Mrs Biggs (2012)

An ITV miniseries based on the life of Charmian Biggs (played by Sheridan Smith), wife to the most well-known of the Great Train Robbers, Ronnie Biggs (played by Daniel Mays). If you don’t know the historical aspect, in 1963 Ronnie and fifteen other men robbed an English Royal Mail train that was carrying £2.6 million (approx £48 million in today’s money) and they did it without using guns.

The series begins a few years prior to that, though, in 1957. Charmian Powell is an innocent, dependable young woman who holds a steady job and has a strict, controlling father. Ronnie is a part-time petty crook, a Jack the Lad, Jimmy Chancer, etc, and also a bit of a charmer. The inevitable happens.

The journey from youthful innocence to reluctant accomplice avoids pure melodrama. It’s often difficult to sympathise with a criminal and easier to have those feelings for a criminal’s wife, but covering up the truth even for noble reasons is still an immoral act. The series doesn't force you to abandon the judgements you’d naturally have toward that kind of behaviour, so you’re free to dislike Charmian's choices if you choose to and still enjoy the ride.

Sheridan is radiant—when she smiles she lights up the entirety of a scene—but it’s not all smiles and money spending, there’s plenty of tears and hardship too, because they’re on the run from the law every minute of every day. Even when it seems as if they've gotten far enough away, it takes only a knock on the door or a second of doubt to bring it all rushing back to mind.

It drives home the truth that an influx of money doesn't instantly wipe away existing domestic troubles. In some cases it can even cause them. Speaking of truth, the disclaimer at the beginning of each episode tells us that creative licence is in play, so bear that in mind while viewing. However, the real Charmian Biggs was a consultant on the series, so that gives it some credibility.

It’s not the type of series I usually watch, but after taking a chance on one episode there was no way I wasn't seeing it through to the end. It’s a quality Sunday evening style drama that doesn't glamorize its subject matter for extra thrills.

5 episodes, approx 50 minutes each.

4 good runs out of 5

The Andromeda Strain (2008)

At time of writing, director Robert Wise's 1971 version of The Andromeda Strain is one of the better films that I've seen based on the works of Michael Crichton, so there was some trepidation when I decided to watch an updated version made for TV, but curiosity won me over. Happily, it turned out to be pretty good.

The previous film had a distinctly 70s appeal with a fascinating visual look, whereas the new one just looks like every other modern TV show that features shady governments run by self-important, ambitious pricks with more money than morals; but it looks great, if that’s your thing.

The team have a lot more high-tech equipment at their disposal this time and consequently the danger level within the lab is lessened. When you see multimillion dollar mechanical marvels your first thought is no longer, 'That shit could break any minute! Emergency exit, please, timely manner!'

A second story runs concurrently outside the underground lab environment. I can’t say if that was in the original novel or not, because I've not read it. It injects some action scenes into what could've been an otherwise static display of scientific methodology by having a journalist poke his nose into the military’s response on the surface. The aura of secrecy is carried through into the low key way they respond to the external threat. It was my least favourite aspect but that doesn't mean it was in any way irritating, because it wasn't.

My only real dislike was the way the story (or the final cut) neglected to follow up on the human subjects that were held in the lab. Did they survive? Are they still under quarantine? Did they become overnight reality TV sensations?

The music by Joel J. Richard is good on occasion. The action moments in particular reminded me of John Murphy’s work and anything JM gets my attention.

2 episodes, approx 90 mins each. Alternatively, split into 4 episodes, approx 45 mins each in some regions.

3 growing concerns out of 5

Justice League (2001-04)

Seven heroes fighting as one unit, each bringing individual strengths and weaknesses, creating opportunities and anticipating reactions, kicking villainous ass in dramatic set-pieces that give way to relatable human drama is what made Justice League one of the best cartoons that I’ve ever seen, especially Season 2.

Quite often it’s the City of Metropolis under threat, but, while not explicitly stated, the War of the Worlds style attacks in the very first arc make it clear that the danger isn't just going to be of global origin, it’ll be intergalactic. The typical focuses are there, of course, such as the folly of those with power, the corruption of the weak-willed in the face of that same power, and the way in which good intentions ill-conceived can be catastrophic to all, but like the comic from which the show took its name the stories aren't unwilling to stray into surreal situations in its exploration of such things. JL is storytelling without constraints.

Superman and Batman will be the big draw for most people, but not all heroes have an active role in every episode. The writers were wise enough to know that specific character-centric episodes would suffer if someone who adds nothing of value to the story was shoehorned in for appearances' sake. Hawkgirl is somewhat underused in the early episodes, but they make up for it in spades as things go on and she develops into one of the most interesting of the seven.

