Posts Tagged TV reviews

Culture Vulture: Week of 31st May to 6th June 2025

May 30, 2025 at 2:55 pm · Filed under Culture Vulture, Film & DVD Reviews ·Tagged , , ,

4,165 words, 22 minutes read time.

Selections and commentary by Pat Harrington – Original Music in our video by Tim Bragg

As we step into June, Pride Month brings a vibrant array of programming that celebrates LGBTQ+ stories and voices. This week’s selections offer a rich tapestry of narratives—from timeless classics to contemporary explorations of identity. Notably, Maurice, What It Feels Like For A Girl, and National Anthem stand out for their poignant portrayals of LGBT+ experiences. Whether you’re seeking historical depth, emotional resonance, or modern reflections, this week’s lineup promises to engage and inspire.

Saturday, 31st May 2025

The Dirty Dozen (1967): 5Action at 9:00 PM
A brutal and bombastic World War II epic, The Dirty Dozen throws together a ragtag band of military prisoners—each with a checkered past and little left to lose—for a daring, near-suicidal mission deep behind enemy lines. Under the command of the hard-nosed Major Reisman, played with grizzled brilliance by Lee Marvin, these men are forged into an unorthodox fighting unit, their fate hinging on their ability to function as a lethal strike force rather than a group of condemned criminals.

Fueled by raw masculinity and unapologetic toughness, the film thrives on action, camaraderie, and moments of biting cynicism that challenge the rigid hierarchy of military command. While it carries the swagger of a classic 1960s war film—packed with explosions, bravado, and defiant anti-authoritarian streaks—it subtly weaves in a deeper commentary about the expendability of the working-class soldier, forced into impossible conditions by the powers that be.

It is both a high-octane spectacle and a sharp indictment of war’s cruel pragmatism—a blend of testosterone-driven thrills and a harsh look at who bears the true cost of conflict. With an unforgettable ensemble cast and a relentless pace, The Dirty Dozen stands as a war film that refuses to simply glorify combat, instead reveling in its brutal contradictions.

The Day the Earth Stood Still (2008): Channel 4 at 11:20 PM
This modern remake of the 1951 sci-fi classic trades the original’s quiet, simmering tension for a more urgent, effects-driven spectacle, updating its central theme to reflect contemporary anxieties. Instead of Cold War paranoia, humanity’s looming destruction now stems from environmental collapse, reframing the narrative as a cautionary tale about our self-destructive tendencies.

Keanu Reeves brings his signature stillness to the role of Klaatu, the enigmatic alien sent to assess Earth’s fate. His performance suits the character’s detached, otherworldly nature, reinforcing the film’s eerie sense of judgment. However, the film’s reliance on CG-heavy visuals and grand destruction sequences occasionally undermines its thematic weight, making the message feel less intimate and more distant.

Despite its aesthetic choices, the film still poses profound questions: Can civilization truly reform? Or has humanity passed the point of redemption? While it may lack the original’s restrained, methodical storytelling, it remains a relevant exploration of accountability—offering a stark mirror to our real-world environmental crisis.

Sunday, 1st June 2025

Spartacus (1960): BBC Two at 1:00 PM
Stanley Kubrick’s Spartacus is more than just a grand historical epic—it’s a film deeply rooted in themes of resistance, dignity, and sacrifice, embodying the struggle of the oppressed against an empire built on cruelty. At its heart is Kirk Douglas, delivering one of his most defining performances as the titular slave-turned-revolutionary, whose defiance against Rome becomes a powerful symbol of rebellion. The film’s operatic scale, visceral battle sequences, and emotionally charged moments elevate it beyond mere spectacle, making it a muscular, politically conscious piece of cinema that still resonates today.

Yet, Spartacus carries an even deeper significance beyond its narrative. The screenplay was penned by Dalton Trumbo, a writer who had been blacklisted during the McCarthy-era Hollywood purges. Trumbo was one of the Hollywood Ten, a group of screenwriters and directors who refused to testify before the House Un-American Activities Committee (HUAC) in 1947, when the U.S. government was aggressively targeting individuals suspected of Communist affiliations. His refusal to name names led to his imprisonment and exile from the industry, forcing him to write under pseudonyms or through “front” writers who took credit for his work.

Despite being blacklisted, Trumbo continued to craft brilliant screenplays, even winning two Academy Awards in secret—one for Roman Holiday (1953), credited to a front writer, and another for The Brave One (1956), awarded to a pseudonym he used. His exile from Hollywood lasted over a decade, until Kirk Douglas took a stand. In 1960, Douglas publicly credited Trumbo as the screenwriter of Spartacus, effectively breaking the blacklist and paving the way for other blacklisted artists to return to the industry. That same year, director Otto Preminger also credited Trumbo for Exodus, further dismantling the oppressive system that had silenced so many voices.

Trumbo’s official recognition came much later—his name was finally restored to Roman Holiday in 2011, decades after his death. His story remains a testament to the resilience of artists in the face of political persecution, and Spartacus stands as both a cinematic triumph and a symbol of defiance, mirroring Trumbo’s own battle against injustice.

Inside Out (2015): BBC One at 3:30 PM
Pixar’s Inside Out is a thoughtful look at the emotional life of a young girl facing change. It imagines feelings like Joy, Sadness, Fear, Anger, and Disgust as characters, each playing a role in how she processes the world.

The film is as much about growing up as it is about the way we understand our own emotions. Riley’s mind is filled with memories and personality shaped by these feelings, but as she moves to a new city, things start to shift. Sadness, often sidelined, becomes more important—showing that difficult emotions aren’t something to avoid but are essential to making sense of life.

It’s a clever and visually inventive way of explaining how emotions interact. Concepts like core memories, suppressed thoughts, and the messy, unpredictable nature of change feel real, even as they’re presented in bright, colorful animation. There’s an honesty to it that resonates beyond childhood, making it as meaningful to adults as it is to younger audiences.

Rather than pushing a simple message about happiness, Inside Out suggests that real emotional growth comes from understanding that all feelings have value. It’s a film that treats its audience with intelligence, wrapping a complex idea in an accessible, engaging story.

Monday, 2nd June 2025

Rosaline (2022): Channel 4 at 1:05 AM
A cheeky revisionist take on Romeo and Juliet, Rosaline centres the character usually forgotten—the woman Romeo was infatuated with before Juliet. Kaitlyn Dever brings modern sensibility and wit, giving a satirical spin to Shakespearean romance. It’s slight, but its feminist framing and breezy pace make it a fun midnight watch.

Looper (2012): Legend at 9:00 PM
Rian Johnson’s Looper is more than just a clever time-travel puzzle—it’s a film that wrestles with destiny, sacrifice, and the inescapable cycles of violence. Set in a near-future where criminal organizations use time travel to dispose of targets, it follows Joe, a hired gun known as a “looper,” who eliminates people sent back from the future. But when his older self is sent back for execution, Joe is forced into a desperate battle against his own fate.

The film plays with the idea of free will versus inevitability, questioning whether people can truly change or if they are doomed to repeat the same mistakes. Joseph Gordon-Levitt and Bruce Willis deliver compelling performances as two versions of the same man—one trying to preserve his future, the other trying to rewrite it. Their conflict is more than just physical; it’s a philosophical struggle over whether violence can ever truly end or if it simply perpetuates itself.

Beyond its intricate plotting, Looper is a thoughtful exploration of morality and consequence, using time travel as a lens to examine personal responsibility. The film’s gritty, lived-in world and restrained use of sci-fi elements keep the focus on character and choice rather than spectacle. It’s a film that rewards repeat viewings with new layers of meaning.

On Chesil Beach (2017): BBC Two at 11:00 PM
Adapted from Ian McEwan’s novella, On Chesil Beach is a delicate, quietly devastating exploration of inexperience, repression, and the weight of social expectation. Set in 1962, on the cusp of the sexual revolution, it follows a newlywed couple, Florence and Edward, as they navigate the unspoken tensions of their wedding night. What should be a moment of intimacy instead becomes a painful unraveling, shaped by their vastly different backgrounds and the era’s rigid attitudes toward sex and emotional expression.

Saoirse Ronan delivers a deeply nuanced performance as Florence, a young woman trapped between duty and personal discomfort, struggling to articulate her needs in a world that discourages such honesty. Opposite her, Billy Howle’s Edward embodies frustration and longing, making their dynamic all the more heartbreaking. Their inability to communicate—both with each other and within the constraints of their time—turns a single evening into a defining moment that alters the course of their lives.

The film’s restrained style mirrors its themes, using minimalism and quiet tension to underscore the emotional weight of each interaction. The windswept isolation of Chesil Beach itself becomes a metaphor for their relationship—beautiful yet unforgiving, shaped by forces beyond their control. Beneath its period setting, On Chesil Beach speaks to universal fears of vulnerability, misunderstanding, and the irreversible consequences of words left unsaid.

Tuesday, 3rd June 2025

What It Feels Like For A Girl – BBC Three at 9:00 PM (All episodes available on iPlayer)

A striking new drama inspired by Paris Lees’ acclaimed memoir, What It Feels Like For A Girl is a fearless exploration of girlhood, identity, and resilience in contemporary Britain. Set at the turn of the millennium, the series follows Byron, a teenager desperate to escape the confines of their small working-class town, where rigid expectations and social pressures weigh heavily.

Each episode draws from real testimony, weaving together deeply personal experiences with a raw, poetc storytelling style. The series doesn’t shy away from difficult truths—it confronts gender identity, class, sexuality, and the search for belonging with honesty and urgency. Byron’s journey leads them into the chaotic, neon-lit world of Nottingham’s club scene, where they find a chosen family among the Fallen Divas, a group of misfits living on the fringes of society.

With its anarchic energy, sharp wit, and emotional depth, What It Feels Like For A Girl challenges social norms while exposing vulnerability in a way that feels both intimate and universal. It’s essential viewing for anyone interested in how young women—and those who exist outside traditional gender expectations—navigate the complexities of identity, freedom, and survival in today’s world.

Matt Baker’s British Isles (Episode 1 of 4) – More4 at 9:00 PM

Matt Baker’s latest series is a heartfelt tribute to the people and places that quietly keep Britain running. Rather than chasing sensational headlines or dramatic conflicts, the show focuses on local heroes and unsung rural stories, offering a window into communities that often go unnoticed.

Baker’s approach is gentle but deeply engaging, allowing the stories to unfold naturally. Whether it’s farmers preserving traditional methods, volunteers keeping historic landmarks alive, or individuals making a difference in their towns, the series highlights the quiet dignity of everyday life. It’s a reminder that resilience, kindness, and dedication exist in the fabric of British society, even if they rarely make the front pages.

Visually, the series captures the beauty of the British landscape, from rolling hills to rugged coastlines, reinforcing the deep connection between people and place. Baker’s own background—growing up on a farm and later championing rural life through his television career—adds authenticity to his storytelling. His enthusiasm for craftsmanship, heritage, and community spirit shines through, making the series feel personal rather than purely observational.

At a time when news cycles are relentless and often overwhelming, Matt Baker’s British Isles offers a comforting antidote—a chance to slow down, appreciate the small but significant contributions of ordinary people, and reconnect with the quieter rhythms of life.

