The Sandbaggers of the title are an elite group of covert operatives under the command of Neil Burnside. The seven episodes in this first season see them tracking down defecting government officials, finding kidnapped scientists and plotting to overthrow a foreign government. But the real battles are between Burnside and his superiors, not to mention his own conscience.

Ray Lonnen, who would go on to star in the well regarded Harry’s Game, plays Sandbagger 1, Willie Caine. For Caine it’s simply a job, one he often doesn’t like but is extremely good at, and Lonnen plays him as an honest working stiff, with none of the airs and graces of the higher-ups. Caine is the most honest character in the show, and because of that he’s far less interesting than some of the more politically savvy characters.

I’ve always associated Diane Keen with comedy but she’s surprisingly good here. She plays Laura Dickens, the emotionally scarred trainee agent who’s seconded by Burnside into his Sandbaggers outfit. Her relationship with Burnside becomes more than merely professional, which allows us to see a human side to the career focused Sandbagger chief, and it’s testament to how good she is that we accept this change in character.

But the star of the show is Roy Marsden’s and he makes Neil Burnside one of the most complex characters ever seen on British TV. At times he’s an egotistical, ruthlessly ambitious bastard but he’s also fiercely protective of his Sandbaggers and his relationship with Laura Dickens is touching, partly because he’s so inept at dealing with emotional issues. The political battles between Burnside and his superiors (Richard Vernon as Sir James Greenley aka ‘C’ and Jerome Willis as Deputy Chief Matthew Peele) and his attempts to manipulate his ex-father-in-law Sir Geoffrey Wellingham (Alan MacNaughton) are the show’s highpoints, with the planning usually more enjoyable than the missions themselves.

Series creator and chief writer Ian Mackintosh (he wrote all the episodes for this first season) brings an authenticity to the show, with the writers Royal Navy background and (possible) ties to the intelligence community giving him an insider’s perspective. Mackintosh’s scripts all had to be vetted by the Government before they could be made, with one proposed second season episode a casualty of the Official Secrets Act.

The Sandbaggers was a firm favourite of my Dad but had little to appeal to a thirteen year old boy, which is how old I was when the show first aired. Watching it now I can see why he enjoyed it so much and why he became a lifelong Roy Marsden fan. I’m looking forward to discovering seasons two and three immensely.

Walter Brennan relishes being the star of the show, making the most of the series format to develop Will beyond the stereotypical cantankerous grandfather he starts out as, into a fully rounded character. The series fills in the details of his past as an army scout and his estrangement from his son as it progresses, giving us little nuggets every few episodes.

If Brennan provides the acting then Rambo is there to handle the action, getting stuck in to the fight scenes with gusto while also providing eye candy to appease the ladies in the audience. His acting is nothing special but he does a serviceable job, mostly just needing to look hurt, confused or occasionally, angry.

Unlike many series of its type, the object of their search does make an appearance or two. In fact Jason Evers as Jim Sonnett features in the series best episode “Message at Noon” a story that keeps the action until the end, instead focusing on the loneliness of the professional gunman. The bulk of the episode takes place inside a saloon, with Evers talking to the bartender, played with customary excellence by Strother Martin, about his past regrets and the son he hasn’t seen for years. It’s a touching and intelligent half-hour of television.

Guest starts are plentiful, with some familiar faces making appearances. Charles Grodin is a hot-headed young gunfighter with a bell on his holster for every man he’s killed, while Jack Nicholson, Harry Dean Stanton and Dennis Hopper all try their luck against the Sonnetts to their cost.

The quality of the episodes is mostly good, with the occasional standout where the series breaks with its format a little. There’s only one real dud, the Christmas episode “Sunday in Paradise” which has Will Sonnett behaving out of character and features a feel good ending that isn’t the series norm.

For the most part though this is an excellent example of a half hour ‘60s western TV show, with a strong central performance from Brennan and some thought put into developing the characters, something unusual for the period.