Each personality is unique: Batman and Superman are similar to how they were in their respective series; Flash is impetuous; Green Lantern is tactical; Hawkgirl is hasty and combative; Jonn is resourceful; and Wonder Woman is inexperienced because, unlike in the comics, she’s new to the whole superhero thing, having left her home just prior to the team forming. Despite the differences and personality clashes, a mutual respect and well-placed trust binds them (and everyone who isn't Batman likes to laugh at the Dark Knight’s Mr Serious attitude).

What’s equally as exciting is that, with the exception of just one episode, every story is at least a two-parter! The one standalone is a Christmas episode that’s more entertaining than anything 'festive' has any right to be.

52 episodes, approx 22 minutes each, split over 2 seasons. The show changed name to 'Justice League Unlimited' the following year, but I consider it more of a sequel than a typical next season, so it's not included here.

5 chest-emblems out of 5

Stephen King’s The Shining (1997)

A TV miniseries directed by Mick Garris, based on Stephen King's 1977 novel of the same name. It's essentially the story of a family forced to confront the underlying feelings that threaten to tear their already not very happy home apart. The addition of a supernatural aspect turns the process dial up to dangerous levels.

Jack Torrence (Steven Weber), a struggling writer, ex-alcoholic and regular screw-up takes a job as caretaker of a remote hotel that's routinely closed over the winter months. He brings his wife, Wendy (Rebecca De Mornay), whose over-protectiveness of their seven year old son, Danny (Courtland Mead), is justified somewhat because young Danny has a gift, or a curse depending on your point of view: he can sense emotions, danger and even occasionally see the future.

The quiet, creative retreat for three that Jack was hoping for turns out to be more eventful than he'd predicted. The Overlook Hotel has many ghosts and they'd just love to get to know the Torrence family better.

The teleplay was written by King, so all the little things carry over in a natural way, such as Jack telling people what he thinks they want to hear because it helps him stay in the game; the accusatory glances and subtle, snide remarks orchestrated to recall lingering guilt; a mother's jealousy of the bond between her son and his undeserving father; and the changing mannerisms of each family member as the story progresses and obsessions take over.

The boiler room gets the attention it deserves; the actual boiler being symbolic of the raging monster inside of Jack, building in force until the pressure is so great that it needs to be manually released or the whole thing will explode. Jack's fury is vented in much the same way. He needs to 'blow off steam,' as the expression goes, or his anger will consume him.

The biggest change to the story is during the finale; questionable coda aside it's not radically different from the original but it's been rewritten, making it tighter and more interesting. It's one of the things that help keep everything from falling foul of the usual third act plummet in quality.

I'm not going to add to the 'which filmed version is best?' debate other than to say if you want an unsettling, finely-crafted cinematic vision then the Kubrick film fits the bill, but if you'd rather see a more faithful adaptation of the novel, with intricacies of character intact, then the miniseries will provide it. If you're open to the possibility of one thing evolving into two uniquely different things, get both.

3 episodes, approx 90 minutes each.

4 party invites out of 5

GamesMaster (1992-98)

For the people that saw GamesMaster back in the day, that watched Dominick Diamond in his presenter pants talk straight-faced about waggling his joystick in public, the warm fuzzies of nostalgia that accompany this post are for you.

For everyone else, yes, the disembodied head in the picture above is the one and only astronomer extraordinaire Sir Patrick Moore. He was the godfather figure on the first ever dedicated video games show on UK TV.

GM went to places that other shows didn't. It plumbed the furrows and poked the holes. It even reached around without being asked because it cared. It was dangerous. In truth it was nothing more than innuendo, but if your mother walked in at the wrong time she’d be outraged. That just made it better!

As an adult now, I can see how Dom’s “verbose vernacular” could be perceived inappropriate and occasionally borderline pornographic by the emotionally stunted, but it didn't stop me chuckling the same all over again.

Dom left after Series II and was replaced by Dexter Fletcher, who was arrogant and shouty. It was a disaster. That’s all I have to say about Series III.

Mercifully, Dom returned for Series IV - VII. The innuendo was slightly curtailed, but the elevated icy sarcasm more than compensated. It’s as if he thought ‘I don’t give a toss about decorum or Channel 4. If they sack me, I’ll go out a winner.’ He'd perv the ladies and ridicule the men equally. The weekly mocking of Dave Perry, an act Dave seemed unaware of for the longest time, was pure gold.