Who Do You Think You Are? (Will Young): BBC One at 9:00 PM
Pop star and actor Will Young traces his ancestry in an episode that delves into both privilege and perseverance. As always with this series, its real magic lies in the personal impact of historical discovery—and the way it reshapes one’s view of self and nation.

Storyville: The Jackal Speaks: BBC Four at 10:00 PM
A rare and unsettling portrait of Ilich Ramírez Sánchez, better known as Carlos the Jackal, one of the most infamous international terrorists and arms dealers of the 20th century. From the confines of a French high-security prison, where he is serving three life sentences, Carlos speaks openly about his past, his ideology, and the violent operations that made him a feared figure across Europe and the Middle East.

The documentary traces his journey from childhood in Venezuela to his radicalisation, his involvement in high-profile assassinations, bombings, and hostage crises, and his connections to figures like Colonel Gaddafi and Osama Bin Laden. For decades, Carlos was a shadowy presence in global politics, orchestrating attacks that shaped the era’s geopolitical tensions. Now, for the first time, he tells his story in his own words—unfiltered, unapologetic, and deeply revealing.

With unprecedented access, The Jackal Speaks offers a disturbing insight into the mind of a man who operated at the heart of international terror networks. It’s a documentary that doesn’t just recount history—it forces viewers to confront the motivations and consequences of political violence.

Maurice (1987): Film4 at 11:05 PM
James Ivory’s adaptation of E.M. Forster’s posthumously published novel is a landmark in LGBTQ+ cinema. Set in early 20th-century England, the film follows the emotional awakening and inner conflict of Maurice Hall, a young man grappling with his sexuality in a repressive society. With understated elegance, the film explores love, class, and the societal expectations that push people into unhappy compromises.

Wilby and Grant deliver performances that are as nuanced as they are emotionally authentic. Their chemistry develops slowly and convincingly, making Maurice’s journey from confusion and denial to self-acceptance all the more affecting. The film doesn’t sensationalise, opting instead for a subdued, melancholic tone that allows space for reflection.

Ivory’s direction and Richard Robbins’s score wrap the film in a gentleness that masks a quietly revolutionary spirit. Released at a time when queer cinema was still emerging from the margins, Maurice gave visibility and dignity to a love story usually hidden from view. Its historical setting adds poignancy, reminding us of what earlier generations risked simply to love.

The cinematography also deserves praise. The English countryside is rendered with painterly beauty, offering both a contrast to the strictness of Edwardian morals and a backdrop for Maurice’s growing sense of inner freedom. The physical and emotional landscapes are tightly bound in this production, making it a deeply immersive experience.

More than 35 years on, Maurice remains as vital and stirring as ever. It reminds us how far society has come, but also how fragile those gains can be. A perfect watch for Pride Month.

Wednesday, 4th June 2025

All the Money in the World (2017): Great Movies at 9:00 PM
Ridley Scott’s All the Money in the World is a tense, unsettling look at power, greed, and the cold logic of wealth. Based on the real-life kidnapping of John Paul Getty III, the film follows the desperate attempts of his mother, Gail Harris, to secure his release—only to be met with indifference from his billionaire grandfather, J. Paul Getty, who refuses to pay the ransom.

Michelle Williams delivers a fierce, emotionally charged performance as Gail, a woman fighting not just against the kidnappers but against a system where money matters more than human life. Christopher Plummer plays Getty with chilling detachment, portraying him as a man so consumed by his fortune that he sees his grandson’s suffering as a financial inconvenience rather than a personal tragedy.

Plummer wasn’t the original choice for the role. Kevin Spacey was initially cast as Getty, but after allegations against him surfaced, Scott made the bold decision to replace him entirely, reshooting all of Spacey’s scenes in just nine days. It was an unprecedented move, adding millions to the budget, but it ensured the film’s release wasn’t overshadowed by controversy.

It would have been interesting to see Spacey’s take on the character—his ability to play morally ambiguous figures is well-documented, and his version of Getty might have leaned even further into the character’s ruthless pragmatism. But Plummer brings a different kind of menace—less theatrical, more understated—which arguably makes Getty’s indifference even more chilling.

Beyond the performances, All the Money in the World isn’t just about a crime—it’s about the corrosive nature of extreme wealth, the way power isolates, and the brutal reality that, in some circles, money is valued more than people. It’s a gripping, well-crafted thriller that lingers long after the credits roll.

National Anthem (2023): Film4 at 11:20 PM
National Anthem is a contemporary indie that explores identity, LGBT+ experiences, and self-discovery against the backdrop of the American Midwest. It challenges traditional masculinity, offering a tender counter-narrative to the usual road trip tropes—one that replaces escape with belonging, and isolation with community.

At the heart of the story is Dylan, a young labourer whose life is defined by routine and responsibility. He stumbles into a world of LGBT+ rodeo performers, a space where self-expression isn’t punished but celebrated. What begins as curiosity soon becomes something deeper—a reckoning with his own identity, shaped by the people he meets and the freedom they embody. The film captures his vulnerability without pity, allowing his quiet transformation to unfold naturally, free from cliché or forced sentimentality.

Visually, National Anthem is sun-drenched and intimate, using the vastness of the American landscape to mirror Dylan’s emotional growth. The open skies and rolling plains contrast with the internal shifts happening within him, reinforcing the idea that identity is something expansive, not confined. The cinematography lingers on moments of quiet connection—glances, gestures, the unspoken understanding between people who have carved out a space for themselves in a world that often refuses to see them.

The supporting cast is just as vital to the film’s emotional weight. Each character is vividly drawn, offering both contrast and community to Dylan’s introspection. Their world is one of celebration and survival, shaped by past traumas but also by the joy of finding a chosen family. The film doesn’t romanticize their struggles, but it does honour their resilience, showing how identity is built not just through hardship, but through love, laughter, and the simple act of being seen.

By the time the film reaches its final moments, it doesn’t rely on grand gestures or dramatic revelations. Instead, it delivers a quiet crescendo, an earned moment of emotional truth that lingers long after the credits roll. National Anthem isn’t just about sexuality—it’s about the spaces people create to exist fully, and the courage it takes to step into them.

Thursday, 5th June 2025

Tolkien (2019): Film4 at 6:50 PM
Tolkien is a biographical drama that delves into the formative years of J.R.R. Tolkien, tracing the experiences that shaped his extraordinary imagination. Rather than focusing on his later literary achievements, the film explores his childhood, friendships, love, and the horrors of World War I, showing how each of these elements contributed to the creation of Middle-earth.

At the heart of the story is Tolkien’s deep bond with the Tea Club and Barrovian Society (TCBS), a group of like-minded school friends who shared a passion for art, literature, and ideas. Their camaraderie and intellectual exchanges became a foundation for Tolkien’s storytelling, reinforcing themes of brotherhood, loyalty, and sacrifice—ideas that would later define The Lord of the Rings. His relationship with Edith Bratt, the woman who would become his wife, is also central to the film, portraying her as both a muse and a grounding force in his life.

The film doesn’t shy away from the brutality of World War I, depicting Tolkien’s time in the trenches as a defining period that shaped his understanding of heroism, loss, and the darkness of war. The battle sequences are interwoven with surreal, dreamlike imagery that hints at the creatures and landscapes he would later bring to life in his writing. While the film doesn’t explicitly connect every moment to his later works, it subtly suggests how his experiences informed the mythology of Middle-earth.

Nicholas Hoult delivers a restrained, sympathetic performance, capturing Tolkien’s quiet intensity and deep emotional world. His portrayal emphasizes the personal struggles behind the legend—the grief of losing loved ones, the uncertainty of youth, and the slow, determined process of finding his voice as a writer.

While Tolkien doesn’t fully capture the vast scale of his literary vision, it offers a moving, intimate glimpse into the man behind the legend. It’s a film about creativity, resilience, and the way life’s experiences—both joyful and painful—can shape the stories we tell.

The Siege of Leningrad: PBS America at 8:35 PM

One of the most harrowing chapters of World War II, the Siege of Leningrad lasted 872 days, trapping millions of civilians in a city cut off from supplies, surrounded by German forces, and subjected to relentless bombardment. This documentary offers a sobering but essential account of the blockade, drawing on survivor testimony and rare archival footage to bring the unimaginable suffering into sharp focus.

The film explores the human cost of war, detailing how starvation, disease, and extreme cold claimed over a million lives, while those who remained endured conditions that defied belief. Yet, amid the devastation, it also highlights the resilience and defiance of Leningrad’s people, who refused to surrender despite overwhelming odds.

Through historical analysis and firsthand accounts, the documentary examines the strategic failures and political decisions that prolonged the siege, as well as the eventual Soviet counteroffensive that broke the blockade in January 1944. It’s a deeply moving tribute to those who lived through one of history’s longest and most brutal sieges—a reminder of the strength of the human spirit in the face of unimaginable hardship.

Friday, 6th June 2025

Joanna Lumley’s Danube (Episode 3 of 3): ITV1 at 9:00 PM
Lumley concludes her journey down the Danube with her trademark mix of humour, curiosity, and cultural insight. Her warmth brings out the best in the people she meets, while her reflections on European identity give this travelogue surprising depth.

Fatal Attraction (1987) – Great Movies at 9:00 PM

Few films have left as lasting an impact on popular culture as Fatal Attraction. Released in 1987, this psychological thriller became a phenomenon, sparking intense debate about infidelity, obsession, and gender dynamics. Glenn Close and Michael Douglas deliver powerhouse performances in a story that is equal parts cautionary tale and moral panic, tapping into deep-seated fears about relationships and betrayal.

Douglas plays Dan Gallagher, a successful New York attorney who has a seemingly perfect life—until a weekend affair with Alex Forrest (Close) turns into a nightmare. What begins as a fleeting indiscretion quickly spirals into psychological warfare, as Alex refuses to be discarded, her obsession escalating into stalking, manipulation, and violence. The film’s tension builds relentlessly, culminating in some of the most infamous moments in thriller history—including the now-iconic boiled rabbit scene, a chilling metaphor for Alex’s unraveling psyche.

Close’s portrayal of Alex remains one of the most complex and unsettling depictions of obsession in cinema. While the film initially frames her as a villain, her character is layered with vulnerability, desperation, and emotional instability, making her more than just a one-dimensional antagonist. Over the years, critics have revisited Fatal Attraction through a different lens, questioning whether Alex was a victim of misogynistic storytelling or a genuine warning about the dangers of unchecked obsession.

The film’s original ending was far more tragic—Alex was meant to die by suicide, reinforcing the psychological depth of her character. However, test audiences reacted negatively, leading to a reshoot that transformed the climax into a violent showdown, shifting the film’s tone from psychological drama to full-blown thriller.

Beyond its gripping narrative, Fatal Attraction helped define the erotic thriller boom of the late 80s and early 90s, paving the way for films like Basic Instinct and Single White Female. Its themes remain relevant, continuing to provoke discussion about gender roles, mental health, and the consequences of betrayal.

Unsettling but undeniably gripping, Fatal Attraction is a film that refuses to fade into obscurity—its legacy still felt in cinema and cultural discourse today.

