BaronVonKolisch Reviews

The Newsreader (2021– )

Seasons 1 & 2. Mostly good news!

[8/10 · 3 January 2024]

An accomplished piece of work: good production values, some decent acting and a whole bunch of stories and relationships that evolve very naturally.

In essence, a tale of fragile humans trying to survive the everyday 'dog eat dog' world of news journalism. The characters may be a little over-the-top, but they are a vital catalyst to the madcap frenzy that keeps you on the edge of your seat.

Season 2 reaches similar heights, but for me, somewhat dilutes the charms of the starring duo. The constant feuding of the pair results in Dale becoming a weaker, more lost soul, while Helen inexplicably develops a persona that is altogether more uncaring and self-obsessed. Yet, if some of us care less about these two and their fates, then we can at least applaud the expanded role given to floor manager Noelene, who quickly finds a way into our hearts.

It should also be acknowledged that the script avoids the most predictable outcomes most of the time. The final episode is very skillfully constructed and raises the bar for a possible third series. - 8.4/10.

Trom (2022)

A feeling that Season 2 might be better ... but lackluster so far

[7/10 · 26 August 2022]

Sadly, the early episodes offered nothing new in the world of Nordic Noir and at times, the drama moved along soporifically, harboring only a modicum of intrigue and suspense.

Thankfully, my lasting impression was improved by the beautiful Faroese scenery and an energetic and well constructed final episode. Yet there is no mistaking that the production was, on the whole, too derivative and a little bland.

Were the makers' unresolved cliffhangers potent enough to make me watch a second season? I'm undecided. - 7.5/10.

Anomalia (2016– )

It promised more than it delivered

[7/10 · 20 August 2022]

Undoubtedly, there were some aspects of this production that deserved praise. The lead character was not from the woke generation. For once, not the all-conquering superwoman who could do it all on her own. Far from it, her vulnerability was refreshing and unpretentious. The overall premise too, was quite compelling, as it teasingly dipped in and out of the supernatural world and appeared to contain a story worth telling.

That said, not much of it was executed in a believable manner, or with any real panache.

There was a lingering feeling that at some point it would catch fire, and deliver some shocking, suspenseful moment, or at least a surprise twist. Sadly, a limp ending was about as surprising as it ever got. - 6.8/10.

The Twelve (2019–2023)

A fairly unique twist on the genre

[8/10 · 7 July 2022]

Criminal drama involving a school headmistress who finds herself on trial for two murders, allegedly committed eighteen years apart. Most recently, her own infant daughter and previously, her best friend.

Friends and family watch the trial unfold with their own pre-conceived notions of her guilt, or otherwise.

The jury of twelve separately begin to form their own opinions too, but set against a backdrop of living their own busy, complex lives. Lives that may be shady, troubled or in some cases, ready to boil over completely.

An interesting and fairly unique take on a court case drama. - 8.0/10.

Sherwood (II) (2022– )

Robin Hood as you've not seen him before!

[8/10 · 2 July 2022]

A hark back to 80's politics, with elements of murder mystery and working class family drama.

As far as British crime series go, it's not in the same league as Luther or Line of Duty, but would fare quite well in other company.

The story certainly unfolds at a good pace, and the acting clout of David Morrissey and Lesley Manville adds favourably to the mix.

On the downside, the ending is a bit flat, and it was an odd decision to give the main villain such a broad, hard to understand Nottinghamshire accent, when no-one else had one.

Overall, an absorbing reminder of a difficult time in the history of the UK mining communities - 8.1/10.

Fortitude (2015–2018)

An epic adventure - but much of what was intriguing gets lost

[8/10 · 22 June 2022]

The early episodes struggle to find a rhythm, but gradually we are treated to a mystery-filled drama that has an 'epic' quality to it. Season 1 concludes with an exciting and rapid unraveling of the story, including an escalating cascade of action, horror and violence.

There are some surprises; the unexpected deaths of major characters and sudden ramping up of the horror aspect being just two.

