Favourite TV Shows, 2010-2014

Orphan Black (2013-
Actor Tatiana Maslany is superb at playing multiple distinct characters in a role that many actors would love to have, but few would be able to handle, in this conspiracy thriller featuring cloning experiments, humour and paranoia. The show's closest reference point would be something like Utopia (see below). Both begin with a mystery that feels utterly obscure and impenetrable, then is revealed to be more credible, involving and relevant, not to mention ruthless. Both shows generate a lot of humour from their situations without sacrificing the danger and tension. 

 Utopia (2013-2014)
Ludicrously already cancelled, despite winning awards, acclaim, and a David Fincher led remake to come. Bold, theatrical and unlike anything else on the box at the moment – Dennis Kelly's graphic novel-influenced drama was as shocking as a chilli eye-bath, and you need to make sure you see it.

Doctor Who (1963-) 
Although as a life long Who fan I was delighted to have the show back on TV in 2005, I didn't enjoy huge swathes of the Russell T Davies era, which concluded on New Years Day 2010. Generally the only episodes from that period that I would happily watch again now were written by Steven Moffat - so lucky old me that he took over as show runner at that point. Although the show does still frequently suffer when Moffat is not the writer, the quantity of his episodes and the influence he has had over the others has made for a much more satisfying experience, and the show is gradually moving back towards the creature it was in the 60s and 70s rather than the Buffy-fied incarnation that was so popular under David Tennant. I regard this unreservedly as a GOOD THING.

 Fresh Meat (2011-2015)
This generation's nearest equivalent to the Young Ones, this university based comedy-drama has it all - characters, jokes, pathos, engaging story arcs - and despite being set a decade after I was at uni myself, and the student experience moving on immeasurably since, I find it incredibly nostalgic to watch.

The Thick of It (2005-2012) / Veep (2012-)
Armando Ianucci's latest genius show concluded this decade and immediately spawned a surprisingly good American re-imagining. But the original was still the one to watch - the vast cast of characters were placed into rather different circumstances post-general election, and the show resolved plot threads and character arcs of genuine depth spanning the whole course of the show in an elegant and thought provoking way, especially in the extraordinary penultimate episode, a double length court based show. And in case I didn't make it clear, this was a comedy - and a mighty fine one at that.

Forbrydelsen (The Killing) (UK transmission 2011-2012)
The show that heralded the onslaught of Scandi dramas to British TV, and led to an awful looking American remake, The Killing spanned 40 hours and 3 storylines, and brought a refreshing grittiness and anti-glamour to crime drama. It also managed to intermingle individual crime cases over the course of each season (rather than crimes of the week) while managing to entangle that crime with domestic political machinations of variable levels of interest, managing to make what could have been simple storylines into incredibly convoluted ones that demanded, and rewarded, extreme patience from the audience. The Bridge might've been more fun, but the original is still the best.

Favourite films, 2010-2014

Scott Pilgrim vs the World (Edgar Wright, 2010)
Edgar Wright's adaptation of Bryan Lee O’Malley’s comic-book series exudes the energy of a watershed moment in cinema. In this electric explosion of videogame imagery, the PlayStation Generation came of age.  Scott Pilgrim is a psychedelic 8-bit trip through the mind of a gamer, forged by Streetfighter 2 and Sonic the Hedgehog, a daydream where love is something that must literally be fought for. It declares that junk culture is culture And as it does so, Wright dresses the film in the visuals of both games and comics: power meters, one-ups and action based sound effects. Niche hit or game-changing classic? Time will tell, but I know which side I'm on.

Dredd (Pete Travis, 2012)
Despite being based on my all time favourite comic, I was far from alone in having low expectations for Dredd. The previous attempt at adapting the source material, 1995's Stallone starring abomination, missed the mark by a country mile, but at least it had major studio backing and a decent budget. This had neither, and yet it used these handicaps to its advantage, as this time it was crewed by proper devotees with a genuine love and understanding for the property. And what a result - one of the great b-movies, the best 18 rated sci fi film since the Alien saga was at its peak, and the best film John Carpenter never made. It is criminal that so few people have been willing to see it, but those that have will rarely speak ill of it.

Under the skin (Jonathan Glazer, 2014)
It does what it says on the tin: it gets under your skin. This electrifying sci-fi masterpiece from Glazer starred Scarlett Johannson as the alien invader in Glasgow, preying on credulous horny males. Scary, sexy, unforgettable.

Moonrise Kingdom (Wes Anderson, 2012)
With Moonrise Kingdom, Wes Anderson made a film about youth that felt like it was ripped from the overactive imagination of a 12-year-old. Very funny and very sweet, but also – and this one has often eluded Anderson – sincere also.

Inside Llewyn Davis (Coen  brothers, 2013)
Inside Llewyn Davis is not the first time that the Coen brothers have portrayed a period of distinctly American music, but beyond that the film holds little in common with O Brother, Where Art Thou? While music plays a crucial role in their latest work—in fact entire scenes are devoted to the performance of songs—for the Coens the point seems to be less about the music and more about documenting a particular moment in American history and specifically American themes. Whether it’s small-town murder, drug violence along the southern border, CIA paranoia, and now early ’60s folk music, the Coens have always masters of casting, plot and atmosphere. 

Submarine (Richard Ayoade, 2011)
Submarine wears it's influences on it's sleeve and is proud to show them off. The obvious one is of course Wes Anderson but also there are plenty of nods to the French New Wave films of the 60's - and as Wes Anderson and French New Wave films are two great passions of mine, how could I resist.? He films Yasmin Paige like Godard filmed Anna Karina, and it's beautiful to watch. Another huge telling of Ayoade's influences include the Le Samourai and Passion Of Joan Of Arc posters seen in the background of some scenes.  The acting and dialogue was top notch throughout, and the direction and art style is stunning for the majority. It's touching and funny, and I loved it.

