Procedural police shows finally get the parody they have been long asking for in this occasionally hilarious and frequently amusing offering from Charlie Brooker. Cloth, the eponymous protagonist, portrayed with a knowing degree of over-acting by the fabulous John Hannah, is that favourite genre trope: a damaged, veteran officer, called in to resolve the 100th annual murder on the unfortunately named Rundowne Estate.
Wordplay and smart exchanges between the chief characters abounds as Cloth and his "Modern Lesbian" DC, Anne Oldman (say it out loud), pun their way through a series of grisly murder scenes. Ably assisting the satire are a slew of other familiar faces portraying similarly cookie-out characters, most memorably Julian Rhind-Tutt as the authoritarian, disapproving Boss.
Where A Touch of Cloth distinguishes itself from other, less effective parodies is that no aspect of the gritty Crime drama TV is safe from its mocking barbs. Direction, sound-editing and pacing are subtly (and, on occasion, not so subtly) exposed to criticism. Cameras follow characters as they do pointless circuits around rooms, mulling over exposition, scenes of violence are repeatedly and unnecessarily revisited with the same sound effects repeating themselves over and over again.
However, in one respect A Touch of Cloth does let itself and its otherwise highly intelligent script down, and that is the sexual humour. While not averse to the odd sex-related gag, and fully aware that this is the 21st Century, these felt out of place and really did not add anything to what is otherwise the finest spoof of procedural police dramas since The Naked Gun.
Wordplay and smart exchanges between the chief characters abounds as Cloth and his "Modern Lesbian" DC, Anne Oldman (say it out loud), pun their way through a series of grisly murder scenes. Ably assisting the satire are a slew of other familiar faces portraying similarly cookie-out characters, most memorably Julian Rhind-Tutt as the authoritarian, disapproving Boss.
Where A Touch of Cloth distinguishes itself from other, less effective parodies is that no aspect of the gritty Crime drama TV is safe from its mocking barbs. Direction, sound-editing and pacing are subtly (and, on occasion, not so subtly) exposed to criticism. Cameras follow characters as they do pointless circuits around rooms, mulling over exposition, scenes of violence are repeatedly and unnecessarily revisited with the same sound effects repeating themselves over and over again.
However, in one respect A Touch of Cloth does let itself and its otherwise highly intelligent script down, and that is the sexual humour. While not averse to the odd sex-related gag, and fully aware that this is the 21st Century, these felt out of place and really did not add anything to what is otherwise the finest spoof of procedural police dramas since The Naked Gun.