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A new British TV series premiered in March 2024. It follows a group of older women who form a club to investigate a series of murders in the picturesque town of Marlow, Buckinghamshire. While the premise is intriguing and the cast is talented, the show ultimately falls short of its potential.

The series stars Judith Potts, a retired archaeologist who becomes convinced that a murder has taken place in her neighbour's garden. When the police dismiss her claims, Judith enlists the help of local dog walker Suzie (Jo Martin), vicar's wife Becks (Cara Horgan), and DS Tanika Malik (Natalie Dew) to investigate the crime.

One of the show's strengths is its charming setting. Marlow, a real town along the River Thames, provides a picturesque backdrop for the mystery. The series was filmed on location, showcasing the town's historic streets, boutique shops, and lovely stretches of the river.

The cast delivers mixed performances, with bad the dog walker Suzie and somewhat DS Tanika Malik.

The show's writing and pacing leave something to be desired. The plot, while engaging at first, becomes convoluted and relies heavily on coincidence, especially in boring episode two. The reveal of the killer feels rushed and somewhat unsatisfying. Additionally, the characters, while likeable, lack depth and development throughout the series.

The show also struggles to find its tone, oscillating between cosy mystery and dark crime drama without fully committing to either. The attempts at humour sometimes fall flat, and the darker elements feel out of place in the otherwise lighthearted series.

Despite these shortcomings, The Marlow Murder Club has potential; with some refinement in the writing and a clearer sense of tone, the series could develop into a more compelling and cohesive mystery.

In conclusion, The Marlow Murder Club is a mildly entertaining, cosy mystery series that benefits from its picturesque setting. However, the show's writing and pacing issues prevent it from fully capitalising on its potential. While it may appeal to fans of lighthearted mysteries, it fails to stand out in a crowded genre. With some improvements, the series could become a more engaging and satisfying watch, but for now, it earns a respectable but unremarkable.

Rating: 6.25 out of 10 IMDb stars.

"The New Look" premiered in 2024, offering a fresh take on the fashion industry and the iconic designers who shaped it. Set in post-World War II Paris, the show follows the rise of Christian Dior and his eponymous fashion house, as well as the rivalries and romances that defined the era.

One of the strengths of "The New Look" is its impeccable attention to detail in recreating the glamour and elegance of 1940s Paris. The costumes are a feast for the eyes. The sets and locations also transport the viewer to the heart of the French fashion world, from the ateliers to the grand boulevards.

While "The New Look" is undeniably stylish, it has substance. The series explores themes of artistry, ambition, and the changing role of women in post-war society.

The show's pacing is generally well-balanced, combining character-driven drama and fashion-focused set pieces. However, some subplots feel underdeveloped and distract from the main narrative.

Overall, "The New Look" is a visually stunning and emotionally engaging series that offers a glimpse into a pivotal moment in fashion history. While not without flaws, the show's mainly strong performances, attention to detail, and thematic depth make it a must-watch for fans of period dramas and fashion enthusiasts.

Rating: 7 out of 10 IMDb stars.

"The Regime" had all the ingredients for a compelling political satire: an all-star cast led by Kate Winslet, a timely premise about a crumbling European dictatorship, and a creative team with impressive credentials. However, the show fails to deliver its early promise, resulting in a disappointing and uneven viewing experience.

Winslet stars as Chancellor Elena Vernham, the increasingly paranoid and unstable leader of a fictional authoritarian regime. While Winslet's performance is undeniably powerful, showcasing her range as she portrays a volatile and amoral demagogue, it's not enough to save the series from its weak writing and lack of satirical bite.

The supporting cast, which includes talented actors like Andrea Riseborough and Hugh Grant, is similarly underutilised. But Riseborough and Grant are relegated to underdeveloped roles that fail to make much of an impact.

Despite the previous credentials of its creator and showrunner, Will Tracy, the show's attempts at satire often fall flat, lacking the sharp wit and incisive observations that made Tracy's earlier projects so successful.