And Finally… Streaming

Films

I’m Still Here – Premieres 31 May on Netflix & Amazon Prime
A Brazilian biographical drama set during the dictatorship of the 1970s, following Eunice Paiva as she struggles to survive in a regime that violently suppresses political dissent. A powerful exploration of resilience, personal sacrifice, and the brutal cost of standing up to tyranny.

Founders Days – Premieres 2 June on Netflix & Amazon Prime
A satirical horror with sharp political undertones. Set during a mayoral election in a small town, paranoia escalates as a masked killer terrorises the community. A pointed take on American democracy and mob mentality wrapped in genre thrills.

Red, White & Royal Blue – Available from 3 June on Amazon Prime
A romantic drama about image, power, and forbidden love, this film sees the son of the U.S. President fall for a British prince. As they navigate their relationship in the public eye, the film tackles modern masculinity and queer identity with warmth and sincerity.

Series

The Four Seasons – Premieres 1 June on Netflix (8 episodes)
A limited series remake of the 1981 film, this drama follows three affluent couples over the course of a year. Touching on privilege, personal reinvention, and class tension, it offers intimate insights into friendship under pressure.

Poker Face (Season 2) – Premieres 31 May on Peacock (12 episodes)
The hit mystery series returns with more biting commentary. Natasha Lyonne leads again as a lie-detecting drifter uncovering small-town secrets and systemic corruption, in a sharply written mix of retro crime and modern politics.

Duster – Premieres 1 June on Max (8 episodes)
Set in the gritty American Southwest of the 1970s, this tense crime drama dives into organised crime, corrupt lawmen, and those caught in between. Atmospheric, character-driven, and steeped in political subtext.

Stay tuned, stay sharp, and stream smart.

Picture Credits

The Dirty Dozen
By http://www.movieposter.com, Fair use, https://en.wikipedia.org/w/index.php?curid=8363581
The Day the Earth Stood Still
The cover art can or could be obtained from Collider.com or 20th Century Fox., Fair use, https://en.wikipedia.org/w/index.php?curid=20122070
Spartacus
By Reynold Brown – MoviePoster, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25030150
Inside Out
By Reynold Brown – MoviePoster, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25030150
Rosaline
By Reynold Brown – MoviePoster, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25030150
Looper
May be found at the following website: http://www.impawards.com/2012/looper_ver5.html, Fair use, https://en.wikipedia.org/w/index.php?curid=37152070
On Chesil Beach
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=55465108
What It Feels Like For A Girl
Matt Baker’s British Isles
By William Hook from Stafford, United Kingdom – Crufts – BBC Studio (28), CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=3776227
Who Do You Think You Are? (Will Young)
Fair use, https://en.wikipedia.org/w/index.php?curid=9753357
Storyville: The Jackal Speaks
By Anonymous – NBCNews.com, Public Domain, https://commons.wikimedia.org/w/index.php?curid=130451174
Maurice
All the Money in the World
By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=55238236
National Anthem
By Variance Films – imdb, Fair use, https://en.wikipedia.org/w/index.php?curid=76806027
Tolkien
By Fox Searchlight – [1], Fair use, https://en.wikipedia.org/w/index.php?curid=60101851
The Siege of Leningrad
By Ebert Georg – https://audiovis.nac.gov.pl/obraz/2548/, Public Domain, https://commons.wikimedia.org/w/index.php?curid=79566819
Joanna Lumley’s Danube
By Land Rover MENA – Land Rover ‘Defender 2,000,000’ Sells for Record £400,000 at Bonhams Charity Auction, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=97190461
Fatal Attraction
The poster art can or could be obtained from Paramount Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=57579268

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Culture Vulture 24th to the 30th of May 2025

May 24, 2025 at 7:45 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , , ,

Curated by Pat Harrington • Original music on our video version by Tim Bragg

This week, we step into the refined yet radical world of Jane Austen. Her work, far from being simply romantic escapism, offers sharp observations of society and gender politics. Austen’s legacy looms large over our listings, with three outstanding productions: Jane Austen: Rise of a Genius, Joe Wright’s Pride and Prejudice, and a thoughtful BBC Four adaptation of Sense and Sensibility. These aren’t just stories about courtship—they’re critiques of class, power, and human frailty. Through their wit and restraint, they give voice to social tensions that still resonate.

🌟 Highlights

  • Jane Austen: Rise of a Genius: BBC Two, Monday, 9:00 PM
  • Pride and Prejudice (2005): BBC Two, Monday, 10:00 PM
  • Sense and Sensibility: BBC Four, Wednesday, from 10:00 PM

📅 Saturday, 24th May

Mon Oncle (1958) – Talking Pictures, 3:00 PM
Jacques Tati’s Mon Oncle is a masterclass in visual storytelling. Monsieur Hulot, with his pipe and awkward gait, finds himself adrift in a hyper-modern house full of absurd gadgets. The film gently mocks the soullessness of consumerism while celebrating the warmth of traditional life.
What makes Tati’s work so enduring is his patience. Scenes unfold with the rhythm of real life—no quick cuts, no explanatory dialogue. He trusts the audience to find humour in the mundane, and that trust pays off.
Though set in a comedic register, the critique of post-war modernisation is clear. The contrast between Hulot’s charmingly disordered neighbourhood and the antiseptic home of his sister’s family is striking. There’s affection here, but also a wistful note—what do we lose in the march of progress?

Doctor Who – Wishworld – BBC One, 6:15 PM
In this week’s Doctor Who, the crew are thrown into a surreal world shaped entirely by wishes. At first enchanting, the realm soon reveals its darker underbelly, as unchecked desires bring unintended consequences.
This episode sees the Doctor confronting not just external threats but their own doubts. The writing strikes a fine balance between whimsy and warning, reflecting on the difference between dreams and delusions.
Russell T Davies uses this episode to nudge viewers gently toward introspection. What do our wishes reveal about us? And what happens if they come true without constraint? There are no easy answers, only intriguing questions.

Apocalypse Stalin – PBS America, 7:25 PM
Uncompromising and chilling, this three-part documentary traces the life of one of history’s most ruthless leaders. This episode focuses on how Stalin consolidated power through propaganda, fear, and purges.
The archival footage is disturbing in its familiarity, echoing authoritarian patterns that still linger in the world. By humanising the victims and documenting the regime’s machinery, the programme honours the past while warning the present.
A stark and necessary viewing experience.

Liza: A Truly Terrific Absolutely True Story – BBC Two, 9:00 PM
This affectionate yet honest portrait of Liza Minnelli balances showbiz dazzle with raw insight. The documentary traces her life from Hollywood royalty to queer icon, capturing the triumphs and trials with sensitivity.
Rare footage and intimate interviews show a performer who burned brightly, and sometimes too close to the flame. But it’s never mawkish. Liza is seen here as complex, brave, and utterly compelling.
A tribute worthy of its subject—and essential for anyone interested in the intersections of fame, resilience, and identity.

The Running Man (1988) – Channel 4, 11:10 PM
Arnold Schwarzenegger’s The Running Man might seem like pure 80s action at first glance—muscular heroes, explosions, and a neon-drenched aesthetic—but beneath its bombastic surface lies a darkly prescient satire of media manipulation, authoritarianism, and the spectacle of violence as entertainment.

Set in a dystopian future where the government controls the masses through rigged reality TV, the film critiques a system where the truth is malleable, dissent is silenced, and the public is pacified with bloodsport. Ben Richards, falsely accused of mass murder, becomes a pawn in this brutal game—a gladiator forced to battle for survival while the audience cheers, unaware they are complicit in their own oppression.

The parallels to modern media are striking. The way the Running Man show twists reality, framing Richards as a villain, echoes the distortion of truth in our own era of misinformation and curated narratives. Whether through government propaganda, biased news outlets, or social media echo chambers, the film warns of a world where facts can be shaped to suit the ruling powers.

Then there’s the critique of commercialised violence. The Running Man shows a society addicted to spectacle—where suffering is entertainment and morality is secondary to ratings. It’s not far removed from real-world reality TV, where personal humiliation, cruelty, and manufactured drama keep audiences engaged. The difference? In the film’s universe, losing means death.

Despite its exaggerated, campy tone, The Running Man remains eerily relevant. It highlights the dangers of state-controlled narratives, unchecked corporate power, and public apathy in the face of exploitation. And like all great dystopian stories, it asks a chilling question: how far are we, really, from this future?

📅 Sunday, 25th May

From Russia with Love (1963) – ITV1, 4:20 PM
Bond’s second cinematic outing is a tightly coiled Cold War espionage tale. There’s less bombast, more brains—spycraft over spectacle. Sean Connery’s Bond is suave, cynical, and at his most lethal.
The Istanbul setting is rich and moody, full of alleyways and shadows. The train sequence is a classic, building tension with every turn. Lotte Lenya’s Rosa Klebb is unforgettable—a villain equal to Bond in menace and cunning.
A refined Bond adventure with elegance, grit, and real stakes.

3,000 Years of Longing (2022) – Channel 4, 10:55 PM
A lonely narratologist (Tilda Swinton) meets a Djinn (Idris Elba) in a Turkish hotel and must decide whether to use three wishes. What follows is a lavish, layered meditation on storytelling, loneliness, and desire.
George Miller’s film isn’t in a rush. It draws you into its spell with vivid tales, philosophical musings, and sumptuous imagery. The fables the Djinn recounts are touching and strange, filled with longing and regret.
A film that speaks softly but with great depth—a rare cinematic gem that rewards attention and reflection.

📅 Monday, 26th May

Apocalypse Stalin – PBS America, 7:25 PM
Part two of this searing series examines the regime’s descent into paranoia and purging. As Stalin reshapes Soviet society into a monolith of fear, personal stories of loss and defiance emerge.
It’s heavy, yes, but necessary. The programme never lets statistics eclipse individuals. Each victim has a name, a face, a context.
An unflinching examination of how ideology corrodes and consumes. Watch with care.

Jane Austen: Rise of a Genius – BBC Two, 9:00 PM
This documentary upends the tea-and-bonnets stereotype. Austen is revealed as a social critic, a feminist voice in corseted disguise. Her sharpness is celebrated, not softened.
Dramatisations are effective but never overused. Experts speak to Austen’s literary courage—writing women as thinkers, challengers, creators.
An absorbing, nuanced tribute that refreshes and reclaims Austen’s radical legacy.

Pride and Prejudice (2005) BBC2 10pm

Joe Wright’s Pride and Prejudice (2005) breathes new life into Austen’s classic, capturing both its sweeping romance and sharp social critique. Keira Knightley’s Elizabeth Bennet is fiery and independent, challenging the rigid expectations placed upon women in Regency England. Matthew Macfadyen’s Darcy, with his brooding intensity and hesitant vulnerability, embodies the struggle between personal pride and societal pressure.

Beyond the love story, the film highlights the suffocating constraints of class and gender. Elizabeth’s refusal to marry for security rather than love is a radical act in a world where women’s futures are dictated by wealth and status. Charlotte Lucas’s pragmatic decision to wed the insufferable Mr. Collins serves as a stark contrast—an unsettling reminder of the limited choices available to women. The Bennet family’s precarious financial situation underscores the brutal reality of inheritance laws that left daughters dependent on advantageous marriages.