Attack the block (Joe Cornish, 2011)
Balancing big laughs and big shocks, Attack the Block is a brilliant first film by anybody’s standards.

Only lovers left alive (Jim Jamusch, 2014)
Almost all of this vampire drama is set in the dead of night, and Jarmusch and cinematographer Yorick Le Saux vary the tone of their nocturnal scenes. Sometimes, the nights feel menacing. Other times, they recall the sleepless evenings left staring at the ceiling, wondering what happened to your life. And then on other occasions, the movie has a seductive, romantic spirit. The stakes may not be particularly high in Only Lovers Left Alive, but that’s part of Jarmusch’s point. When immortality is a given and your only concern is finding fresh blood, your life in some ways loses its urgency. And so like the movie they’re in, Adam and Eve drift and drift, finding their amusements where they can.

We are the best (Lukas Moodyson, 2013)
Stockholm, 1982. Best friends Bobo and Klara are surrounded by very annoying people: girls with princess-y hair and sharp tongues, teachers who make them do sport, parents who have drunken parties and play the clarinet in their underpants. So they react like any spirited, alt-culture-embracing 13-year-olds would and form a punk band. It doesn’t matter that neither of them can play an instrument. It’s more punk to start with nothing. 

Frank (Lenny Abrahamson, 2014)
Surrealist shenanigans are what we’ve come to expect from Welsh gonzo journalist and screenwriter Jon Ronson, but he surpasses all expectation with this charmingly off-kilter resurrection of cult TV and stand-up persona, Frank Sidebottom, who was brought to life by musician and comedian Chris Sievey for over two decades.

Sightseers (Ben Wheatley, 2012)
Does for caravanning what Deliverance did for canoeing.

Berberian Sound Studio (Peter Strickland, 2012)
A sensual and psychedelic riff on the Italian giallo films of the 1970s.




Bubbling under: Drive, Toy Story 3, Four Lions

Favourite Albums 2010-2014

St Vincent: St Vincent (2014)
Annie Clark has undoubtedly been my favourite musician of the last 5 or 6 years, the freakiest guitarist we've had since Jack White and a radiant, magnetic presence on stage, screen and record. My only question here was whether to opt for 2011's "Strange Mercy", a tricksy work which gives up more intricacies with perseverance and which convinced me of her genius, 2012's interesting but not entirely satisfying collaboration with David Byrne, or 2014's award gobbling, much more straightforward and approachable eponymous album. Today I have opted for the latter - despite my deep personal connection to the earlier record, "St Vincent" is the one she will be remembered for, a hugely confident and focused concoction, combined with its elaborately choreographed stage show it evoked thoughts of Ziggy Stardust for the 21st century, as well as comparisons with Arcade Fire, Blondie and Talking Heads.

Cate Le Bon: Mug Museum (2013)
Coming across like a latter day Nico fronting the Velvet Underground, or perhaps a slightly rustic Television, Mug Museum is by turns wistful, delicate and downright weird. It's a beautiful confection.

Janelle Monae: The Archandroid (2010)
A sprawling, insanely ambitious sci-fi soul concept album, the sheer number and quality of ideas make this an intoxicating record.




John Grant: Queen of Denmark (2010)

Wryly humorous tales of depression and addiction through a dreamy 70s soft rock filter. Funny and moving.

 The War on Drugs: Lost in the dream (2014)
I found this initially quite repellent, as it represents a distillation of all sorts of 80s stadium rock. However, it does this extraordinarily well, and adds a pleasant Dylan-esque lyrical element to the mixture. Once I got over my snobbery and embraced the widescreen vision of band, I found it utterly addictive.

 Radiohead: The King of Limbs (2011)
Precisely nobody's favourite Radiohead album - a lot of fan's actively dislike it - but I've got to admit I've been really keen on it from day one. Its subtle, snake hipped grooves seemed a bit tuneless and half-arsed to some, but for me it's a very enjoyable piece of work, and probably the Radiohead album I've engaged with most since Amnesiac.

 The Duckworth Lewis Method: Sticky Wickets (2013)
Second cricket based comedy concept album from members of the Divine Comedy and Pugwash, pushing the 70s rock influences (particularly ELO) even further to the fore. The most fun album on this list.

 Arcade Fire: Reflektor (2013)
Arcade Fire go Eurodisco on their latest epic. A lot of it takes some getting used to, but as time has gone by I have come to really appreciate the ambition and boldness of this record. Their best (possibly THE best) song of the decade was actually on their previous album though, the prototype for what was to come, Sprawl II (Mountains beyond mountains).

 Tame Impala: Lonerism (2012)
In the absence of a decent Flaming Lips album for quite some years now, Australians Tame Impala did as good an imitation as anyone and came up with a latter day psychedelic treat.

 La Roux: Trouble in paradise (2014)
Inexplicably unpopular with the masses, this long in gestation album is the best pure pop record I can recall in many a year.

 Beach House: Bloom (2012)
As with Tame Impala doing the Flaming Lips (above), Beach House do their best Cocteau Twins impersonation, and it pleases me greatly.

Tune-Yards: Whokill (2011)
Ramshackle, chaotic, and bursting with imagination. Great fun.





Bubbling under: Jack White, Pixies, Gruff Rhys, Courtney Barnett, Wilco, Tom Waits