Okay, it's not as clever as some of the best episodes of Hustle or classic movie The Sting, but it looked terrific, the leads were magnetic and there were some splendid scenes.
The blind auditions are over and the chosen singers will now go head to head against one of their team mates. The victor will progress to the knock out stage. For the loser they either get stolen, (not literally) by another coach or pack up and go home.
As a filmmaker 'Immigration Street' makes me sad because it glaringly captures on camera the fact that our media industry is an 'us and them' scenario. Why weren't any of the filmmakers immigrants? Why was every single crew member I saw white skinned?
'Catch Me Daddy', the UK directorial feature debut from Daniel & Matthew Wolfe with honour killing as it's theme is ambitious, stunning and gripping cinema. Kornel Mundruczo's 'White God' is a unique, bizarre, audacious and extraordinary tale of a canine uprising on the streets of Budapest.
I was asked to review Sergei Loznitsa's new documentary record of the Ukraine protest movement Maïdan for Radio 4's Front Row programme this month. It's a timely film. Russia's black propaganda efforts since Maidan have been unrelenting...
My waiter, the chefs and all the guys at The Clink HMP Brixton appear to be smart, courteous, well trained and as suited to the job as any restaurant staff I've come across. But more than that, they have an air of hope about them.
Where does fear come from? If we accept the psychoanalytic stance of a 'continual return of the repressed', ghosts and demons offer a way to battle un...
I'd be amazed if this didn't feature heavily in the next Razzie awards. The scene in the finale where a key character's wings unfurl is one of the most laughable I've witnessed in a major film over the past 12 months.
The soufflé: light, fluffy and melt in the mouth delicious, but an absolute pain to make. Which is why although I would consider myself adept in the kitchen, I haven't bothered attempting to make one.
The overall aim is to investigate the histories and narratives of other people's images, dealing with the broader themes of loss, memory and mass cultural experiences. For me, this was a fascinating premise, and provided much food for thought.
So, please, indulge me as I hitherto invent a new genre of literary criticism and thrust it upon your unwitting and uninterested eyes. I call it a "pre-review review". I hear your teeth grind as you call me a "wally" and slap the back of your own neck in the hope you'll hit that "off-button" sweet-spot. Why not simply call it a "preview", like a sensible person?
Despite desperately wanting to don a towelling robe and order room service I had dutifully dragged my lycra-clad self away from the super king sized beds into the lounge area and got into 'eye of the tiger' mode ready to sweat.
It was really just yet another reality TV show - but unusually it was about intelligent sentient beings and not just strange orange people.
The final twist, if twist it is, was that Katie Hopkins had to be nice to everyone or risk suffering her worst nightmare. We weren't told what that was, but I should imagine it's being ignored. Oh, the two slebs up for eviction are Chloe Goodman and Alexander O'Neal.
Ridley Scott, in my opinion, had not made a great film in years, so I didn't hold out much hope for his latest, the biblical saga Exodus: Gods and Kings. However, like 2014's Noah, this huge, visionary epic holds together well and is worth a look on the big screen.
This festive season, Trafalgar Studios is offering up an alternative look at the work of Charles Dickens, in the form of 'Dickens with a Difference.' The double-bill incorporates the London premieres of Miss Havisham's Expectations and Sikes & Nancy.