Commentators and reviewers were from popular games magazines of the time, such as C+VG, Game Zone and my favourite, the one my paper round money paid for, Mean Machines. They dished out ridiculous scores of 80 and 90% for games we found out were turds when we rented them illegally from the unscrupulous but enterprising video store owner at the arse-end of town. Every town had one.

It was the era of the Mega Drive, SNES and Amiga; of Sensible Soccer, New Zealand Story, Alien Breed, and micro spring joysticks that broke about a week after purchase (but could we ever find that damn receipt?). Sonic 2, the slowed down PAL version, was a cutting edge new game! Bloody hell.

As the years went on the fast-loading, cartridge-based systems were forced into retirement as a cocky newcomer, the optical disc, arrived and seductively stroked the pockets of gamers the world over hungry for innovation. Little did we know it would lead to draconian business practices, patches, DLC and Season Passes.

126 episodes, approx 25 minutes each.

4 tight right-handers out of 5

Neverwhere (1996)

Richard Mayhew is a nice guy who lives in London. (Those two things are generally mutually exclusive, but Richard is a Scotsman who lives and works in the city, so it’s all good.) His fiancée is an asshole. His friends are assholes. If Richard could meet the criteria he believes constitutes success, he’d become an asshole too. But instead he meets Door, a pretty young woman in need of the kind of help that he in his privileged position is able to offer.

Richard becomes aware of London Below, an underworld with its own laws, both societal and physical, that coexist with the London Above. The two worlds can interact from time to time but must inevitably return to their own individual aspects. If Richard is to help himself then he must continue to help Door, and that means stepping into an unknown world of underground passageways, weird happenings and (not very menacing) cut-throat assassins.

It required a believable, fantastical aura to be effective, something like Hensen’s Labyrinth (1986), but instead it ended up looking more like Eastenders. The reason being that all footage was shot on video with a subsequent filmisation process planned, so the lighting needed to allow for that. When the filmisation process didn't happen, the resultant footage was released as is and it looks bad. It’s easy to imagine the morose ghost of Arthur Fowler lingering behind a market stall someplace, which doesn't do it any favours. I've gotten used to it over the years and can easily ignore that aspect, but newcomers might be less forgiving.

What drew me to the series initially was that it was written by the author Neil Gaiman. I was a fan of his storytelling style back then, which was influenced by classic literature. It’s watered down by oceans and time, but there’s an unmistakable element of it beneath the surface, giving it life. Richard is a kind of modern Aeneas; he’s an Argonaut; he’s Theseus walking toward a confrontation with the Minotaur. He isn't consciously aware of any of that, but the workings of fate exist and direct him in the same orchestrated manner. History has shown that even the Greeks viewed their myths as mutable, adaptive to the times and the teller, so at its most basic level only the setting is changed.

6 episodes, approx 30 minutes each.

3 forgotten route stops out of 5

Legit (2014)

Jimmy's on a bad luck run, yo.

Season 2 picks up mostly where season 1 left off. Jim has lost his girlfriend Peggy, fired from a lucrative acting gig after making the lead actress uncomfortable with a rape joke and then is possibly diagnosed with a sex addiction by Dr. Drew after he drops his phone in the toilet while using it to masturbate in the shower. Steve is spiraling out of control as well with a growing alcohol addiction and frequent drug fueled binges that threaten his already strained relationship with his ex-wife and young daughter. Billy deals with the progression of his muscular dystrophy and while Jim resolves to dig himself out of their ruts, they all have varying degrees of success. Jim tries therapy, charitable shows for the disabled and veterans, and reconnecting with old flames, but they don't always work out either because of bad luck or just his crass nature. They will also test his resolve and possibly threaten his career.

The season is the same as the first with hilariously black comedic plots often pulled verbatim from Jefferies' stand-up routines, but adds a bit more dark themes that he is also somewhat familiar with like addictions toll on loved ones and depression. The show might seem to lose some of its comedy, but becomes better with the stark mixed with the hilarious. The season was just full of the hilariously raunchy jokes like the thin walls during a happy ending massage or Jim falling for a supposedly perfect woman except for being incredibly racist. It really seemed to hit a stride which is too bad that it was moved to the obscure spin-off channel FXX where no one watched and was cancelled at the end of this season. At least it had some resolution and went out on a high note.

Buyer's Guide:
Available on iTunes and Amazon Instant video.

4 binges ending on the beach in your undies with no recollection out of 5