The series also struggles with tonal inconsistency, veering between broad comedy and grim drama without finding a comfortable balance. As the story progresses and the regime's collapse becomes more imminent, the show's darker elements overshadow its comedic aspects, making for an increasingly bleak and unsatisfying viewing experience.

Visually, "The Regime" is impressive, with lavish production design that effectively captures the luxury and decay of the fictional palace, but it can't compensate for the fundamental flaws.

Ultimately, "The Regime" is a disappointment, failing to live up to the promise of its premise and the talent of its cast and crew. While Winslet's performance is a highlight, it's not enough to redeem the series' weak writing, tonal issues, and lack of satirical impact. For a show that seemed poised to offer a timely and biting commentary on the nature of authoritarianism, "The Regime" instead delivers a frustratingly uneven and unsatisfying experience.

Rating: 5/10.

Based on the novel "The Never Game" by Jeffery Deaver, the series follows Colter Shaw (Hartley), a skilled survivalist and tracker who travels the country, helping law enforcement and private citizens solve mysteries in exchange for rewards.

While Hartley brings his signature charm and physicality to the role of Shaw, even his charismatic performance can't save "Tracker" from its formulaic plot and underdeveloped supporting characters. The premise of a lone-wolf detective with a troubled past is nothing new, and the show fails to bring anything fresh or compelling to the genre.

Supporting players are given little to do beyond providing exposition and occasional comic relief. The cases themselves are forgettable and often resolved too quickly, with Shaw's incredible tracking abilities bordering on the implausible.

The show also struggles to balance its episodic structure with ongoing character arcs. Flashbacks hint at Shaw's difficult childhood and strained family relationships, but these threads are not explored meaningfully.

On a technical level, "Tracker" is competently made, with solid production values and cinematography that showcases the varied locations of Shaw's travels. However, the writing lacks the depth and nuance to make the show stand out in a crowded field of procedurals.

Despite being given the coveted post-Super Bowl time slot, "Tracker" has failed to live up to its potential.

Rating: 5 out of 10 IMDb stars.

Guy Ritchie brings his signature flair to the small screen with "The Gentlemen", a crime drama series that expands on the world introduced in his 2019 film. While boasting strong production values, the show suffers from gratuitous violence and an off-putting, irreverent tone.

Visually, "The Gentlemen" is a treat, with Ritchie's kinetic directing style translating well to the episodic format. The show's sleek cinematography and stylish editing effectively immerse viewers in the seedy underbelly of British high society. The production design is also top-notch, from the lavish country estates to the gritty urban locales.

The cast, for me, was a mixed bag; the cast members, including Ray Winstone and Vinnie Jones, and many others, delivered just solid performances and nothing more, while some were wrongly discussed.

Also, the show's writing is problematic. While Ritchie's trademark witty dialogue is present, it often feels forced and overly explanatory. Characters frequently engage in long-winded speeches that disrupt the pacing and appear unnatural. Additionally, the plot is occasionally convoluted, with various schemes and double-crosses challenging to follow. But, The most significant issue with "The Gentlemen" is its gratuitous violence and mean-spirited tone. Several scenes feature graphic, over-the-top brutality that feels unnecessary and exploitative, particularly those involving Susie's sadistic enforcer Clarissa Jones. Moreover, the show's attempts at dark humour often veer into cruelty, with characters like the mocking Jimmy constantly belittling others. The series also features a troubling undercurrent of disdain for Christianity, with a gang leader, Gospel John, as a character for the director to openly mock the faith.

In conclusion, "The Gentlemen" is a stylishly produced crime drama that ultimately fails to live up to its potential. Despite the money poured onto it and impressive visuals, the show is weighed down by uneven writing, excessive violence, and a mean-spirited tone. While fans of Ritchie's work may find elements to enjoy, the series' flaws prevent it from being a wholly satisfying viewing experience. As such, for me, "The Gentlemen" earns an underwhelming 4+/10 rating.

Rating: 5.75 out of 10.

