It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.
The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. And if you want to know when any of these shows are on in your area, there’s Locate TV – they’ll even email you a weekly schedule.
It’s February. How did that happen? Anyway, what with the Superbowl and the fact that no one launches any new shows at the end of January, it’s been a relatively quiet week in terms of new shows, with only Sky/Pivot bucking the trend to give us Fortitude. On the other hand, a few old hands have returned with new seasons…
After the break then, all the regulars, including 12 Monkeys, 19-2, The Americans, Arrow, Banshee, Constantine, Elementary, The Flash, Gotham, Ground Floor, Hindsight, Man Seeking Woman, Spiral (Engrenages), State of Affairs, and Suits. The observant will notice that neither Cougar Town nor Marvel’s Agent Carter are on that list: that’s because I’m watching them with my wife and she only watches TV – get this – when she’s in the mood. It’s just inconceivable, isn’t it? I also tried to watch Backstrom‘s second episode but failed, as it was even less engrossing than the first episode.
But that relative lull means I’ve been able to squeeze in a movie this week.
Gone Girl (2014) (iTunes, Amazon Prime)
Ben Affleck and Rosamund Pike meet, fall in love and get married. Then one day, Affleck returns home to find his wife gone in mysterious circumstances. But it’s not long before the finger starts pointing at him. Novelist Gillian Flynn adapted her own bestseller for this slightly meandering, variable piece, shot with the usual visual precision by David Fincher. By turns disturbing, upsetting and even comedically ridiculous, the film veers close to misogyny, but the specificity of Affleck and Pike’s characters means they can’t be generalised to All Men and All Women or even to reality itself, such are some of the ludicrous twists. It’s at its best when analysing the nature of media coverage of criminal cases and allowing the Trent Reznor/Atticus Ross soundtrack to dominate, at its worst when trying to convince the audience that This Could Happen.
