Many of The Abandons’ concerns were better and more interestingly examined in 2022’s The English (a revisionist western further revised by Hugo Blick and starring Emily Blunt and Chaske Spencer as two rootless beings finding out what freedom means). But it remains a thoughtful, essentially sound production – and the script improves in quality if not depth.
As the minutes and hours unfold, matters become increasingly ridiculous and even within the elastic definition we apply to these capers, absurd (armed police teams who don’t check the loos and take a little boy’s word for it that there’s no one else in his hiding place with him, for instance). In addition, the words the poor actors are required to say become increasingly abysmal.
It’s a great ride, and Whitehall acquits himself well in his first lead dramatic role, even if he is better at oblique menace than delivering straightforwardly murderous speeches. Duchovny is as skilled, nimble and charismatic as ever.
Even without two astonishing performances from the lead actors – Claire Danes and Matthew Rhys – the script, the sheer style and confidence of it all, would be things of beauty. But add what that pair are doing, and this clever, taut eight-part psychological thriller moves seamlessly into top-tier television.
It’s everything you want from the gameshow, but with loads of famous faces. And at one point, it feels like you’re witnessing the last pure moment in history. Beautiful.
All Her Fault is fantastically well done. All the carefully planted seeds come to fruition. All the narrative cogs turn and interlock fast and seamlessly. You come for the terrifying premise and stay for the absolute pleasure.
Look, by any objective measure Robin Hood is terrible. Subjectively? I couldn’t be having more fun and I suspect it will be the same for anyone who goes into it with the right attitude.