"Death and Other Details" aims to be a clever locked-room mystery set aboard a luxury cruise liner but quickly loses steam with an increasingly unbelievable plot and unsatisfying conclusion. Mandy Patinkin does his best as eccentric detective Rufus Cotesworth but is underserved by the messy writing.

The more significant issue is Violett Beane as suspect-turned-sidekick Imogene Scott. While Beane has done OK work on shows like "The Flash" and "God Friended Me", here she struggles to make Imogene either likeable or believable. For a character meant to be brilliant, her choices defy logic. And despite the show's attempts at sultry intrigue, Beane's lack of chemistry with her co-stars makes Imogene the least compelling (or sexy) young female lead in this type of glossy mystery series.

"Death and Other Details" has a polished look you'd expect from the genre, but not even the glamorous setting can make up for the lacklustre plotting and central performances.

What starts as a mildly intriguing mystery soon becomes absurd, wasting a decent supporting cast on dead-end twists. Diehard fans of TV whodunits may find it passable, but this series is ultimately dead on arrival.

Such a dissapoitment.

Rating: 6.5/10 for Season 1, 5.0/10 for Season 2.

The highly anticipated Halo TV series started off with an uneven but intriguing first season that took some risks in adapting the video game franchise. It succeeded in humanizing the iconic Master Chief (Pablo Schreiber) and exploring his origins, even if some changes to the canon were controversial. Production values and intense action sequences mostly made up, for the slower character-driven moments and uneven plotting.

Unfortunately, Season 2 represents a major drop in quality. The story becomes unfocused and the writing falls flat, failing to build on the promising setup of Season 1. Master Chief's characterization takes a step back, and new characters fail to engage. While the show still looks visually OK, it can't make up for the messy narrative. Hopefully the showrunners course correct and get the series back on track, but alfor me, Season 2 is a disappointing follow-up to a flawed but fun first outing for the 'Halo' serie.

"The Cleaning Lady" had potential with its unique premise of an undocumented Cambodian doctor forced to work for a criminal syndicate to save her son, but ultimately fails to deliver due to its repetitive storytelling, unbelievable plot developments, and inconsistent (read bad) acting.

The show quickly falls into a pattern of Thony (Élodie Yung) cleaning up crime scenes for mob lieutenant Arman (Adan Canto) while also cooperating with the FBI, leading to contrived cliffhangers and twists each episode.

The writers stretch plausibility with the sheer number of messes Thony must clean and the ease with which she navigates the criminal underworld as a civilian. Canto also has moments as the conflicted Arman, but their chemistry is undercut by the show's insistence on forcing an unlikely romance. The supporting cast is more of a mixed bag, with some one-note characterizations and wooden line deliveries.

"The Cleaning Lady" does shine a light on important issues of immigration and healthcare, but only superficially. More nuanced writing could have thoughtfully explored these topics alongside a propulsive crime thriller. As is, the show is just barely watchable but unremarkable, failing to clean up the mess of its own making.

In the end, I give "The Cleaning Lady" a 5 out of 10.

I couldn't make it through the pilot episode of this new 2024 spy drama on CBC. The story follows a rookie cop named Sabrina (by Supinder Wraich) who faces turmoil when her politician father is accused of treason.

While the premise seems interesting, the execution is lackluster. The acting feels, even worse, stiff and unrealistic. The plot also has some glaring holes that are hard to ignore. I gave up halfway through because the amateurish directing and acting made it too difficult to stay engaged. There are much better shows out there to watch instead.

In short, 'Allegiance' falters with uninspired writing, weak acting, and a dull pilot that made me stop watching after one episode.

Rating: Only 4 out of 10 stars and I really can't recommend tuning in to future episodes.

"Constellation" starts strong but only with a first episode, and in general with a captivating plot which is in a way reminiscent of "Infiniti" (2022). However, the initial intrigue fizzles out quickly. While young actress Rosie Coleman shines through in the pilot, her performance falters later, and the show itself drags significantly from episode two on-wards.