The cinematography amplifies these themes, with sweeping shots of grand estates juxtaposed against the modest Bennet home, reinforcing the divide between privilege and struggle. The candlelit interiors and misty landscapes evoke a sense of longing—not just romantic, but for freedom, dignity, and self-determination.

Wright’s adaptation doesn’t just retell Austen’s story; it makes it resonate anew. The tension between tradition and change, duty and desire, remains as relevant today as it was in Austen’s time. This is a Pride and Prejudice that pulses with life, reminding us that love is not just about attraction, but about defiance, choice, and the courage to demand more.

📅 Tuesday, 27th May

The Good, the Bad and the Ugly (1966) – ITV4, 9:00 PM
Sergio Leone’s spaghetti western is a slow-burn masterpiece of cinema, rich in tension and iconic in style. Clint Eastwood, Eli Wallach, and Lee Van Cleef form an uneasy triangle of greed, pragmatism, and ruthlessness as they hunt for a cache of hidden gold during the chaos of the American Civil War.

Storyville: White Man Walking is a deeply unsettling yet necessary documentary that examines the journey of a man who once embraced white supremacist ideology but later rejected it, dedicating his life to de-radicalisation. The film follows Rob Bliss, a white filmmaker who embarks on a 1,500-mile walk through America’s southern states wearing a Black Lives Matter T-shirt, confronting hostility, armed Trump supporters, and moments of unexpected connection.

This documentary is not just about one man’s personal reckoning—it’s about the broader social and political forces that shape radicalisation and the difficulty of breaking free from them. It explores the deep racial and ideological divide in America, asking why advocating for Black lives provokes such visceral anger, particularly in poor, rural white communities. The film does not offer easy answers but instead forces viewers to sit with discomfort, reflecting on the systems that sustain racism and the silence that allows it to persist.

The documentary also highlights the power of human connection. While Bliss encounters hostility, he also finds moments of solidarity—people willing to walk beside him, listen, and engage in difficult conversations. These interactions underscore the possibility of change, however slow and painful it may be.

By marking the fifth anniversary of George Floyd’s murder, White Man Walking serves as both a personal journey and a broader call for empathy and understanding. It challenges viewers to consider what it truly means to be an ally and how deeply ingrained prejudices can be confronted—not just in theory, but face to face, in the streets.

📅 Wednesday, 28th May

The Hate U Give (2018) – Film4, 11:25 PM
Adapted from Angie Thomas’s acclaimed novel, this is a raw, emotionally charged film about a teenager grappling with police violence, activism, and identity. Amandla Stenberg stars as Starr Carter, who moves between two worlds—her poor, Black neighbourhood and a privileged, mostly white private school.

Sense and Sensibility (Episodes 1–3) – BBC Four, from 10:00 PM
This Austen adaptation takes its time, allowing each emotional shift to unfold gradually. Episode one introduces the Dashwood sisters and their sudden reversal of fortune. Episode two brings romantic possibility and quiet heartbreak. Episode three deepens the conflict between duty and desire.

📅 Thursday, 29th May

The Remains of the Day (1993) – Film4, 6:05 PM
Merchant Ivory’s The Remains of the Day (1993) is a masterclass in restraint, a film that unfolds with quiet devastation, exploring dignity, repression, and the weight of missed opportunities. Anthony Hopkins delivers a haunting performance as Stevens, a butler whose unwavering loyalty to duty has left him emotionally stunted, unable to grasp the depth of his own sacrifices. Emma Thompson’s Miss Kenton, warm and perceptive, offers him a glimpse of something more—a life beyond service, beyond rigid decorum—but Stevens, bound by his own sense of propriety, cannot reach for it.

Beneath its elegant surface, the film is a profound meditation on class, power, and the cost of unquestioning loyalty. Stevens’ devotion to Lord Darlington, a man whose political sympathies veer dangerously toward appeasement, reflects the broader theme of misplaced faith—how adherence to hierarchy and tradition can blind individuals to moral failings. The film subtly critiques the British class system, showing how servitude, even when performed with dignity, can become a form of self-erasure.

The historical backdrop—the years leading up to World War II—adds another layer of tragedy. Stevens, so consumed by his role, fails to see the shifting tides of history, just as he fails to acknowledge his own emotions. His journey, framed as a road trip to reconnect with Miss Kenton, is less about rekindling romance and more about reckoning with regret. The film asks: What happens when a life is spent in service to others, at the expense of one’s own desires? Can dignity exist without personal fulfillment?

Visually, The Remains of the Day is stunning in its subtlety. The grandeur of Darlington Hall contrasts with the quiet melancholy of its inhabitants. The cinematography lingers on small gestures—a glance, a hesitation, a hand hovering near another—capturing the unspoken emotions that define the film. The final scene, with Stevens watching Miss Kenton disappear into the night, is a gut punch, a moment of realization too late.

This is not just a story of lost love; it is a story of self-denial, of the dangers of living entirely for duty. It remains one of the most poignant explorations of class, history, and human frailty ever put to screen. A film that lingers, much like the regrets it so delicately portrays.

L.A. Confidential (1997) – Legend, 9:00 PM
Curtis Hanson’s L.A. Confidential (1997) is a neo-noir masterpiece that peels back the glossy veneer of 1950s Los Angeles to reveal a city steeped in corruption, deception, and moral compromise. Adapted from James Ellroy’s novel, the film follows three very different cops—each with their own approach to justice—as they navigate a world where crime, politics, and Hollywood glamour are dangerously intertwined.

At its core, L.A. Confidential is a scathing critique of institutional corruption. The LAPD, presented as both protector and predator, operates more like a syndicate than a force for good. The film exposes the ways in which power is wielded—not to uphold justice, but to control narratives, silence dissent, and maintain the illusion of order. The media plays a crucial role in this deception, with tabloid journalist Sid Hudgens manufacturing scandals to serve the interests of those in power. The film’s portrayal of police brutality, cover-ups, and manipulation feels eerily relevant, reflecting ongoing conversations about law enforcement and accountability.

The three central detectives—Ed Exley (Guy Pearce), Bud White (Russell Crowe), and Jack Vincennes (Kevin Spacey)—embody different facets of the system. Exley, ambitious and idealistic, believes in justice but struggles with the compromises required to achieve it. White, driven by personal trauma, is a violent enforcer who sees himself as a protector of the vulnerable. Vincennes, slick and self-serving, is caught between his role as a cop and his desire for celebrity. Their arcs highlight the moral ambiguity of law enforcement—how personal motivations, rather than principles, often dictate actions.

The film also critiques the myth of Hollywood glamour. Beneath the dazzling lights and star-studded façades lies exploitation, secrecy, and the commodification of human lives. Kim Basinger’s Lynn Bracken, a Veronica Lake lookalike trapped in a world of manufactured fantasies, represents the cost of this illusion. Her character underscores the film’s theme of identity—how people are shaped, manipulated, and sometimes destroyed by the roles they are forced to play.

Visually, L.A. Confidential is stunning. Hanson and cinematographer Dante Spinotti craft a world that feels both nostalgic and unsettlingly modern. The film’s rich color palette, sharp contrasts, and meticulous framing evoke classic noir while maintaining a contemporary edge. The violence is brutal but never gratuitous, serving as a stark reminder of the consequences of unchecked power.

L.A. Confidential is a meditation on truth, power, and the cost of integrity in a world built on deception. Its themes remain as relevant today as they were in the 1950s. A gripping, intelligent, and beautifully crafted piece of cinema that refuses to offer easy answers.

Kelly’s Heroes (1970) – BBC Four, 10:30 PM
Kelly’s Heroes (1970) is a war film that defies traditional narratives, embracing a cynical, satirical view of military bureaucracy, heroism, and war’s underlying motivations. Unlike conventional World War II films, it presents soldiers driven not by duty but by personal gain, turning the battlefield into a gold heist rather than a noble struggle. Authority figures are depicted as incompetent or oblivious, reinforcing the idea that war is often mismanaged by those in power while individual soldiers must navigate its chaos for survival. The film also critiques the economic dimensions of war, framing it as an enterprise of profit rather than ideological conflict. Oddball, played by Donald Sutherland, embodies the countercultural spirit of the late 1960s, rejecting traditional military discipline in favour of a free-spirited, almost hippie-like philosophy that contrasts with standard war-film protagonists. By presenting combat as absurd and greed-driven, Kelly’s Heroes dismantles wartime heroism, portraying war not as a patriotic duty but as an opportunistic, often farcical endeavor. Beneath its comedic surface lies a sharp critique of warfare’s futility, making it one of the most subversive films in the genre.

📅 Friday, 30th May

Fire Island (2022) – Channel 4, 12:10 AM
Andrew Ahn’s Fire Island (2022) is a vibrant, unapologetically queer reimagining of Pride and Prejudice, set against the backdrop of the legendary Fire Island Pines. It’s a film that blends sharp social commentary with heartfelt romance, capturing both the joy and complexity of modern queer life.

Fire Island is a story about friendship, love, and the unspoken hierarchies within the LGBTQ+ community. Joel Kim Booster’s Noah, a witty and self-assured protagonist, takes on the Elizabeth Bennet role, navigating class divisions, romantic entanglements, and the pressures of queer social spaces. Bowen Yang’s Howie, more reserved and yearning for connection, mirrors Jane Bennet, while Conrad Ricamora’s Will, initially aloof and guarded, embodies the Darcy archetype. Their relationships unfold within the intoxicating chaos of Fire Island’s party scene, where status, attraction, and self-worth are constantly negotiated.

The film doesn’t shy away from exploring the intersection of class and privilege within queer spaces. Fire Island, long a haven for gay men, is also a place where wealth and exclusivity shape social dynamics. The tension between Noah’s working-class background and the affluence of Will and his friends echoes Austen’s critique of rigid class structures. The film asks: Who gets to belong? Who is deemed desirable? And how do these unspoken rules affect the way queer people see themselves and each other?

Beyond its social themes, Fire Island is a celebration. It revels in the freedom of chosen family, the thrill of summer romance, and the power of community. The humour is sharp, the chemistry electric, and the emotional beats deeply resonant. It’s a film that understands the importance of representation—not just in its diverse cast, but in its refusal to put pain over happiness.

The film is stunning, capturing the sun-soaked beauty of Fire Island while contrasting its idyllic setting with moments of vulnerability and introspection. The soundtrack pulses with energy, mirroring the highs and lows of the characters’ journeys. And at its heart, Fire Island remains true to Austen’s themes—love, self-discovery, and the courage to challenge societal expectations.

This is more than just a rom-com; it’s a statement. A film that embraces the messiness, beauty, and complexity of life while reminding us that, sometimes, love is found in the most unexpected places. Smart, funny, and full of heart, Fire Island is a modern classic in its own right.

Shadow in the Cloud (2020) – BBC One, 12:30 AM
Shadow in the Cloud (2020) is a genre-bending thrill ride that fuses WWII aerial combat with supernatural horror, feminist themes, and pulpy action. Chloë Grace Moretz delivers a fierce performance as Maude Garrett, a flight officer carrying a top-secret package aboard a B-17 bomber. As she battles sexism from the all-male crew, she soon faces an even greater threat—a monstrous gremlin lurking on the aircraft.

