crw1

It amazes me that the professional critics find so much to say about some films. I think they just write competing with each othet. If I am the artless one who just doesn't get cinematic art when it is surreal and abstract (hey, the painting's upside down-I think) so be it but I cannot imagine convincing anyone I know to watch this and not be condemned afterwards. Lots of what we see is meaningless visual indulgence: If it is meant to mean something, it's lost on me. It just reminded me of bits of Alice's two adventures and we all know Mr Dodgson was a bit mad. In fact the whole film was lost on me. Nothing became clear to me at the end either, (the only reason I watched to the end). Was the end of the movie really the start? No idea. Save your time and watch a movie with characters you like or hate (as are meant to be) with a story that if not told in strict timeline, at least comes together eventually.(Pulp Fiction a good example of that.

Seriously clever and funny exposé of the ghastly, deceitful current affairs programmes that are somehow so popular. I cringed at them at the time and it was wonderful to have all my cynicism confirmed. Amoral sums them up. Every character fits perfectly into the evil plots. They are all great actors, the repartee is just delightful, perfect timing etc. But the standout for me is Alison Whyte's Emma Ward. Her subtle facial expression changes when listening, her cynical sotto voce asides, beautiful understated delivery, utterly convincing naturalness are acting perfection. Totally convincing in her role. Love the show, specially love Emma.

I'm so over US (mainly cop) shows with bawled commands (stating the obvious), orders that can't be accepted without 'You got it' (alternative, 'On it') and a reassuring pat on the arm (alternative, shoulder) and of course a blazing, predictable gun fight.

Happy Valley is quiet class. Not a word is wasted, nothing is uttered that doesn't need to be. The characters are utterly convincing, even silences are perfect (witness Clare's wordless internal battle with 'What have I done', 'What should or can I say', Should I even say anything?' A masterclass in 'face acting')

The main story, with absorbing sidelines, is gripping with only a rare need for shocking detail and some nasty bits handled with sensitivity.

I have only slight disappointment that some of the foreign villains aren't quite convincingly evil enough but it's so minor. It's safe to say nothing can spoil this flawless writing (some wonderful rejoinders and parting shots) and acting (words, gestures, expressions). It's just wonderful, complete.