Season 2 starts in an equally entertaining manner, but quickly descends into a carnival of pseudo-science and horror that is all consuming. Largely gone are the complex power struggles, the deceptions, intrigues, mysteries and nuances.

Indeed, the season 1 story lines appear to be almost forgotten, or worse still, irrelevant. Not much is left, except for some crazy people trying to torture or kill each other.

The final season continues in a similar vein to Season 2, but these final four episodes are at least handled in a less frenetic, and more measured way. The action sequences are more lavishly constructed and it feels like both producers and writers are trying harder. Richard Dormer shines throughout and along with Dennis Quaid, helps keep the show afloat. - 7.9/10.

Missions (2017– )

Intriguing. Quirky. Easy to get hooked.

[9/10 · 3 May 2022]

Strangely enchanting and captivating, even during those times when you're not really sure what is happening.

As with 'Humans' and 'Devs', the detail is fantastical and a fair stretch from believable, yet it contains enough real science to keep up the intrigue and stir the imagination.

Stylistically, it is unmistakably French, right down to the backing music and theme tune. The short (20 min) episodes are a novel idea. Long enough to build to the next cliffhanger, and short enough to leave you always yearning for more. - 8.5/10.

The Passenger (2014)

A challenging watch, even for a French drama fanatic

[6/10 · 9 April 2022]

A very well respected cast, and the performance of Agogué, with all of her statuesque, gallic nonchalence certainly catches the eye.

Unfortunately, her romance with Anglade's character is not convincing in the least; not on a physical, emotional, or even an intellectual level.

In brief, the story is bold, intriguing and ambitious, but the execution is so burdened by clichés, procedural flaws and gross improbabilities, that it simply fails to pull you in. - 5.8/10.

The Promise (2020– )

Gripping! Another success for the talented creators

[9/10 · 8 April 2022]

Like Spiral before it, this drama benefits greatly from top class script-writing and a classy, consistent delivery.

These are not the carbon-copy cops that we see in most TV murder-mysteries, but rather, carefully crafted individuals with well engineered backstories.

I was even convinced by the acting of Olivier Marchal, despite finding him dull and uninspiring in other productions, such as The Crimson Rivers. - 8.8/10.

The Feed (2019)

Intriguing concept. Terrible delivery

[6/10 · 1 April 2022]

Another 'special' release for Virgin patrons in the UK (- see also The Rook).

In the future, "The Feed" has become the latest trend in communication technology, and has taken over from the computer and smartphone. It is broadly speaking an implant that allows the brain to directly engage with all of the usual PC/ mobile phone functions, so that people can interact with each other, play games, go on virtual dates etc, using the power of thought alone.

Ultimate convenience makes it difficult for obsessives to limit their 'on time', and consequently, the lives of undisciplined users can soon spiral out of control. Lately, the problem is becoming much worse, or perhaps more sinister. The manufacturing corporation is uncovering a disturbing outbreak of users behaving in irrational ways, self-harming and generally going crazy. Could there be a virus in the software? Is it the work of a lobby group trying to get the product banned?

Admittedly, this was a reasonably intriguing story and ought to have been captivating for fans of science fiction. Unfortunately, there was no real spark of ingenuity in the execution. Progress remained slow and predictable, and the acting never rose above 'dull and forgettable'. Most of the characters remained flat and uninteresting a good way into the action. I was compelled to jump ship after episode 4. - 5.8/10.

Sanditon (2019–2023)

A classy production that couldn't fail to entertain

[8/10 · 1 April 2022]

An adaptation of the Jane Austen period family drama.

The bright, breezy and attentive Miss Charlotte Heywood (Rose Williams) is reaching out for her first experiences beyond the family home. With the blessing of her parents, Tom Parker (Kris Marshall) and his wife take the girl for a holiday in Sanditon, a seaside location boasting a fine residential mansion house. Parker is an architect-cum-developer, about to have his grand plans for the surrounding estate come to fruition.