The film’s feminist undercurrent is unmistakable. Garrett’s struggle for respect mirrors the historical reality of women in male-dominated fields, particularly in wartime. The crew’s dismissive attitude toward her reflects ingrained misogyny, making her fight for survival not just against the creature but against systemic prejudice. Her resilience and tactical brilliance challenge the notion that heroism is reserved for men, reinforcing the film’s subversive edge.

Beyond its feminist themes, Shadow in the Cloud critiques wartime propaganda and the glorification of military heroism. The exaggerated action sequences—where Garrett defies gravity and logic—play into the myth-making often associated with war stories. The film knowingly embraces its absurdity, using it to highlight the way narratives of heroism are shaped and distorted.

The film is striking, with claustrophobic cinematography that heightens tension. The confined space of the bomber’s ball turret becomes a pressure cooker, forcing Garrett into a relentless battle against both human and supernatural threats. The gremlin itself, a nod to WWII folklore, symbolizes the unseen dangers of war—whether mechanical failures, enemy attacks, or internal sabotage.

While the film’s tonal shifts can be jarring, its audacity is part of its charm. It refuses to be boxed into a single genre, blending horror, action, and feminist commentary into a chaotic but compelling spectacle. Shadow in the Cloud is bold, bonkers, and undeniably entertaining—a film that takes risks and revels in its own madness.

📡and finally, Streaming Choices

Surviving the Tunisia Beach Attack – Prime Video, from Sunday 25 May

This documentary offers a deeply personal and harrowing account of the 2015 Tunisia beach massacre, where a lone gunman killed 38 people, including 30 British tourists. Told through the voices of survivors, it reconstructs the attack moment by moment, exploring the fight-or-flight responses that saved lives and the extraordinary acts of courage in the face of terror.

Beyond its immediate tragedy, the documentary examines the long-term psychological impact of such violence. Survivors reflect on grief, trauma, and the struggle to rebuild their lives, highlighting the resilience of the human spirit. It also raises broader ethical and political questions about terrorism, security failures, and the responsibility of governments in protecting citizens abroad.

The attack, linked to Islamic extremism, underscores the ongoing global challenge of radicalisation and the devastating consequences of ideological violence. The documentary does not just recount events—it forces viewers to confront the fragility of safety, the unpredictability of terror, and the ways in which societies respond to such atrocities. It is a vital piece of storytelling that honours the victims while prompting reflection on the world’s ongoing battle against extremism.

Department Q – Netflix, from Thursday, 29th May

This Danish crime series, based on Jussi Adler-Olsen’s bestselling novels, delves into the dark underbelly of Nordic noir, blending psychological depth with slow-burning intrigue. The story follows Carl Mørck, a brilliant but emotionally scarred detective, assigned to a cold case unit after a traumatic incident leaves his partner paralysed and another officer dead.

Department Q is an exploration of guilt, redemption, and the institutional failures within law enforcement. Mørck’s exile to the basement of the police department reflects the way bureaucracies often sideline those who challenge the system. His relentless pursuit of justice, despite personal demons, speaks to the moral complexities of policing—how trauma, corruption, and political pressures shape investigations.

The series also critiques the justice system’s handling of cold cases, questioning how many crimes remain unsolved due to negligence, lack of resources, or deliberate cover-ups. As Mørck and his team uncover buried truths, the show forces viewers to consider the ethical dilemmas of law enforcement: What happens when justice is delayed? How do victims and their families cope with unresolved crimes?

With its bleak Scandinavian landscapes and intricate storytelling, Department Q is a gripping addition to the Nordic noir genre, offering both suspense and a thought-provoking look at the human cost of crime and justice.

Picture credits

Mon Oncle (1958)
Fair use, https://en.wikipedia.org/w/index.php?curid=14855843
Doctor Who
By https://www.instagram.com/bbcdoctorwho/p/DHyBku8OAtV/, Fair use, https://en.wikipedia.org/w/index.php?curid=79334790
Apocalypse Stalin
By James Abbe – Immediate source: [1]Initial publication: The New York Times, 8 May 1932 (image of first page available at [2]), as attested in Shooting Stalin: The Wonderful Years of James Abbe (2005), ISBN 9783865210432, Public Domain, https://commons.wikimedia.org/w/index.php?curid=163452326
Liza: A Truly Terrific Absolutely True Story
By Unknown author – ebay, Public Domain, https://commons.wikimedia.org/w/index.php?curid=28341206
The Running Man (1987) (Note: often listed as 1987)
By http://www.impawards.com/1987/running_man.html, Fair use, https://en.wikipedia.org/w/index.php?curid=34215915
From Russia with Love (1963)
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=37428191
Three Thousand Years of Longing (2022)
By http://www.impawards.com/2022/three_thousand_years_of_longing_xxlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=70822455
Jane Austen
Fair use.
Pride and Prejudice (2005)
The poster art can or could be obtained from Focus Features., Fair use, https://en.wikipedia.org/w/index.php?curid=30525992
The Good, the Bad and the Ugly (1966)
Derived from a scan of the poster (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the film company or the artist. Claimed as fair use regardless., Fair use, https://en.wikipedia.org/w/index.php?curid=5714576
The Hate U Give (2018)
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=58853244
Sense and Sensibility (TV adaptation – BBC) (2008)
By http://elegance-of-fashion.blogspot.com/2011/03/review-sense-and-sensibility-2008.html, Fair use, https://en.wikipedia.org/w/index.php?curid=24033034
The Remains of the Day (1993)
By http://www.impawards.com/1993/remains_of_the_day.html, Fair use, https://en.wikipedia.org/w/index.php?curid=6745078
L.A. Confidential (1997)
By http://www.impawards.com/1997/la_confidential.html, Fair use, https://en.wikipedia.org/w/index.php?curid=6898645
Kelly’s Heroes (1970)
By Metro-Goldwyn-Mayer (MGM) – IMPawards, Fair use, https://en.wikipedia.org/w/index.php?curid=38329896
Fire Island (2022)
By Searchlight Pictures – https://twitter.com/searchlightpics/status/1518589402305507329?s=20&t=z98t5jxp96X-UEKqWN4Jfg, Fair use, https://en.wikipedia.org/w/index.php?curid=70626655
Shadow in the Cloud (2020)
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Culture Vulture TV and Film Picks, 17–23 May 2025

May 17, 2025 at 11:45 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , ,


Selections and commentary by Pat Harrington
Original music on our video edition by Tim Bragg

3,524 words, 19 minutes read time.

This week’s picks illuminate power, protest, and identity with remarkable clarity. At the heart of the television schedule lies a commitment to confronting injustice and re-examining history: from new angles on the Titanic and the Lockerbie bombing to George Floyd’s global legacy and the silencing of working-class voices in British schools. Films offer the same sharpness: we move from Spike Lee’s masterful biopic of Malcolm X to British Gothic horror and Almodóvar’s meditations on memory and motherhood. Whether it’s courtroom showdowns or polar expeditions, every story this week echoes into the present.

📅 Saturday, 17 May

Doctor Who: The Interstellar Song Contest (BBC One, 7:10 PM)
This glitter-bomb of an episode drops the Doctor and Ruby into an intergalactic Eurovision-style contest. Underneath the dazzle lies a critique of soft-power politics and propaganda by entertainment. Ncuti Gatwa is magnetic, balancing comic timing with a growing emotional range, while the satire never lets up. There are monsters, metaphors, and musical mayhem in abundance.

Titanic: Our Secret History (Channel 4, 8:00 PM)
Not another retelling of the iceberg tragedy, but a deep dive into the ship’s under-explored backstories. This absorbing documentary reframes the Titanic as a floating symbol of class division and industrial overreach. Drawing on fresh sources and survivor testimonies, it paints a vivid, poignant picture of lives shaped by hubris and inequality.

The Untouchables (1987) (BBC Two, 10:00 PM) ★★★★
Brian De Palma’s stylised gangster saga pits Eliot Ness (Kevin Costner) against Al Capone (Robert De Niro) with operatic flair. The screenplay, written by David Mamet, crafts a battle between virtue and corruption with theatrical weight. Sean Connery provides the grit and gravitas, winning an Oscar for his supporting role as Malone.

The direction is bold, with De Palma’s signature set-pieces — especially the slow-motion shootout on the train station steps — creating a heightened world of mythic justice. The score by Ennio Morricone lifts scenes into epic territory without ever losing tension.

This is a film that revels in cinematic bravado while remaining morally unambiguous. It doesn’t flinch from sentimentality, but it earns its emotion with sheer style and craftsmanship.

Parallel Mothers (2021) (BBC Two, 12:50 AM) ★★★★ 🌟
Pedro Almodóvar entwines personal drama with political memory in this story of two women whose lives intersect in unexpected ways. Penélope Cruz is extraordinary in a performance that is both maternal and haunted. She plays Janis, a photographer whose decision to investigate her family’s past leads to unsettling revelations.

Almodóvar delicately balances melodrama with meditative reflection. The domestic storyline never overshadows the deeper commentary on Spain’s reckoning with its Civil War-era crimes, creating a powerful blend of private and collective history.

Visually rich and emotionally generous, Parallel Mothers is a late-career triumph that shows Almodóvar still capable of reinventing his thematic concerns with elegance and depth.

Dead of Night (1945) (Film4, 1:50 AM) ★★★★★
This British horror anthology remains one of the most inventive and disturbing films of its era. A series of eerie tales, linked by a framing device of a man haunted by a recurring nightmare, it taps into postwar anxieties with uncanny precision.

Each segment offers something unique, but it’s the ventriloquist dummy story, starring Michael Redgrave, that sears itself into the mind. The psychological terror here is deeper and more existential than simple ghost stories.

Blending surrealism with social unease, Dead of Night influenced everything from The Twilight Zone to modern horror. It’s a masterclass in atmosphere and dread.

📅 Sunday, 18 May

The Bombing of Pan Am 103 (1 of 6) 🌟
This docuseries embarks on a harrowing and deeply personal investigation into the Lockerbie disaster, peeling back layers of history to expose the political and intelligence failures that shaped the response. Drawing on newly declassified files and firsthand testimonies, it does more than recount the events of December 21, 1988—it interrogates the mechanisms of power that dictated how justice was pursued, or in some cases, obstructed.

Rather than adopting a conventional true-crime format, the series takes a profoundly human approach, placing the families of the victims at the heart of the narrative. Their decades-long struggle for answers is not framed as a subplot but as the driving force behind the investigation. The programme refuses to tiptoe around the uncomfortable truths of state accountability—questions are asked boldly, not whispered in the margins.

The political dimensions of Lockerbie are unavoidable. From the moment Pan Am Flight 103 exploded over Scotland, killing 270 people, the tragedy became entangled in international diplomacy, intelligence operations, and geopolitical maneuvering. The official conviction of Libyan intelligence officer Abdelbaset al-Megrahi remains one of the most contested rulings in modern history, with some arguing that Libya was scapegoated for political expediency while the real perpetrators—potentially linked to Iran or Syrian-backed groups—escaped scrutiny. The series does not shy away from these controversies, instead confronting them head-on, examining how shifting alliances and covert intelligence dealings may have influenced the investigation.