The biggest letdown is the narrative. The story, riddled with inconsistencies and illogical leaps, fails to deliver on its early promise. While the series boasts impressive visuals and a talented supporting cast, including Noomi Rapace and Jonathan Banks, it ultimately falls short due to its flawed script and pacing issues.

If you're looking for a visually stunning sci-fi with a strong opening, Constellation might be worth a try. However, be prepared for a significant drop in quality as the series progresses.

Rating: 6- out of 10.

"Mr. & Mrs. Smith" has an undeniably 'intriguing' premise: a seemingly ordinary couple who are secretly top spies. However, the execution falls short in a few key areas.

Firstly, while the supporting cast delivers (just) OK performances, Maya Erskine's portrayal of the female lead struggles to fully convince. The writing itself also suffers from occasional illegalities and plot holes, which can be frustrating in a genre that relies heavily on suspense and logic.

Furthermore, the show relies heavily on dialogue, which, while well-written at times, can feel excessive for a spy thriller. This, coupled with a somewhat static visual style reminiscent of a stage play, can leave viewers yearning for more action and dynamic camerawork.

Despite its shortcomings, "Mr. & Mrs. Smith" holds potential, but maybe for second season and more nuanced lead performance/s, tighter writing and a more visually engaging style, it could evolve into a more captivating series.

However, "Mr. & Mrs. Smith", in its current form, it's a lukewarm watch that fails to fully deliver on its premise.

Rating: 5- out of 10.

Land of Bad aims for an intense, high stakes thriller but delivers an uneven mix of gripping action and dull filler. The premise sets up a promising rescue mission scenario with a stranded soldier relying on a remote drone operator, played strongly by Russell Crowe. Several action sequences generate unreal suspense amidst gorgeous jungle cinematography. However, flat villains and an overlong runtime sink the film's momentum. Attempts at thematic commentary feel shallow as well. While leads Hemsworth and Crowe give solid performances, particularly the latter's humorous grocery store interludes, they cannot fully overcome the script's deficiencies. Ultimately Land of Bad shows flashes of an effective thriller but lacks the consistency to fully engage. Still, I did enjoyed it.

Rating: 7.25 out of 10.

The first season of Joe Pickett, based on C. J. Box's novels, gets off to a strong start with lead Michael Dorman turning in an earnest performance as the titular game warden.

However, the show struggles to maintain momentum, with uneven pacing and tonal shifts between gritty drama and lighthearted humor. While the procedural mystery at the core of the season starts out intriguing, it loses steam by the finale.

Side stories exploring Joe's family dynamics fare better, thanks to solid work from Julianna Guill as his wife Marybeth. But questionable plot choices in the last two episodes, including illogical character actions and over-the-top confrontations, leave the season feeling dramatically unsatisfying. With tighter writing, Joe Pickett could live up to its potential. For now, it's a mixed bag saved by Dorman's committed performance.

Rating: 6/10.

Criminal Record aims to be a gritty crime drama but is let down by poor casting choices and overwrought storytelling. Steven Campbell and Cush Jumbo have little on-screen chemistry, undermining the central conflict. Supporting characters like Jumbo's on-screen mother (Zoe Wanamaker) feel superfluous. The plot builds tension adequately but the climax feels rushed and unsatisfying. Most episodes drag on too long, bogged down by heavy-handed dialogue. Attempts to tackle complex issues like racism come across as forced rather than nuanced.

I'm rating it only 5.75 out of 10 stars, because Criminal Record tries to punch above its weight class but ends up a middling, forgettable series. The cast was simply not good enough. Perhaps with a more judicious edit to tighten up pacing and more subtle handling of its themes, the show could have lived up to its potential. As is, it remains a lackluster viewing experience.

The pending wastes a promising premise. Tension builds over suspects in high-profile kidnapping, only to culminate in an embarrassing finale stretching credibility beyond limits. Bad performances by Campbell and others sunk additionally by plot holes and disappointment after following seven episodes. Five stars for potential, 0 for conclusion.