Next on TV Tomb: The Sandbaggers – Season 1

Unlike Flint and Helm, The Man from UNCLE series played it (relatively) straight, at least it did until its third season. This “movie” is really a couple of first season episodes cobbled together, along with some extra footage that was a bit too risqué for television at the time. The film holds together relatively well considering, although it does plod a little in the middle. The series and these spin-off films would get better as the series found its feet. The villains improved as well, with some big name guest stars making an appearance. Here all we get is Senta Berger, who, while certainly not unpleasant to look at, isn’t particularly threatening.

Still at least Mr Smooth, Robert Vaughn, is on hand. Snappy dresser, seducer of beautiful women and no slouch when it comes to mixing it up with the bad guys, Napoleon Solo is America’s answer to James Bond and Vaughn is the perfect choice to play him. Here he also gets to play his double but doesn’t really get to have much fun being evil as he’s just pretending to be the real Solo.

David McCallum’s Illya Kuryakin also seemed the more professional of the two, less inclined to let his libido lead him into trouble. Kuryakin must have felt a little inferior next to Solo but McCallum makes him the more likable of the two. You might want to be Solo but you’d rather have Kuryakin for a buddy.

Rounding out the regulars is Leo G. Carroll as Mr Waverly, UNCLE’s answer to M. He doesn’t really have much to do here, other than send Solo on his way but then that’s pretty much the nature of the role, just as it is with M in the Bond films.

With no sign of the complete series being released on DVD in the UK, and only available from Time Life in the USA (who won’t ship outside American) the only choice for UNCLE fans wanting a super-spy fix is the Region 2 box set containing five of the eight feature film versions. The film of the pilot, To Trap a Spy, isn’t included in the set, with things kicking off with this, the second movie, instead. It’s not vintage Man from UNCLE but it has some entertaining moments, with Vaughn and McCallum getting to grips with their characters. They’d become a better double act later on though.

In this day and age, with the likes of M. Night Shyamalan making a career out of the twist ending, the stories presented here should really be called Tales of the Occasionally Surprising, but watching them again, what is really surprising is how many have stayed in my memory.

“The Man from the South”, “Lamb to the Slaughter” and “Neck” all brought back fond memories. The best stories are those with a healthy dose of black humour to go along with the twist ending and all of these fit the bill nicely.

The series featured a surprisingly starry cast. “Neck” gives John Gielgud a dry run for his butler role in Arthur while “Edward the Conqueror” sees Joseph Cotton go to extremes in order to dispose of the feline reincarnation of Franz Liszt. Other notables include Jose Ferrer, Joan Collins and Jack Weston.

They’re nothing special to look at, particularly those shot on video, but it’s the story that’s the main attraction. Julie Harris stars in the dullest of the tales, Mrs Bixby and the Colonel’s Coat (she made a second appearance in the episode “The Way Up to Heaven” at the end of the season) but even this features a wryly amusing, if unsurprising, conclusion.

The best of the stories though is the deliciously amusing (and amusingly titled) “Lamb to the Slaughter”. Susan George’s husband is murdered and Brian Blessed is the copper who’s leading the investigation. Both are very good, particularly George, but what makes this one such a joy is the ending. It’s not that you don’t see it coming, rather that you do, with the audience one up on the befuddled police.

Also memorable is Ron Grainer’s theme tune. Grainer is responsible (or at least partly responsible) for the greatest theme tune to a TV series ever – Dr Who – and he also wrote the opening music for The Prisoner. Tales of the Unexpected doesn’t come close to matching them and is, at least partly, memorable for not really fitting the series it introduces; it’s far too upbeat and jolly.

There’s nothing here that will give you sleepless nights but they will provide the odd surprise and more than a few chuckles and, for those of a certain age, they’ll doubtless bring back fond memories.

The premise is ridiculous, I’m not sure what a Police Commissioner actually does but I’d put money on it not involving car chases, shoot-outs and fist fights, but such was the daily life of Stewart ‘Mac’ McMillan as played by Rock Hudson.. I also doubt any high ranking police officer ever had a wife as lovely and kooky as Susan Saint James.

Hudson and Saint James had a great onscreen chemistry and give the impression of having just as much fun making the series as the viewer did watching it. While the absurdity of the central concept wouldn’t get of the drawing board today, the series has a certain retro charm. The murder plots may be ludicrously convoluted but they were, at least in the best episodes, secondary to the banter between the shows stars. They were a ‘70s Nick and Nora Charles, just not as pickled.

