell the noose is closing in on him. Mitchell is a main character, and as this series only focuses on four people, I find in unlikely he will die before a finale episode. However, BBC fare has shown more of a willingness to get rid of central characters (see Torchwood) than most American series (save for Lost), so I could be wrong. Either way, it's a great driving arc to keep the audience interested. Though I am even more intrigued by what retribution from overseas may be coming, as mentioned this week.

     Knowing that Mitchell believes he will soon meet his fate by werewolves, unless he is able to do something drastic to save himself, is also hanging over Mitchell's budding relationship with Annie. I like the two of them together, two lost souls having found a mate. Even without the sex, they are good, though it's a sad omission. At face value, and certainly from Annie and George's (Russell Tovey) perspective, Mitchell and Annie are a great match, both being supernatural and unable to find a normal companion. But Mitchell's dark secrets, as well as his homicidal urges, mean Annie doesn't really know what she is getting into.

     I find it easy to draw comparisons between Mitchell and Annie's ex, who killed her. On the surface, both Mitchell and the other man appear sweet, at least from Annie's point of view. But both can quickly be moved by violent instincts, resulting in other people's deaths. Mitchell has killed many others, including his recent slaughter of The Box Tunnel Twenty, though Annie does not yet know of that incident. It seems she is stuck in a pattern, falling for the same type of guy all over again, still naively believing she has chosen a suitable mate. At least Mitchell will not be able to kill her, since she is already dead. Which narrowly saves Mitchell from being completely detestable, as he would be if he killed Annie.

     By comparison, George and Nina have a much more stable relationship. Despite the rocky happenings of series two, where George quickly shacked up with another woman, while Nine hid and struggled with her new infliction of the werewolf curse, they have stabilized. While I found much of their story as a couple in the last series unrealistic and awkward, now that they are without question paired up, they have really shown the amazing chemistry and connection they first exhibited back in series one. More so, as they can be themselves with each other. I am liking the direction the characters are going.

     I have a million questions about Nina and George's bun in the oven, probably a lot of the same ones the characters themselves have. It seems to me at the end of this week's episode that the fetus survives Nina's transformation, so that's one worry down. But I can't recall another story where two werewolves have a baby. And the fact that conception happened while both were in wolf form further complicates matters, to an extent where it appears impossible that the child could be genuinely normal. The writers are treading on new territory, which is thrilling.

     Next week, Herrick (Jason Watkins) makes his return. I am super excited to see what that means. Watch Being Human Saturday nights at 9 p.m. ET on BBC America. Or, if you're lucky enough, watch it whenever it airs in its home country, weeks before we get to watch.

Article first published as TV Review: Being Human (UK) - "The Pack" on Blogcritics.

For all of Jerome Wetzel's Current Season Reviews, please click here.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

Being Human (UK) meets "Lia"

***This review would sound better if read in a British accent. It is not necessary, of course, but that would be my personal preference. :)***

     While you blokes across the pond are already halfway through Being Human's eight-episode third series, those of us in the States just got the series premiere this past Saturday night. I'm not complaining; other than incessant reruns of Top Gear, BBC America has become my new favorite obsession, though I suspect we do get edited versions of the show. We have our own (lesser) version of Being Human now on SyFy, of which season one will deliver 13 episodes, enough to cover all the plot in the first two British series. However, as the series premiere "Lia" showed once again, yours is better.

     Series three moves the roommates from Bristol, where things ended in a bloody mess last season, to Wales. Nina (Sinéad Keenan), reunites with George (Russell Tovey), and isn't happy that they will still be living with his friend, Mitchell (Aidan Turner). But George can't stand to kick Mitchell out, seeing as he seems to be losing his marbles. Despite a rocky second series, Nina and George seem to fully commit to each other once more, though she'd like a bit of privacy. Mitchell is bent on finding Annie (Lenora Crinchlow), who disappeared in the series two finale through The Door to the other side. Plus, there is nary a glimpse of old villain Herrick (Jason Watkins), whom we saw resurrected at the end of last year, so there's that dread hanging over everything. The audience knows that he will be back soon. Basically, things are chaotic.

     I do like the new setting. The original apartment was a bit drab, definitely just set trapping. It served its purpose, but will not really be missed. The new dwelling, on the other hand, has some serious character, including the tropical wall and the counter in the middle of the room. It could become a character unto itself, especially if there are some strange secrets hidden within that we haven't discovered yet. If not, it's still fun to see the stars dance in front of painted palm trees.

     We also got to meet some new characters this week. McNair (Robson Green, Wire in the Blood) and his son, Tom (Michael Socha, This is England), are werewolves shown quite a bit, mostly in scenes without any of our main characters around. McNair is captured by vampires, and Tom rescues him. What are they up to? Are they just trying to live a quiet life, as our roommates are? Have they come to town with some kind of mission? How will they affect George and Nina, or are they just there to show that there are some dangerous vampires around that like to play with wolves? So little is revealed, they definitely spark more questions than they answer.

     Mitchell spends the first part of the episode acting deliciously crazy, delivering a funny scene with a realtor, not knowing how to even begin to find his missing friend. Then Annie calls to Mitchell through a television, and he figures out a way to hitchhike on the back of a recently deceased man through The Door and come after her. Little does he know, the powers controlling the other side want exactly that. They are not holding Annie for her own sake, but to lure Mitchell. You see, he went on a bloody rampage in the tunnel and killed a bunch of people last season. Lia (Lacey Turner), his guide, was one of the victims. Mitchell is unaware of this fact and Lia walks him through some of his embarrassingly brutal past, dredging up all sorts of emotions.

     The Mitchell-in-purgatory bit is easily the most creative part of the episode, and is a highlight of the series as a whole. Lia is great, both memorable, but not overpowering. Mitchell has always been a tortured soul, but never has it been more explicitly demonstrated than this sequence. Having a victim he doesn't even remember killing as his escort only adds to his depravity. Mitchell seems stripped bare, incredibly vulnerable. It is masterful writing, and Turner handles it with great care and talent.

     George, who is often the comic relief, mixes his comedy with some real danger, and also gets to show some real depth. His arrest in the woods with the sexual deviants, including Bob (Torchwood's delightful Kai Owen), seems merely a funny happenstance. And then, as Owen battles his change in a cell with Bob, it takes a much darker turn. Kennan is amazing as Nina struggles not to change while bailing George out. There is an intense energy to the exchange that did not disappoint. Later, watching George cry at Annie's return, I realize he played anger, sadness, joy, lust, and the wolf ferociousness all in one hour, often intermixed, with serious skill.

     There are some strange implications to ponder in this episode. For instance, what does it mean that George and Nina seemingly have sex in wolf form? Will Nina carry a wolf baby? Or a fetus that changes inside of her on the full moon? Because that would be mighty strange. Who is the werewolf that will kill Mitchell, and will we see his death this series, or much later, if there is a later? If he does die this series, how will he be brought back for another series? Or will that be the end of him entirely? Will Annie have any lasting effects from her time in purgatory? I can't wait to find out!

     Being Human airs Saturday nights at 9 p.m. on BBC America.

Article first published as TV Review: Being Human (UK)- "Lia" on Blogcritics.


For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.