The poor ending ruined the buildup of suspense over the season, along with one of the biggest lousy bunch of so-called acting talents. I can't believe this show acquired so many bad actors in one spot.

In short, terrible ending, and even more terrible acting.

Monsieur Spade started off intriguing, with complex characters and an air of mystery befitting a Neo-noir detective drama. Clive Owen brought a gritty gravitas to the iconic role of Sam Spade, while the show explored his retirement in 1960s France with promising plot twists. However, it ultimately rushed the conclusion in a disappointing final episode full of tedious exposition dumping. The show failed to stick the landing after a strong setup, leaving an unsatisfying payoff for both the overarching mystery around a mysterious child as well as Spade's personal character arc. While the performances remained compelling throughout, the writing let down both the talented cast and the audience by the end.

Rating: 5.75 out of 10.

While the special effects and some acting performances are admirable in The Empire Strikes Back, themis installment in the Star Wars saga fails to capture the magic of its predecessor. Weighing in at over 2 hours, the film feels excessively long with too many drawn-out scenes that contribute little to an already childish and clichéd storyline.

Hamill tries his best as Luke Skywalker but is limited by cringeworthy dialog about "destiny" and "the force." Likewise, Ford and Fisher do a decent job in their roles but the emotional moments come off as cheesy rather than profound. Even the addition of Yoda, while at first intriguing, becomes an overextended and largely uninteresting subplot.

By the end, The Empire Strikes Back comes across an exercise in nostalgia rather than a film that can stand on its own. While some fans will enjoy revisiting the Star Wars universe, many viewers may come away bored and disappointed by an overly long runtime filled with clichés and a rehashed storyline.

Rating: 6.25 out of 10.

Despite Sean Connery's age (52), he slips effortlessly back into the role of James Bond in this tongue-in-cheek remake of 1965's Thunderball. The plot follows the familiar Bond formula of megalomaniac villains, beautiful women, and global domination but adds clever twists. Klaus Maria Brandauer is superb as the ruthless Maximilian Largo, a member of SPECTRE. Connery brings his trademark charm, wit, and magnetism to Bond, albeit an older version-his sparring with Largo and smouldering chemistry with Kim Basinger's sizzle. There are some flaws, like dated (cheap) visual effects, but overall an entertaining last hurrah for Connery's legendary 007.

Rating 7.75 out of 10.

As an avid Star Wars fan, I was eagerly anticipating the release of Obi-Wan Kenobi. The prospect of Ewan McGregor reprising his iconic prequel trilogy role was enticing, however, this do not live up to my +even not that high) expectations.

The story follows Obi-Wan coming out of hiding to rescue a kidnapped Leia Organa, all while being hunted by Imperial Inquisitors and his former apprentice Anakin Skywalker, now the ruthless Darth Vader.

On paper, this premise showed promise. Yet in execution, the plot was lackluster with cheap storytelling devices and second-rate acting from some of the cast.

While Ewan McGregor delivers another OK performance, even he cannot salvage the mediocre writing and direction.

The action scenes, for all their flashy effects, lack tension and feel more like video game cutscenes than cinema.

As an older Star Wars fan, I also take issue with the films juvenile tone that seems squarely aimed at young viewers. This contradicts the intended nostalgic nature of Obi-Wan Kenobi in the first place. The movie can't seem to decide whether this is a kids program or a mature character study, and it suffers greatly from this identity crisis.

In the end, Obi-Wan Kenobi amounts to a missed opportunity. It boasts strong production value and has glimmers of the franchise's former glory. But subpar execution in writing, direction, and acting drag the series down, making it difficult to recommend even for die-hard fans.

For me, this was a disappointing 5/10 return to a galaxy far, far away.

The Awful Dr. Orlof (1962) has left a lot to be desired. The film's badly dubbed American version with inane dialogue detracted from the viewing experience. In general, the movie failed to deliver a compelling and engaging horror experience, ultimately resulting being a disappointing and dull. Film fails to engage the audience with its predictable plot and lackluster character development. It's pacing is sluggish, and it struggles to build and maintain suspense. The over-reliance on clichés and the absence of innovative scares further contribute to its underwhelming nature. Overall, the movie's potential is overshadowed by its inability to deliver a captivating (read frightening) experience, making it a regrettable addition to the (senseless) horror genre.