When the show deviated from that formula, like in the final episode of the first season with Saint James relegated to a secondary role (due, I think to her real life pregnancy), it drags, feeling like a standard 50 minute show padded to 70+ minutes. It was little wonder the series folded after just one season without Susan.

There are plenty of familiar faces for long-time TV fans, the pilot alone features Rene Auberjonois, Jonathan Harris (Lost in Space) and Kurt Kasznar (Land of the Giants). Also making appearances are a pre-Cagney and Lacey Tyne Daly, Don Stroud, Claude Akins and a host of others. None of the guest stars get much of a look-in though, the focus was also on the two charismatic leads.

It’s hard to imagine it having much appeal to new viewers; it’s dated (particularly Hudson’s suits!) and looks cheap compared to today’s shows. There is also some unintentional humour, given later revelations about Hudson’s sexual preferences, with Mac something of a babe magnet who has a past with almost every attractive woman he bumps into. It feels like the star was overcompensating to cover his secret life but it’s so unsubtly done it’s hard not to chuckle. With stars now far more open about there sexuality and mainstream shows featuring openly gay characters, this macho posturing just adds to the show’s dated feel.

Beasts is a series of six self contained dramas with a horror bent from the pen of Quatermass creator Nigel Neale. I didn’t watch the show when it first aired back in 1976, I was eleven at the time and it was probably shown after my bedtime, so this DVD release from Network was my first exposure to it.

It looks dated in its production values but for the most part the stories still stand up. As with many television dramas of the time is was shot on video tape and on the kind of ‘70s sets that never fooled anyone into believing they were the real thing, so it’s not particularly pleasing on the eye. Some of the acting is a little too broad, having more in common with stage acting than film, but there are some standout performances.

High points are the episodes “Baby” and “What Big Eyes”. The first deals with the mummified remains of a baby (of unknown species) found in the walls of a country cottage owned by a young vet and his pregnant wife. The episode’s creepy atmosphere and a fine performance from Jane Wymark manage to overcome a lack of action and the overly dramatic performance of Simon MaCorkindale. The final scene closely mirrored that of Inside which I’d seen just days before at the FrightFest all-nighter and may have added to the unsettling nature of the episode and enhanced its ability to creep me out.

“What Big Eyes”, as you probably guessed, is a werewolf tale but one with a difference. Loopy scientist Leo Raymount is convinced that man has an inherent ability to transform into a wolf and, with a serum created from wolf blood and himself as a test subject, he’s determined to prove his theory or die trying. The episode is virtually a two-hander with Patrick Magee giving a tour de force performance as Raymount opposite a young Michael Kitchen as an RSPCA officer trying to find out what happened to the wolves used in Raymount’s experiments.

It’s clear that Neale was keeping up with his horror reading with two episodes “borrowing” from a couple of then current horror novels. “Special Offer” is Stephen King’s Carrie moved from a school to a supermarket with Pauline Quirke as a girl with telekinetic powers that she can’t control. The episode doesn’t really work, with the story not strong enough to support the fifty minute running time and the performances lacking the scene stealing power of Magee.

Far better is the oddly titled “During Barty’s Party” which plays like a chapter from James Herbert’s Rats. Another two-hander, this time with Anthony Bate and Elizabeth Sellars playing a married couple terrorised in their country home by marauding rats. The fact that the rats are never seen, only heard, adds to the tension and the small cast helps give the episode a suitably claustrophobic feel with the tension mounting steadily throughout.

The oddest episode is “Buddyboy” about the ghost of a dolphin haunting its old pool. Martin Shaw is pretty good as a sleazy porn entrepreneur who plans to turn the disused pool into an “adult” cinema but the story is too weird to really work.

“The Dummy” is another interesting failure. An actor playing a monster in a horror film runs amok when he immerses himself a little too much in the part. The story is a sly jab at Hammer after Neale’s less than happy experience working with the company, with the creature dubbed “The Dummy” a surrogate for the author who perhaps felt himself something of a dummy for being taken in by the studio.