The casting is superb, with every actor being a fine fit for their role. The female roles are largely the most memorable, with Charlotte Spencer perhaps just shading Williams and Lily Sacofsky as standout performer. Having said that, Williams is as divine and sugary sweet as any actress can be.

As with all of these Austen dramas, there is of course some heavy repetition within the characterization and treatment of the social class divide. Although this may hinder such a production from scaling new heights, it has to be acknowledged that this one was both classy and entertaining. - 7.9/10.

Brave New World (2020)

A bland adaptation where style mostly outweighs substance

[7/10 · 16 March 2022]

Jessica Brown Findlay stars in this futuristic, alternative reality.

New London has an idealized, fun-seeking outlook, bristling with stylish, space-age architecture, recreational drugs, wild parties and orgies. All pleasurable needs are catered for, provided everyone takes the 'control pill' and abandons all notion of privacy, family, and monogamy. Those things are not permitted.

Of course, as with any society, the forbidden things, no matter how mundane, can become the most enticing. Moreover, there are certain traits written into human DNA that are not easy to erase.

The original story by Huxley can be regarded as a classic, so screen adaptations are both expected and welcome. Yet this one doesn't quite hit the mark, due to a lack of suspense and blandness in the storytelling.

Indeed, aside from the impressive cityscapes and the captivating Miss Brown Findlay, there is little that will live long in the memory. - 7.0/10.

Smother (2021–2023)

Slow start but worth sticking with it

[8/10 · 14 March 2022]

Considering that the cast is not exactly star-studded, the acting is reasonably good, and the tale unfolds in a fairly convincing and believable way, at least for the most part.

The slow start may leave a few viewers cold, but it was worth persevering with for the dysfunctional family drama aspect, which pulls no punches.

The murder mystery aspect largely plays second fiddle, but I found the final revelation to be a decent fit and was surprised at how it brought the whole story to a comprehensive and largely unguessable conclusion. - 7.8/10.

Traces (2019–2022)

Too bland to have us yearn for more?

[7/10 · 2 February 2022]

A laudable effort from Amelia Bullmore (and collaborators) in the creation of the story. The dramatization could have found its stride a bit sooner, but for the most part, flows quite nicely.

Martin Compston gives his usual solid, dependable performance, while John Gordon Sinclair pops up for a fairly minor, yet quirky cameo.

One inescapable grumble however, is that the plot unwinds in such a predictable, and twist-free manner.

There is a lack of resonance too. The investigation concerns drugs and debauchery in Scotland ... and yet nowhere do we catch a glimpse of any smoking, drinking, drugs, sex, nudity, prostitution, or swearing. Why has it been set in such a sanitized world?

Sadly, it also has to be pointed out that Molly Windsor in the lead role came up a bit short on charisma and emotional range. Someone more ballsy like Holliday Grainger would have been the perfect fit. - 7.4/10.

Speakerine (2018)

Surprisingly deep and evocative of the period

[8/10 · 4 January 2022]

Nothing remarkable perhaps, but the ebb and flow, and unmistakable French flavour did provide audience interest.

Much admired was the way in which the politics of the period are elucidated. This never felt forced and certainly added to our understanding of the life and times of the characters.

Less impressively, the early episodes raised expectations that an explosive finale could be in the offing - a promise that was not satisfyingly delivered upon.

Nevertheless, the 1960s period authenticity was to be applauded, and I found the storytelling reminiscent of the French dramas I enjoyed in the 80s and 90s. - 8.0/10.

When the Dust Settles (2020)

Rich storytelling. Cleverly conceived and completely absorbing

[9/10 · 30 December 2021]

Described by Ricky Gervais as a small screen masterpiece, and it is hard to disagree.

A genius piece of writing and some terrific performances, particularly from Jacob Lohmann and Karen-Lyse Mynster.

Admittedly, the slow, subtle build-up might lose a few viewers. I wondered if anything was actually happening in the early episodes, yet the seeds of several inconspicuous mini-plots had already been sown without my noticing.

The way in which the various stories interweave and play out may be the most impressive aspect. Some of the very best of Danish drama. - 8.8/10.