Beyond the question of who was responsible, the series also scrutinizes how governments handle acts of terror. The response to Lockerbie set precedents that would later shape policies on counterterrorism and victim support, influencing how authorities reacted to tragedies such as 9/11. The failures in communication, the lack of transparency, and the reluctance to acknowledge prior warnings about the attack all raise unsettling questions about the balance between national security and public accountability.

Expect this series to reignite old wounds and provoke urgent discussions about how nations reckon with terror, truth, and memory. It is not merely a retelling of history—it is an indictment of the systems that dictate whose grief is acknowledged, whose voices are heard, and whose version of events is allowed to stand unchallenged.

The Wicked Lady (1945) (Talking Pictures, 6:00 PM) ★★★★
Margaret Lockwood stars in this florid melodrama about a bored aristocrat who becomes a highway robber. A Technicolor romp with lace, daggers, and stolen kisses, it shocked censors on release and delights in its heroine’s moral ambiguity.

Gainsborough Pictures excelled at this kind of heightened costume drama, and The Wicked Lady is among the most brazen examples. Lockwood’s performance is charged with charisma and cheek.

A valuable watch not just for its camp appeal, but as a rare early British portrait of female rebellion.

📅 Monday, 19 May

Inside Our Minds (BBC Two, 9:00 PM)
Inside Our Minds is a compelling documentary series that shines a light on neurodivergence, offering a deeply personal and insightful look into how different minds work. Hosted by Chris Packham, the show helps individuals with conditions such as ADHD and dyslexia create films that express their experiences in a way that words often cannot.

The upcoming episode continues this journey, providing a platform for neurodivergent individuals to share their stories and perspectives. If previous episodes are anything to go by, viewers can expect a mix of emotional revelations, scientific insights, and beautifully crafted storytelling that challenges misconceptions and fosters understanding.

For those interested in exploring the complexities of the human brain and the lived experiences of neurodivergent individuals, this episode promises to be both enlightening and moving.

Nixon in the Den (PBS America, 9.55pm)
Nixon in the Den is a gripping and meticulously crafted documentary that peels back the layers of Richard Nixon’s presidency, offering a psychological portrait of a man whose ambition and paranoia shaped American history. Rather than resorting to caricature or simplistic villainy, the film presents Nixon as a deeply complex figure—an astute political strategist whose insecurities and distrust of others ultimately led to his downfall.

Through rarely seen archival footage and insightful interviews, the documentary reconstructs Nixon’s rise from a modest, often loveless upbringing to the heights of global power. It explores how his relentless drive to escape his past fueled his political success, yet also bred the paranoia that would consume him. The film does not shy away from the darker aspects of his presidency, particularly the Watergate scandal, but it reframes these events with fresh perspective, examining how Nixon’s psychological makeup influenced his decisions.

Beyond the scandals, Nixon in the Den delves into his foreign policy achievements, including his groundbreaking visit to China and his complex relationship with the Soviet Union. It acknowledges his diplomatic prowess while simultaneously exposing the ruthless tactics he employed behind the scenes. The documentary paints a portrait of a leader who was both brilliant and deeply flawed—a man whose legacy remains one of the most debated in American history.

This is not just a retelling of well-known events; it is an excavation of Nixon’s mind, revealing the contradictions that defined him. Expect a tense, thought-provoking exploration of power, paranoia, and the fragile nature of political legacy.

Little Women (2019) (Film4, 6:20 PM) ★★★★
Greta Gerwig’s adaptation of Louisa May Alcott’s novel plays with time and structure, refreshing the story while honouring its spirit. Saoirse Ronan leads a luminous cast, capturing Jo March’s restlessness with grace.

The visual palette, inspired by impressionist paintings, gives each scene a lived-in warmth. Florence Pugh’s Amy is especially well-drawn, turning a traditionally maligned character into a figure of surprising clarity and ambition.

Gerwig frames this as a tale of authorship and economic survival, enriching its relevance for modern viewers.

Malcolm X (1992) (BBC Two, 11:00 PM) ★★★★★ 🌟
Spike Lee’s biopic of Malcolm X remains a towering cinematic achievement. Charting his transformation from petty criminal to political icon, it never loses sight of the man behind the myth.

Denzel Washington’s performance is magnificent: disciplined, impassioned, and spiritually searching. He captures Malcolm’s shifts in tone, from firebrand to philosopher, with heartbreaking nuance.

The film is long, but its scope feels earned. It is a film of ideas, anger, and dignity — and one that should be required viewing.

he film is long, but its scope feels earned. It is a film of ideas, anger, and dignity — and one that should be required viewing.

📅 Tuesday, 20 May

The Admirable Crichton (1957) (Film 4, 4.35pm) ★★★★

The Admirable Crichton (1957), directed by Lewis Gilbert and based on J.M. Barrie’s play, is a fascinating exploration of class structure and social hierarchy, wrapped in the guise of a comedic adventure. The film challenges the rigid British class system by placing aristocrats and their servant on a deserted island, where survival necessitates a dramatic role reversal.

At the heart of the film is the question of capability versus status. In Edwardian Britain, nobility is synonymous with leadership, but when the pampered upper class is stripped of its comforts, it is Crichton, the butler, who proves himself most resourceful. This reversal of roles underscores the arbitrary nature of social rank, suggesting that competence, rather than birthright, should dictate leadership. The dynamic between Crichton and the stranded aristocrats becomes a microcosm of meritocracy, subverting the established norms of the British class system.

Additionally, the film exposes the fragility of aristocratic entitlement. The members of the ruling class are reduced to helpless figures, unable to fend for themselves without Crichton’s guidance. The irony here is sharp—these are the people who, by birth, rule nations, yet they cannot boil water or build shelter. This critique of social structure implies that the traditional class divisions may be outdated and impractical.

Although lighthearted, the film reflects post-war Britain’s shifting perspectives on class and social mobility. Released during an era when Britain was undergoing profound social change, The Admirable Crichton subtly comments on the growing sentiment that leadership should be earned rather than inherited. The character of Crichton represents a democratic ideal, in which individuals are judged by ability rather than status.

Yet, the film does not fully embrace revolution. When the characters return to England, the established order is reinstated, demonstrating the persistent grip of tradition. Crichton, despite proving himself a capable leader, willingly steps back into his servant role, hinting at an internalized acceptance of the societal framework. The film suggests that while class structures may be flawed, breaking free from their constraints is not simple, nor always desired by those within them.

The Admirable Crichton is both a satire and a thought-provoking social commentary, asking audiences to reconsider entrenched notions of class and leadership. While it offers moments of humour and romance, its deeper message remains relevant: Who truly deserves power, and why do we accept the structures that govern us? It is a film that entertains while inviting reflection on timeless societal and political debates.

📅 Wednesday, 21 May

The Backlash: The Murder of George Floyd (BBC Two, 9:00 PM) 🌟
The Backlash: The Murder of George Floyd is a powerful and unflinching documentary that examines the seismic impact of George Floyd’s death—not just in the United States, but across the world. More than a retelling of the events surrounding Derek Chauvin’s trial, this film takes a broader view, exploring how societies react to protest, how institutions respond to demands for justice, and how the fight against racial inequality continues to evolve.

Through a combination of unseen archival footage and deeply personal interviews, the documentary captures the raw emotion of the protests that erupted in the wake of Floyd’s murder. It follows the young activists who took to the streets, defying police orders and pandemic restrictions to demand change. Their voices, alongside those of Floyd’s family, legal experts, and cultural figures, form the backbone of the film, ensuring that the narrative remains grounded in lived experience rather than detached analysis.

The documentary also examines the political and institutional responses to the Black Lives Matter movement. In the US, Floyd’s death led to widespread calls for police reform, corporate pledges to address systemic racism, and a reckoning within the media and entertainment industries. But as statues were toppled and protests grew more confrontational, a counter-movement emerged, seeking to discredit and dismantle the momentum of racial justice activism. The film does not shy away from this backlash, exploring how political figures, media outlets, and social movements have sought to reshape the conversation, sometimes in ways that obscure the original demands for accountability.

In the UK, Floyd’s murder resonated deeply, sparking protests that highlighted Britain’s own struggles with racial injustice. The documentary weaves together the American and British narratives, showing how Floyd’s death became a moment of reckoning on both sides of the Atlantic. It revisits key moments, from John Boyega’s impassioned speech in London to the removal of statues linked to colonialism, and examines how these events shaped public discourse on race and history.

At a time when diversity initiatives are being rolled back in the US and debates over racial justice remain deeply polarizing, The Backlash: The Murder of George Floyd asks urgent questions,

Wild Rose (2018) (Film4, 11:25 PM) ★★★★
Jessie Buckley plays a Scottish single mum fresh out of prison who dreams of Nashville stardom. It could be clichéd, but the script and performance resist easy sentiment.

The film balances grit and hope, showing how creativity and aspiration battle poverty and stigma. It features one of Buckley’s finest performances to date.

With its tender mother-daughter dynamic and stirring music, Wild Rose is soulful without being saccharine.

📅 Thursday, 22 May


The Secret Life of Bees (1 of 2) (Channel 5, 9:00 PM)
The Secret Life of Bees (Channel 5, 9:00 PM)

This fascinating documentary, hosted by British naturalist Steve Backshall, takes viewers deep into the world of bees, revealing their intricate societies and vital role in the ecosystem. The first episode explores the 270 different bee species in Britain, showcasing their behaviors, historical significance, and the cutting-edge research being conducted to understand them better.

Backshall, who is learning to be a beekeeper for the first time, brings a personal touch to the series, immersing himself in the challenges and rewards of apiculture. The documentary emphasizes the importance of pollinators in maintaining food security and biodiversity, making a compelling case for why we should all care about these remarkable insects.

With stunning visuals and insightful commentary, The Secret Life of Bees is both educational and engaging, offering a fresh perspective on creatures we often take for granted. Whether you’re a nature enthusiast or simply curious about the hidden lives of bees, this documentary is well worth watching.

Classic Movies: The Story of Scott of the Antarctic (Sky Arts, 8:00 PM)
This engaging retrospective looks at the making and legacy of the 1948 film Scott of the Antarctic, revealing how it helped shape British perceptions of heroism, exploration, and sacrifice. A treat for cinephiles and history buffs alike.

Out of the Furnace (2013) (Legend, 9:00 PM) ★★★
Christian Bale and Casey Affleck star in this moody, downbeat drama set in the rust belt of America. It’s a tale of brothers and broken dreams, heavy on grit and grey skies.

The plot leans into noir territory, with violence and retribution at its core. Woody Harrelson’s turn as a sadistic villain steals every scene.

Bleak but beautifully shot, it speaks volumes about the costs of economic collapse.

A Few Good Men (1992) (Film4, 9:00 PM) ★★★★
Aaron Sorkin’s courtroom drama remains gripping and smart, anchored by powerhouse performances. Tom Cruise, Demi Moore, and Jack Nicholson circle each other with increasing tension.

At its heart, it’s a morality play about duty and the abuse of power. The climactic courtroom exchange has entered pop culture, but the surrounding story is equally compelling.

It’s a satisfyingly old-school thriller with genuine thematic weight.