Also on the DVD is an episode of Against the Crowd written by Neale and titled “Murrain”. Superstitious villagers become convinced that a local woman is a witch who’s responsible for a run of ill luck in the area and they try and enlist the aid of an out of town vet, with disastrous results. The episode feels like a dry run for Beasts, with a similar mix of the real world rubbing shoulders with the unknown. Bernard Lee, as a local farmer and ringleader of the witch-hunt, gives a great performance that’s a world away from his most famous role as M in the Bond films.

Beasts is always entertaining, with even the weaker episodes having some redeeming features and at its best it’s a fine example of how good TV horror can be.

February was Star Trek geek month on US TV – don’t worry, I’ll explain why as we go along.

24

“Day 6: 12pm – 5pm”

Poor old Jack, his family makes the Borgias look like the Waltons. His brother was bad enough, but dear old dad just about takes the biscuit. James Cromwell hasn’t been this convincingly nasty since L.A. Confidential. I’m hoping that Morris will fall into his clutches soon and Bauer Sr. can put a bullet in him and save us all from his incessant whining. Still, at least Milo showed some backbone, fighting off the bad guys until the cavalry (in the form of Jack “Nick of Time” Bauer) arrived. Mr Lennox has also shown a little more spirit, standing up to the would-be presidential assassins. Of course being a little guy, this just resulted in him being tied up and gagged, but it’s the thought that counts. Then we have ex-president Logan – just what is he planning? The series has had its usual quota of ridiculous plot twists but the action has been a little lacking this year. Still Morris got tortured so it’s not all bad.

Battlestar Galactica

“The Woman King”

Sometimes it seems that Helo is the only truly decent person on Galactica and this episode certainly gives weight to that idea. Bruce Davison makes a guest appearance as a doctor with a grudge and only Helo suspects something is not right when his patients start dying. The episode isn’t afraid to show some of the main characters in an unflattering light, particularly Adama and Tigh, although the latter isn’t much of a surprise. Davison is good as the doctor and Tahmoh Penikett relishes having the spotlight turned on Helo, giving his best performance so far.

“A Day in the Life”

This was a little on the dull side. Chief Tyrol and Cally get stuck in an airlock while Adama mopes about, thinking of his ex-wife on their anniversary. There are some nice character moments between Adama and Lee but the lack of action makes for a painfully slow pace. The episode also highlights something that I find incredibly annoying. I can accept that the civilians’ fashions are far too earth-like, or that the cigarettes the doctor is always smoking look like Marlboros. I can and do accept all that and more UNTIL they go and do something to try and convince me how different things are. What did they do? They cut the corners off books! My god how strange, how otherworldly, how ALIEN! Someone please explain the point of this to me.

“Dirty Hands”

This week Chief Tyrol gets upset when he sees the working conditions on one of the fleet’s ships and calls a strike. Aaron Douglas outdoes himself as Tyrol and the episode brings to light some hidden resentments and highlights the colonies’ class system. It also shows Adama (again) and President Roslin in a harsh light, while Baltar is shown to be more sympathetic than before. The ending, however, feels like a cop-out with everything sorted by the time the credits roll. The series is often at its best when it mirrors real world events but this marks three episodes in a row without a Cylon and that’s pushing things a bit far.

Criminal Minds

“The Big Game”

James Van Der Beek is this week’s serial killer, murdering wealthy couples in their homes. It’s a good episode with the cast all on excellent form but as the first part of a two-part story, it really only serves to set things up for the cliff-hanger ending that puts Dr Reid in the killer’s hands.

“Revelations”

With Reid in the killer’s clutches it’s a race against time to save him. James Van Der Beek is surprisingly good as the killer who suffers from multiple personalities but the real star is Matthew Gray Gubler as Reid. His character really gets put through the wringer and the repercussions are still being felt. This episode really highlights why the series has improved this year; putting as much emphasis on the characters as on the plot has really paid dividends.

“Fear and Loathing”

This is a more by the numbers episode than recent entries, with only the racism angle setting this apart. It feels like someone’s read that serial killers are mostly but not always white males and decided to give us a black killer. The cast do their best but they really have little to work with. The worst episode of this season.