What's Love (1987) is a previously lost re-conceptualization of Bill Cable's unfinished early 70s epic titled "What is Love," which deals with themes of romantic obsession and Christian blasphemy. The movie is initially directed by Bill Cable, but finished by Carlos Tobalina and staring by director himself (Bill Cable), Leigh Drake, and Troy Walker. The film offers little in the way of plot and instead throws together vignettes, narrator reaction shots, and bizarre imagery that fails to deliver a coherent plot. Being filmed in pieces nearly 15 years apart, resulting in a lack of coherence, and the fact that so much of the film doesn't really seem to have much of a point beyond just existing as some sort of messy and rather dull pot directors exercise.

"The Book of Clarence" is a film that fails to deliver on its promise. Despite a talented cast, the film is a confusing mix of biblical themes and farce that never quite comes together. LaKeith Stanfield delivers a solid performance as the streetwise hustler Clarence, but the script fails to give him much to work with. The film's attempts at political relevance fall flat, and the farcical elements are often more cringe-worthy than funny. The chariot race scene is one of the few highlights, but it's not enough to save the film. Overall, "The Book of Clarence" is a disappointing and confusing film that fails to live up to its potential.

This 2024 action thriller aims high but fails to deliver. While Jason Statham is reliably gritty as ex-operative Adam Clay turned beekeeper, seeking vengeance for his neighbour's suicide, the silly script undermines any gravitas. Overwrought bee metaphors like "time to smoke out the hornets" make the premise absurd. Most supporting actors flounder, particularly the miscast female FBI agent (Emmy Raver-Lampman), who is, by the way, a terrible actress. The first half builds narrative momentum around Clay's crusade against predatory scammers, but the stakes needed raising, not contradicting. Once Clay infiltrates the corporation behind the phone schemes, the film descends into generic action movie tropes we've seen done better. Statham's action sequences still pack a punch but can't save the nonsensical plot. Even at a brisk 105 minutes, The Beekeeper starts strongly before losing its narrative sting. This would-be franchise-launcher leaves a bad taste. Not recommended.

Rating: 5 out of 10 IMDb stars.

The first season of TV show 'Reacher' on Prime Video thrills with bone-crunching action as Alan Ritchson embodies the towering titular character. Ritchson exudes a weary patience and hulking physicality true to Lee Child's books, while showrunner Nick Santora smartly elevates fan-favorite characters. Reacher burns through generic thugs with savage efficiency, unraveling a treacherous small-town conspiracy.

Rating of S01: An 8.5 for standout style and faithful spirit.

Then the magic fades in the drab, repetitive second season. The intrigue flatlines despite Ritchson's imposing presence, done in by uninspired cinematography and stale storytelling. Reacher seems smaller amidst a disjointed plot involving a terrorist broker. The fight scenes disappoint while the procedural elements bore. A mid-tier network show lacking the grit and wit that defined Reacher's first round.

Rating of S02: (Just) Five IMDb stars for a sophomore slump.

Fool Me Once starts off intriguing but descends into illogical twists. Michelle Keegan is miscast as the lead, failing to portray the grit required for an ex-military character. Her one-note acting exposes the poor writing. While the premise hooks you in initially after Keegan's character sees her dead husband on a nanny cam, the plot becomes increasingly absurd. Side stories lead nowhere, characters act erratically with unclear motivations, and the final reveal strains credulity. The talented supporting cast is wasted. Ultimately Fool Me Once collapses under the weight of its own twists. Harlan Coben stories excel on wild plots, but this stretches too far. The directing seems more focused on shocks over coherence. Perhaps setting in Manchester instead of the book's New York location contributed to the disjointed feel. Diehard Coben fans may still enjoy, but for most viewers, the payoff won't justify enduring the logical leaps required.