The Girl Before (2021)

Some flaky characters making odd choices, but not bad

[8/10 · 23 December 2021]

A slow start, but once the pace picked up, there was just about enough to keep the viewer engaged.

If I had to be critical, there was a little too much style over substance. A young cast, portrayed as being at the pinnacle of their careers, living some sort of decadent dream. High tech, high fashion, the perfect home, and talk of children with partners they have barely known five minutes. These unrealistic scenarios are a common failing in modern drama and can become quite tiresome.

Moreover, it is somewhat incredulous that such intelligent, handsome people allow themselves to be psychologically bullied at the beginning of a relationship.

Nevertheless, solid acting performances throughout and a plot with some devious twists offered sufficient compensation. - 7.7/10.

Game of Thrones (2011–2019)

Dazzling, mesmerizing ... a work of gigantic proportions

[10/10 · 21 December 2021]

A creative masterpiece in every sense, from the refreshing array of dazzling, unique characters to the cleverly conceived story telling. Acting-wise, the mostly young British cast shines brightly, yet the blazing comet of a performance comes from Peter Dinklage, who plays the thrill-seeking, brave, witty, and oftentimes pragmatic, Tyrion Lannister.

Without wanting to dwell on negatives, there were two things that caught my attention. Season 6, with its big emphasis on the House of Black and White, fell undeniably flat in places. Nicely eerie, but largely unexplained and unexplored, and far less exciting than it could have been.

Slightly irksome was the ramped-up use of the supernatural (witches, black magic, resurrections, armies of undead, seers of the future etc) from season 5 onward. It may have been a smarter option for Martin or the shows' makers to keep to the gritty, realistic, warrior inhabited world that had previously dominated, rather than slide ever closer to the sort of fantastical world that we might associate with Tolkein. Not easy to find the balance though. Few would deny that the end-product was greatly enhanced by the presence of dragons and chilling characters like the Night King.

Overall, a monumental achievement and not something that will easily be bettered - 9.6/10.

Hollington Drive (2021)

Not overly sensationalized. Believably shocking.

[8/10 · 9 December 2021]

A well put together mini-series that manages to connect all the dots, and successfully explores how a terrible tragedy can lead to a cascade of lies and deceptions that quickly spiral out of control.

The two female leads (Anna Maxwell Martin and Rachael Stirling) give utterly convincing performances. Meanwhile, Jonas Armstrong plays his usual quick-tempered, womanizing 'bit of rough'. He may be stereotyping himself, but it has to be acknowledged that few could do it better.

Each episode flows in a lively, tense and stimulating manner, thanks to the slow reveal format and a number of twists along the way. Commendably, our ever-changing view of events never strays far from the believable, and is consistently backed up by the detail.

I can't account for the miserable showing this gets in other reviews. In my opinion, it is watchable throughout and reaches a standard that is almost comparable to the acclaimed show Doctor Foster - 8.3/10.

Les rivières pourpres (2018– )

Proof that 'more grisly, more shocking' isn't quite enough

[7/10 · 2 December 2021]

I am struggling to think of a lot that is positive. It feels like there are the bones of a good drama lurking somewhere in the shadows, but the execution is completely wayward.

A burgeoning relationship between the two main characters may have sparked some interest, but sadly, the dialogue remained quite colourless and too matter-of-fact throughout.

And while an attempt has been made to lift the excitement levels with very shocking crimes, it is simply the case that ghoulish and bizarre murders are no longer that much of a novelty in modern television.

Delaunay (the lady cop) is wonderfully cool, but her back-story doesn't quite fit the demeanour. A less confident character, who perhaps suffers night terrors, might have been more convincing for the role. Her brazen sexual fling in episode 1 and everyday lack of concern for her estranged child, suggest that the irresponsible wild child still forms part of her make-up. Is it really likely that such a person would have become a dedicated and meticulous detective? It's a stretch.