“Distress”

I think this is the first time the series has had us rooting for the killer, a war veteran suffering from PTSD who thinks he’s back in a war zone. It’s up to the BAU to find him before the local police do. You get the feeling almost from the start that things will end badly but you’re hoping against hope that you’ll be wrong. There’s always a sense of sadness about Gideon but this episode you really feel the weight he bears. Mandy Patinkin is never less than good but his work at the end here is stunning. He doesn’t have to say anything, we read it all in Gideon’s face.

“Jones”

This is similar to “Fear and Loathing” but instead of a black serial killer we have a female one. It’s better than that episode, although it could have done without the overused Jack the Ripper copycat idea. The ultimate responsibility for the murders falls to a cop, who, while not doing the killing, is indirectly responsible for them and the message is clearly that the law must treat everyone equally. As with “Distress” we feel some sympathy for the killer and the resolution is nicely played out. Also notable in this episode is the introduction of a possible love interest for JJ; whether this will be followed up remains to be seen.

CSI

“Meet Market”

The new guy again gets the better of the two stories this week as Keppler investigates the black market sales of body parts. Right from the start, when he opens an umbrella found inside a dead body, spattering Doc Robbins with blood and deadpans, “That’s bad luck, isn’t it?” you know you’re on to a winner. In another memorable moment he observes that Grissom’s habit of collecting things fits the profile of a serial killer. Any other week Catherine’s investigation into how a woman was murdered by her long lost son would have kept my attention but with Liev Schreiber in such fine form she just can’t compete.

“Law of Gravity”

Grissom returns but his comeback is overshadowed by Keppler’s exit. And what an exit! This ranks as one of the show’s finest episodes in its seven-year run, a blend of hard-boiled detective story and clinical CSI investigation. In just a few short weeks Liev Schreiber won me over to such an extent that I was moved to tears by Keppler’s final scene.

“Monster in the Box”

And finally the box! It’s been sitting on Grissom’s desk for weeks, tormenting us and at last the wait is over. But, while the contents may have been revealed, the mystery has only gotten deeper. A nice guest appearance by Kathleen Quinlan and a good, if not entirely unexpected twist ending help alleviate the lack of closure. I get the feeling the killer will not be revealed until the season finale. I just hope it will be worth the wait. Time for the first Star Trek geek alert – Kobayashi Maru is Hodges’ cat and the name comes from a starship in a training exercise in Star Trek.

“Fallen Idols”

This is the sort of excellent story that CSI does week in week out, unfortunately coming after two excellent episodes it seems a little duller than it really is. The identity of the killer isn’t even a surprise. Guest star Laura Harris is wasted as the photography teacher with a thing for one of her students; she’s clearly a red herring (sort of) from the start. Disappointing but far from bad.

Heroes

“Distractions”

An episode that builds towards the supposedly shocking revelation of Clair’s father; the thing is, for it to be a surprise we know it must be someone we’ve already encountered and only a couple of guys fit the bill – Claude and Nathan. The best moments this week are Sylar’s as he sits in Mr Bennet’s kitchen chatting to his wife with murder on his mind. I like Ali Larter but the Niki plot strand is dragging at the moment; still, I’m confident that will change. It’s time for the second (and last) Star Trek geek alert – the license plate of George “Mr Sulu” Takei is NCC-1701, which is of course the serial number of the Enterprise.

“Run!”

This is one of those “not much happens” episodes; this concentrates on Matt as he turns first security guard and then jewel thief. The focus is also on Niki as the mysterious Mr Linderman orders her to murder one of his employees who just happens to be the guy Matt’s guarding. Some nice action scenes keep things moving along. Nathan is once again at the centre of the cliffhanger ending as Linderman sets him up as Niki’s next target.

“Unexpected”

Matt and Ted the radioactive man get reunited and the pace really starts to pick up. The characters stories become ever more closely intertwined; Mr Bennet encounters several of the main players this week and ultimately ends up along with his family in the hands of Matt and Ted. It becomes clearer with every chapter just how well this story has been mapped out and while Hiro’s and Niki’s storyline may seem a little distant from the main plot, the reality I think will be very different. In Sylar the series has an excellent villain, an emotional void with a unquenchable thirst for power. The ending shows just how confident the series has become in telling its tale, leaving us with a leading character who may be dead, not just for one week, but for two as the following episode tightens the focus to just a few of the main ensemble.

