As has been said by me a number of times, 'Midsomer Murders' is one of my most watched and most re-watched shows. It is nowhere near as good now and the Tom Barnaby-era wasn't alien to average or less episodes, but when it was on form or at its best boy was it good.
Season 13 was a very uneven and mostly unexceptional season. The only outstanding episode was "Master Class", which felt like a return to form and to me was the best episode of 'Midsomer Murders' since Season 9's "The House in the Woods". "The Silent Land", "The Sword of Guillaume" and "Not in My Back Yard" were decent, and "The Noble Art" was above average but a bit safe and bland. On the other end of the spectrum, Season 13 also boasted two show low-points, "The Made-to-Measure Murders" and especially "Blood on the Saddle", both of which embarrassments.
"Fit for Murder" was a decent enough if also not much more than that end to Season 13, but should have served as a much more satisfying send-off to Tom Barnaby. Even for people who were aware of it being Tom's last episode and that John Nettles was retiring, that part of the story felt a little too tacked on and hastily thrown into the story, once introduced (though again initially that was a little rushed) it did serve as a quite sweet ending. Nice to see Neil Dudgeon again and to see him show more personality and likability than the character did later when he took over, and it was a good move for the writers to introduce him and that he was taking over before his first episode in the lead.
With the story itself, it's nice enough and nicely paced with less extraneous and dragged out padding. There are also some intriguing ideas and neat twists and turns. It all however feels on the routine side, it's not a bad story and it's told well but with familiar elements from previous episodes done previously with much more impact, which did take away from any surprises, shocks or suspense (very like as was said with "Not in My Back Yard" and "The Noble Art"). The killer is surprising and there are certainly duller and more ridiculous endings in the show, but the motives are a bit flimsy.
Visually, however, the production values as always are just great, the idyllic look of it contrasting very well with the story's grimness, and quaint and atmospheric photography. The music fits perfectly, with some lush jauntiness and sometimes an ominous quality, and the theme tune one of the most memorable and instantly recognisable of the genre.
Writing provokes a lot of thought mostly, and has a healthy balance of the humorous and the darkly twisted. Barnaby and Jones work so well together and his chemistry with Joyce is endearing.
John Nettles, Jason Hughes and Jane Wymark are all fine, while Geraldine James, Lesley Manville and Jason Durr fare particularly well in a solid supporting cast.
Overall, decent but doesn't go out with a bang as it could have done. 7/10 Bethany Cox
Season 13 was a very uneven and mostly unexceptional season. The only outstanding episode was "Master Class", which felt like a return to form and to me was the best episode of 'Midsomer Murders' since Season 9's "The House in the Woods". "The Silent Land", "The Sword of Guillaume" and "Not in My Back Yard" were decent, and "The Noble Art" was above average but a bit safe and bland. On the other end of the spectrum, Season 13 also boasted two show low-points, "The Made-to-Measure Murders" and especially "Blood on the Saddle", both of which embarrassments.
"Fit for Murder" was a decent enough if also not much more than that end to Season 13, but should have served as a much more satisfying send-off to Tom Barnaby. Even for people who were aware of it being Tom's last episode and that John Nettles was retiring, that part of the story felt a little too tacked on and hastily thrown into the story, once introduced (though again initially that was a little rushed) it did serve as a quite sweet ending. Nice to see Neil Dudgeon again and to see him show more personality and likability than the character did later when he took over, and it was a good move for the writers to introduce him and that he was taking over before his first episode in the lead.
With the story itself, it's nice enough and nicely paced with less extraneous and dragged out padding. There are also some intriguing ideas and neat twists and turns. It all however feels on the routine side, it's not a bad story and it's told well but with familiar elements from previous episodes done previously with much more impact, which did take away from any surprises, shocks or suspense (very like as was said with "Not in My Back Yard" and "The Noble Art"). The killer is surprising and there are certainly duller and more ridiculous endings in the show, but the motives are a bit flimsy.
Visually, however, the production values as always are just great, the idyllic look of it contrasting very well with the story's grimness, and quaint and atmospheric photography. The music fits perfectly, with some lush jauntiness and sometimes an ominous quality, and the theme tune one of the most memorable and instantly recognisable of the genre.
Writing provokes a lot of thought mostly, and has a healthy balance of the humorous and the darkly twisted. Barnaby and Jones work so well together and his chemistry with Joyce is endearing.
John Nettles, Jason Hughes and Jane Wymark are all fine, while Geraldine James, Lesley Manville and Jason Durr fare particularly well in a solid supporting cast.
Overall, decent but doesn't go out with a bang as it could have done. 7/10 Bethany Cox