📅 Friday, 23 May


Draining Pompeii: Secrets Beneath the Ash (Channel 5, 9:00 PM)
Using advanced scanning and excavation techniques, this documentary uncovers new insights into the lives of ordinary Pompeiians buried under ash. It’s a poignant exploration of vulnerability, daily life, and the forgotten victims of catastrophe.

Brass (Rewind TV, 7:00 PM)
A satire of British class, industry, and soap opera tropes, Brass skewers Thatcherite Britain with absurdist flair. The northern accents are thick, the stakes are ridiculous, and the politics are gleefully unsubtle.

Judy (2019) (BBC Two, 11:00 PM) ★★★★
Renée Zellweger disappears into the tragic glamour of Judy Garland’s final act. We find her broke, addicted, and still trying to sing, haunted by a life in the spotlight.

Zellweger’s physical transformation is matched by emotional truth. She captures Garland’s humour, vulnerability, and desperation.

Far from a showbiz hagiography, the film honours Judy by showing her at her most human.

Booksmart (2019) (BBC One, 11:40 PM) ★★★★
Two bookish girls decide to cram all of high school’s missed fun into one wild night. Olivia Wilde’s directorial debut is fast, fresh, and surprisingly moving.

Kaitlyn Dever and Beanie Feldstein share chemistry that grounds even the zaniest moments. It’s a film that balances sharp jokes with a big heart.

Modern, inclusive, and genuinely funny, it holds its own against the great teen comedies of any era.

📺 And finally, streaming choices

Rematch (Disney+, all six episodes available from Wednesday 21 May)
Rematch is an intense six-part series that dives into one of the most famous chess matches in history—the 1997 battle between Garry Kasparov and IBM’s Deep Blue supercomputer. The show isn’t just about chess, though—it’s about the tension between human intelligence and machine power, and it keeps you hooked from start to finish.

Christian Cooke plays Kasparov, bringing out all his passion, frustration, and determination as he faces off against a machine designed to defeat him. The supporting cast, including Sarah Bolger and Aidan Quinn, add depth to the story, making the stakes feel personal as well as historical.

Visually, the series pulls you in with its sharp cinematography, making every move on the board feel like a high-stakes moment. Whether you’re a chess fan or just love a gripping story, Rematch delivers drama, strategy, and a fascinating look at a turning point in history

Tucci in Italy (Disney+, all five episodes available from Monday 19 May)
Stanley Tucci’s culinary journey through Italy returns with warmth, elegance, and charm. He moves through regions both familiar and overlooked, meeting cooks, farmers, and winemakers. More than a travelogue, it’s a celebration of resilience, tradition, and the sensual pleasure of eating well.

Picture credits

Doctor Who: The Interstellar Song Contest
Titanic: Our Secret History By Francis Godolphin Osbourne Stuart –
The Untouchables Fair use.
Parallel Mothers Fair use,.
Dead of Night Fair use.
The Bombing of Pan Am 103 By Air Accident Investigation Branch – Air Accident Investigation BranchReport No: 2/1990
The Wicked Lady Fair use.
Inside Our Minds By Garry Knight from London, England – People’s Walk for Wildlife 2018 – 04, CC BY 2.0,
Nixon in the Den By James Anthony Wills – archive copy at the Wayback Machine, Public Domain,
Little Women
Malcolm X

The Admirable Crichton By Columbia Pictures – Fair use,
The Backlash: The Murder of George Floyd: By Darnella Frazier Facebook post., Fair use.
Wild Rose By Studio and or Graphic Artist – Can be obtained from the film’s distributor., Fair use.
The Secret Life of Bees By Impawards, Fair use.
Classic Movies: The Story of Scott of the Antarctic
Out of the Furnace IMP Awards, Fair use.
A Few Good Men
Draining Pompeii: Secrets Beneath the Ash By ElfQrin – Own work, CC BY-SA 4.0,
Brass
Judy
Booksmart By Trent Farr, Fair use.
Rematch By James the photographer
Tucci in Italy By Raph_PH – ConclaveBFILFF101024 (9 of 44), CC BY 2.0,

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Culture Vulture 10th to the 16th of May 2025

May 10, 2025 at 7:22 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , ,


3,278 words, 17 minutes read time.

Curated by Pat Harrington. Music on the video version is by Tim Bragg.
High Society offers crystalline grace. Bodies Bodies Bodies presents a disorienting descent. It’s a week of layered narratives and compelling portraits. On Saturday, a stirring new Doctor Who episode airs. There is also a haunting music documentary. On Thursday, the UK terrestrial premiere of She Said airs. It’s a landmark in modern journalism cinema. Streaming highlight: Bet, a razor-sharp adaptation of the acclaimed manga Kakegurui,

🗓️ Saturday, 10th May

Believe (2013): BBC Two, 10:00 AM ★★★★☆
Believe is set in 1980s Manchester. Loosely inspired by real events, it presents the story of football legend Sir Matt Busby. He unexpectedly mentors a young tearaway with raw talent. Brian Cox plays Busby with tenderness and quiet gravitas. He brings a warmth to the role. This anchors the film’s sentimental core. The story unfolds with charm and low-stakes humour. The pair navigate personal loss. They face team dynamics. They confront the shadows of Busby’s past.

The film resists over-dramatisation, focusing instead on the healing potential of sport and human connection. It captures the texture of working-class northern life with an affectionate eye, without tipping into caricature. The young cast deliver natural, unforced performances, particularly Jack Smith as Georgie, the boy who reluctantly discovers the value of guidance and community.

Though it treads familiar underdog territory, Believe succeeds on the strength of its sincerity. Director David Scheinmann crafts a film that is modest in scale. It is rich in feeling. It reminds viewers that redemption and legacy often come in small, unexpected moments. It’s a gentle and affirming way to start your Saturday.

High Society (1956): BBC Two, 2:50 PM ★★★★☆
This sparkling musical remake of The Philadelphia Story boasts a glittering cast. It features Cole Porter’s finest tunes. Grace Kelly, in her final film role before becoming Princess of Monaco, plays the haughty heiress. She is caught between past and future lovers. Frank Sinatra and Bing Crosby are the competing suitors. They trade witty barbs and smooth vocals. Their story unfolds in a tale of mistaken intentions and reawakening hearts. It’s a sumptuous production, full of pastel glamour and high-society satire.

Despite the predictability of the plot, the charm lies in the performances and music. Crosby exudes laid-back charisma, while Sinatra brings a sharper, more worldly edge to his role as a tabloid reporter. The standout moment, however, belongs to the duet “Well, Did You Evah!”—a sequence that crackles with humour and rhythm. Meanwhile, Kelly navigates her character’s emotional thaw with understated precision. Her transformation feels believable even within the constraints of the genre.

If High Society doesn’t quite match the sophistication of its predecessor, it compensates with grace, melody, and a whimsical spirit. The film is a reminder of the golden era of Hollywood musicals. Artifice became artistry. Even the most jaded character could be redeemed by the right note at the right moment.

Doctor Who: “The Story & The Engine” (Series 15, Episode 5): BBC One, 7:10 PM

In this richly layered episode, the Doctor (Ncuti Gatwa) and companion Belinda Chandra (Varada Sethu) arrive in Lagos, Nigeria. They meet a world where stories hold tangible power. The narrative focuses on a mysterious figure known as the Barber. This figure reigns supreme in a community trapped by a deadly web of revenge. This web is spun by the enigmatic Spider.

Rebecca (1940): Talking Pictures, 9:05 PM ★★★★★
Hitchcock’s first Hollywood film, and still one of his most haunting, Rebecca adapts Daphne du Maurier’s gothic novel into a psychological thriller thick with atmosphere and ambiguity. Joan Fontaine plays the unnamed heroine, swept into a whirlwind marriage with the brooding Maxim de Winter, only to find herself eclipsed by the memory of his late wife. The estate of Manderley becomes a maze of secrets, where the dead exert more power than the living.

What elevates Rebecca is not just its suspense but its study of identity, insecurity, and social isolation. Fontaine is exquisite as the timid second Mrs de Winter. She struggles to assert herself in a world shaped by wealth, grief, and manipulation. Judith Anderson’s performance as Mrs Danvers is chilling. She is the housekeeper obsessed with Rebecca’s memory. Her portrayal remains one of cinema’s most iconic portraits of unspoken menace.

Hitchcock later claimed it wasn’t “a Hitchcock picture.” Still, the film is suffused with his signature control over tone and tension. Its shadowy visuals create an intense atmosphere. Emotional claustrophobia grips the audience. Undercurrents of repressed longing guarantee that Rebecca endures as both a ghost story and a psychological drama. A timeless, elegant descent into obsession.

🗓️ Sunday, 11th May

Unforgotten: The Bradford City Fire: BBC Two, 9:00 PM

This harrowing and deeply moving documentary revisits the tragic events of May 11, 1985. On this day, a fire engulfed the main stand at Bradford City’s Valley Parade stadium during a match against Lincoln City. It claimed 56 lives. The film airs on the 40th anniversary of the disaster. It offers a poignant exploration of a catastrophe. This tragedy has often been overshadowed in the annals of British football history.

The documentary features compelling personal testimonies. Survivors, bereaved families, and first responders share their stories. These accounts paint a vivid picture of the day’s events and their enduring impact. The inclusion of archival footage and interviews provides a comprehensive narrative. It honors the memories of those lost and highlights the resilience of the Bradford community.

Executive Producer Jaimie D’Cruz and Director Andy R. Worboys handle the subject matter with sensitivity and respect, ensuring that the voices of those affected are at the forefront. The film commemorates the victims. It also examines the broader implications of the disaster. This includes its influence on stadium safety regulations and the importance of collective memory.

“Unforgotten: The Bradford City Fire” stands as a testament to the strength of a community facing unimaginable loss. It serves as a crucial reminder of the need to remember and learn from past tragedies.

Brooklyn (2015): BBC Two, 10:30 PM ★★★★★
Brooklyn is a film about leaving home—and learning what “home” really means. Saoirse Ronan stars as Eilis, a young Irish woman. She emigrates to New York in the 1950s. She is in search of work and opportunity. The story begins with culture shock and personal growth. It deepens into something far more moving. It becomes a meditation on longing, belonging, and the fragile duality of identity. Ronan’s performance is radiant, filled with grace and restraint.

The film is directed by John Crowley. Nick Hornby adapted it from Colm Tóibín’s novel. It is visually lush with warm period detail. The evocative cinematography enhances the experience. The contrast between the muted tones of Enniscorthy and the vibrant hues of Brooklyn reflects Eilis’s shifting internal world. Her romance with the open-hearted Tony is delicately handled, offering emotional security without idealisation. Yet the return to Ireland complicates everything, and Ronan captures Eilis’s emotional conflict with aching subtlety.

Brooklyn avoids melodrama in favour of emotional authenticity. It’s a story built on small, significant choices. A letter, a glance, or a missed ferry carries the weight of a life’s direction. By the end, what lingers is the quiet strength of a woman. She is carving her own path through the push and pull of two homes. It’s a story many will find intimately familiar

🗓️ Monday, 12th May

Greggs vs McDonald’s: The Fast Feud (Channel 4, 8:00 PM)
This quirky documentary unpacks a battle of British fast-food titans. On one side, the humble northern bakery with sausage rolls and steak bakes; on the other, the American giant serving Big Macs and fries. But it’s about more than meat and pastry—this is a story of branding, regional identity, and changing appetites.