Indeed, believability issues are never far away. Clues usually arrive by way of coincidence, or good fortune, and rarely from hard work. Local knowledge, reluctant witnesses who suddenly crack, handy passing experts and libraries that specialize in curious local mythologies, produce more than their fair share of easy-to-come-by leads. On a superficial level, it is reasonably fast paced and moderately entertaining, but don't expect it to live long in the memory.

After viewing the first 3 episodes of Season 2, I decided to abandon the rest. It had been more of the same. An over-reliance on sinister and grisly happenings, at the expense of any semblance of character development. - 6.9/10.

Person of Interest (2011–2016)

Memorable for the early seasons ... but it failed to evolve

[8/10 · 16 August 2021]

Fantastic concept and some good performances from the central actors.

I would have rated it higher if it had concluded earlier, or in some way changed its direction. Unfortunately, at some point the characters ceased developing and the long story hit an impasse.

Finch's intriguing past ought to have contained a few more startling revelations. This would have alleviated the repetitive nature of the later seasons.

My end of season ratings started at 8.5/10 and dropped to 7.8/10.

Forbrydelsen (2007–2012)

Some of the best (and worst) of the Scandi Noir genre

[8/10 · 14 August 2021]

A ground-breaker in its time, even if it looks a bit dated nowadays.

For English language viewers, it should be pointed out that the dialogue is almost incessant, and this will prevent you from looking up from the subtitles for lengthy periods.

Indeed, the stories rapidly unfold, and each appears to be reaching a conclusion mid-series, before some new angle or unexpected discovery turns everything on its head. These clever twists - and the acting gravitas of Grabol - are major selling points.

There are however a number of flaws that can play havoc with your sensibilities. These are the same loose ends, improbable finds, and unlikely passages of dialogue that we encounter in 90% of police procedurals.

And for all that Grabol's acting is magnetic, her character has been given both a charm bypass and a string of annoying habits that are hard to warm to. She regularly rejects advice and orders in an abrupt, carefree manner, often walks away from people or hangs up the phone without answering questions, and usually insists on keeping the team in the dark about her whereabouts or the emergence of new evidence. In reality, no boss or team dynamic could cope with such maverick, and frankly rude behaviour.

Finally, although season 3 marks a return to form after a disappointing season 2, it too closely mirrors the winning formula of season 1, to the point that the identity of the main felon can be easily guessed at.

My end of season scores were 8.5/10, 7.7/10 and 8.2/10.

Roslund & Hellström: Box 21 (2020)

Shocking, disturbing ... but perhaps not that memorable

[8/10 · 9 July 2021]

The story is well conceived and well acted. At times, it is both grim and hard-hitting.

Fiction aside, the viewer may even be prompted to pause and consider the real girls who choose this risky way out of a dead-end life.

If those aspects came across well, then there were also some misgivings. As a theme, sex-trafficking, drugs and violence has been done to death in recent years, so it would take something very special to stand out from the crowd. This didn't quite hit those heights.

It should also be pointed out - and I've seen others mention it too - that the dialogue is frequently too abrupt to be realistic. - 7.7/10.

Deutschland 89 (2020)

Amazing series. Captivating, educational ... the best in its class

[9/10 · 18 May 2021]

After a tank full of red herrings, the series comes to a deserved conclusion. It is nicely worked through, although some might say a little on the cheesy side.

Looking back at the production in its totality, almost every good quality that we could have wished for was there in abundance. A dynamite script, a relentless pace, and some very classy acting ... to mention just a few.

And almost as the credits begin to roll, we are served up one final treat. Footage of President Trump extolling the virtues of his wonderful new wall. History repeats, and lessons are not always learned. In such cases, poking fun is the prerogative of the filmmaker. - 8.8/10.

Man in Room 301 (2019)

A rewarding watch ... but dishonesty marks have to be deducted

[8/10 · 13 May 2021]

Almost a very excellent drama. The plot, writing and acting is absolutely on point, but unfortunately, the production team take too many liberties along the way. The way that the infant died was, statistically, highly improbable, but worst of all was the shameless way in which terrible casting was used to dupe the audience. Not cool and not necessary. - 7.7/10.