The programme delves into how each company adapts to shifting cultural trends and economic pressures. It also looks at the way they communicate class, convenience, and comfort food, sometimes in surprisingly political ways.

Entertaining and unexpectedly insightful, it frames the feud as symbolic of broader societal change. Fans of business strategy and British quirks alike will find something to savour.

Inside Our Minds: ADHD (BBC Two, 9:00 PM)
This documentary series starts by empathetically exploring ADHD in adults. It also dives into the perspectives of children. The first episode focuses on diagnosis, daily challenges, and the invisible barriers those with ADHD navigate. It offers not only medical perspectives but also deeply personal insights.

Participants speak candidly about stigma, misunderstanding, and the emotional toll of being labelled “difficult” or “lazy.” The episode excels in capturing both frustration and resilience. It highlights the need for more inclusive environments at school and work.

With thoughtful pacing and clear-eyed narration, the show goes beyond pathology to tackle lived experience. A valuable watch for educators, employers, and anyone interested in mental health.

True Things (BBC Two, 11:40 PM, 2021) ★★★★☆
Ruth Wilson is riveting in this psychological drama about a woman caught in the gravitational pull of a dangerous affair. Her character, Kate, begins a volatile relationship with a mysterious stranger (Tom Burke), and her life starts to unravel.

The film doesn’t sensationalise the spiral; instead, it hones in on the emotional fog and disorientation that often accompany destructive intimacy. Wilson gives a performance full of nuance, letting us feel every moment of hope, confusion, and desperation.

With naturalistic direction and a script rooted in emotional truth, True Things avoids moralising. It’s a challenging, intimate portrayal of a woman losing and slowly reclaiming herself.

🗓️ Tuesday, 13th May

Kind Hearts and Coronets (Film4, 12:35 PM, 1949) ★★★★★
This is a classic of British black comedy. This Ealing Studios gem shows a disinherited aristocrat eliminating eight relatives. He does so to inherit a dukedom. Alec Guinness famously plays all eight doomed relatives with glee and elegance.

Dennis Price’s suave narrator brings a chilling detachment to the tale of social climbing and revenge. His droll delivery and the film’s crisp script guarantee the murders stay darkly funny rather than gruesome.

Beneath the humour lies a sharp satire of class and entitlement, making it as culturally relevant now as ever. A true masterclass in tone and restraint.

Convicting My Ex (BBC Three, 9:00 PM)
This true-crime documentary focuses on a woman’s pursuit of justice. She seeks justice against an abusive ex-partner. It chronicles her decision to bring the case to court and the exhausting legal and emotional process that follows.

What sets it apart is its raw honesty and refusal to simplify complex emotional territory. The programme examines trauma and memory. It also investigates credibility and the strain on victims. These victims are forced to relive their ordeals in public.

It’s a sobering but essential watch that handles its topic with sensitivity and care. A crucial reminder of how much support and reform is still needed within the justice system.

🗓️ Wednesday, 14th May

Garbo: Where Did You Go? (Sky Arts, 9:00 PM)
This documentary is a haunting meditation on the disappearance of Greta Garbo from public life. It is less biography than elegy. It tries to understand why one of Hollywood’s most luminous stars chose to vanish at the height of her fame.

It uses archive footage, photography, and letters. These elements build a complex portrait of a woman. She defied convention both onscreen and off. Garbo’s retreat becomes a symbol for privacy in a time of celebrity overexposure.

The film is a thoughtful, poetic reflection on fame, solitude, and the right to vanish. A quietly mesmerising experience.

Carol (Film4, 11:20 PM, 2015) ★★★★★
This film is a masterful adaptation of Patricia Highsmith’s novel The Price of Salt. It follows a forbidden romance between two women in 1950s America. Cate Blanchett plays Carol with regal poise and aching sadness, while Rooney Mara’s Therese evolves from uncertainty to quiet strength.

The cinematography showcases muted palettes and delicate framing. It reflects the repression of the era. It also captures the emotional intensity of the characters. Every glance and touch feels monumental.

Todd Haynes crafts a film of rare beauty and emotional precision. It’s not just a love story—it’s an act of defiance in a world built to suppress such truths.

🗓️ Thursday, 15th May

Classic Movies: The Story of The Dam Busters (Sky Arts, 8:00 PM)
This documentary revisits one of Britain’s most iconic war films and its legacy. It provides context around the real-life mission, the cinematic innovation of the film, and its enduring place in national myth.

The programme doesn’t shy away from critiquing the film’s dated elements, even as it honours its craft. Viewers learn how the use of miniature models, editing, and music helped shape a patriotic classic.

It’s both a celebration and a critical look at storytelling in wartime cinema. Fans of film history will find much to enjoy.

She Said (Film4, 9:00 PM, 2022). ★★★★★
This powerful dramatization of the Weinstein investigation stars Carey Mulligan and Zoe Kazan. They play the New York Times journalists who broke the story. It’s a film about courage, collaboration, and the often invisible work of holding power to account.

Rather than indulging in melodrama, the script focuses on journalistic rigour and solidarity. Scenes between survivors and reporters are handled with care, never sensationalising pain.

A vital entry in the canon of films about truth-telling, She Said shows how small decisions can change the world. An absolute must-watch.

The Drop (Film4, 11:35 PM, 2014) ★★★★☆
At first glance, The Drop might appear to be a straightforward crime thriller. Yet, beneath its gritty narrative lie profound social, ethical, and political themes. These themes elevate it beyond genre conventions. The film explores economic hardship and the forces that push people into morally gray survival tactics. Tom Hardy’s character plays a quiet bartender entangled in gang activity. His character illustrates the struggles of working-class communities. In these communities, financial instability can lead individuals down dangerous paths. The narrative critiques the cyclical nature of crime. It shows how desperation and power imbalances can shape lives beyond one’s control.

Moral dilemmas and redemption weave through the story, symbolized by an abandoned pit bull. More than just a subplot, the dog represents vulnerability, loyalty, and second chances. Hardy’s relationship with the animal mirrors his own internal conflict—a man searching for meaning and connection in an unforgiving environment. The themes of power and corruption become clear through James Gandolfini’s final role. He portrays the fading remnants of mob influence. The film subtly examines how old power structures weaken. New ones emerge in unexpected ways. The film raises questions about who truly holds authority. Is it those who enforce brute strength or those who quietly manipulate from the shadows?

Justice and survival are tightly connected. The slow-burn tension builds and forces the audience to confront the blurred lines between right and wrong. The film avoids easy answers, compelling viewers to reflect on the complexities of morality in an uncertain world. Atmospheric and absorbing, The Drop offers more than just crime. It is a meditation on human nature. The film explores resilience and the ethical challenges people face when caught between forces beyond their control. Whether one watches for Hardy’s unforgettable performance or its deeper themes, this is a film that you remember.

🗓️ Friday, 16th May

Kate Bush at the BBC (BBC Four, 10:00 PM)
A compilation of performances that chart Kate Bush’s singular artistic evolution. From wide-eyed theatricality to minimalist mysticism, the BBC archive offers a rare view of her stages of transformation.

Whether it’s “Wuthering Heights” or “Running Up That Hill,” Bush performs with total commitment and emotional intelligence. Her voice alone is an instrument of daring expression.

For fans and newcomers alike, this programme captures the spirit of an artist who has never played by the rules. Endlessly compelling.

Bodies Bodies Bodies (BBC One, 11:30 PM, 2022) ★★★★☆
Online personas are curated in this world. Here, self-awareness collides with self-obsession. Bodies Bodies Bodies offers a razor-sharp dissection of modern friendships and privilege. It explores the fragile trust that holds them together. Set against the chaotic backdrop of a raging hurricane, a group of affluent young friends gather in isolation. They are seeking thrills and validation through a party game. This game quickly unravels into something far more sinister.

Halina Reijn’s direction imbues the film with a neon-drenched aesthetic. This mirrors the performative nature of its characters. Every interaction is a performance. Every emotion is exaggerated for greatest effect. Paranoia is increasing, and alliances are fracturing. The film exposes how digital spaces shape real-life relationships. These spaces amplify insecurities and erode genuine connection. In their desperate attempts to define truth and assign blame, the characters inadvertently reveal the contradictions within their own self-perception. They are deeply vulnerable. They are also aggressively self-serving.

Darkly comedic yet eerily prescient, Bodies Bodies Bodies goes beyond the typical whodunnit structure. It weaves in biting commentary on the very culture its characters embody. It turns the lens inward. It forces the audience to confront their own complicity in the spectacle. What remains is something far more chilling than a traditional slasher. It’s the realization that trust, sincerity, and identity are increasingly blurred in an age of curated narratives. A perfect late-night watch for anyone willing to confront the reflections lurking in the shadows.

🌐 Streaming Picks

Bet (Netflix, from Thursday, 15th May) ★★★★★
A high-stakes thriller set in an elite boarding school where underground gambling dictates the social hierarchy, Bet follows the arrival of Yumeko, a mysterious transfer student whose fearless approach to risk-taking disrupts the status quo. As she challenges the powerful Student Council, her secret quest for revenge threatens to unravel the school’s carefully controlled system.

With a sharp script and electrifying performances, Bet combines psychological tension with dazzling games of chance. Fortunes rise and fall in an instant. The series captures the intoxicating thrill of high-stakes wagers, weaving in themes of power, manipulation, and obsession. Every gamble is more than just a game—it’s a battle for dominance, survival, and truth.

A gripping adaptation of the acclaimed manga Kakegurui, Bet delivers a stylish, adrenaline-fueled ride that keeps viewers on edge.

The writing is tight, the direction tense, and the performances haunting. There are no easy outs, only the heavy cost of denial and compulsive behaviour.

Bet is a dark mirror to modern anxieties about risk, control, and technology. One of the most gripping dramas of the year so far.

Sunset Grove (Walter Presents, Channel 4 Streaming, from Friday, 16th May) ★★★★☆
In a Finnish retirement community, a trio of elderly women find a suspicious death. They decide to investigate. What follows is part murder mystery, part black comedy, and entirely delightful.

The series has fun with genre tropes while never mocking its protagonists. The charm lies in the chemistry between the leads and the show’s surprisingly sharp social commentary.

If you liked Only Murders in the Building, this is your next fix—but with more knitting and less pretence.

Murderbot (Apple TV+, from Friday, 16th May) ★★★★★
Based on the acclaimed novellas by Martha Wells, this series follows a rogue android who hacks its own governing protocols. Equal parts security unit and soap opera addict, Murderbot is one of sci-fi’s freshest antiheroes.

The show blends action with philosophical questions about autonomy, humanity, and identity. And it’s funny—genuinely, dryly funny.

It’s rare for sci-fi to be this smart and this much fun. Murderbot could be Apple’s next breakout hit.

Culture Vulture is published weekly. Listings and commentary are by Pat Harrington. Music selections are by Tim Bragg. We aim to inspire cultural curiosity. We highlight the best of film and television. We offer thoughtful context for our changing times. Longer reviews of some of the films and programmes featured are often available on the Counter Culture website. Check some out, and till next week, stay curious!

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