“Company Man”

A spectacularly good episode, this is the series’ current high water mark. The structure, jumping from flashback to present day, works magnificently with Jack Coleman as Mr Bennet giving one of the finest performances I’ve seen in a weekly TV show. Bennet has been something of a bogeyman all season but in just forty-odd minutes Coleman turns all that on its head. We don’t excuse the bad things he’s done – in fact we see him do more as (in flashback) he shoots Claude, but none of that matters. It’s about a man and his love for his daughter and vice versa as both risk their lives for each other. It’s the sign of a good series when it can tap into your emotions well enough to bring a tear to your eye and this was the second show this month that had be blubbering.

Lost

“Not in Portland”

Juliet’s past gets a little light shined on it this week and at least on the surface she appears the noble doctor, but things are not always what they seem on this show. She’s already shown a ruthless streak and it’s a given that there will be more twists to her tale. While there’s a lot of running around for Sawyer and Kate, not much really happens and after an excellent start to the season the show seems to be treading water.

“Flashes Before Your Eyes”

An excellent episode as Desmond’s secret is revealed but that only serves to deepen the mystery. Episodes like this one are a joy to watch, particularly as Henry Ian Cusick is so good as Desmond, a man who’s as puzzled as the viewer as to what’s going on. The problem is, I’m left wondering if the writers weren’t as confused as Desmond and I were.

“Stranger in a Strange Land”

Last year Jack was one of my least favourite characters, this year he’s turned that feeling on its head. Here we learn some more of his past and the secret of his tattoo, a souvenir of his visit to Thailand. There is something inscrutable about Jack and it serves to make him immensely likeable or intensely annoying by turns. He’s also incredibly pigheaded which can also be a blessing and a curse and I wouldn’t take bets that he won’t be on my least favourite list again by the end of the season.

“Tricia Tanaka is Dead”

A feel-good episode starring the master of disaster Hurley and introducing us to Hurley’s dad played by Cheech Marin. Nothing of consequence happens (or at least seems to) with the exception of the ending, but it will put a smile on your face all the same. Jorge Garcia has created in Hurley a character everyone loves, he’s impossible to dislike. Like CSI and Heroes, this episode strikes an emotional chord but a far happier one.

Masters of Horror

“Dream Cruise”

As with the final episode last season, this year finishes with a Japanese director at the helm. There are a couple of things that separate this from the first season’s “Imprint” though. Firstly this one actually aired (“Imprint” was deemed too shocking for American TV, even cable) and secondly Takashi Miike is a famous (or infamous) Japanese director while Norio Tsuruta is a nobody who’s most well known film, Ring 0: Birthday, is by a long way the worst film in that franchise.

Taken from a short story by Ring author Kôji Suzuki there is far too much going on here. We get a homicidally jealous husband, his dead first wife coming back for revenge while he’s trying to bump off wife number two. Add to this the ghostly dead brother of the man the second wife was having an affair with and you get an episode that’s bursting at the seams with ideas. The problem is the whole thing feels as if it was created backwards, as if it was built around the twist ending and it’s a twist that doesn’t come as much of a surprise. Things aren’t helped by Naoya Takayama’s script; had it been written in Japanese it would probably have been fine but the English dialogue comes across stilted and false and it’s made worse by two of the lead actors clearly not being particularly comfortable in English. A disappointing end to a disappointing second season.

UK TV

Life on Mars

Episodes 1-3

Returning for a second series, this retro detective series with a twist (the whole thing may be a hallucination of the lead character) gets off to a slow start with a straightforward murder investigation but hints that that there may be more going on with Sam Tyler than previously thought.

Things pick up with episodes two and three as the series shines a light on the nostalgic golden years of ’70s Britain and finds they weren’t all that great after all. While the series parodies ’70s cop shows like The Sweeney in also brings home some of the prejudices of the time. Episode two focuses on racism and highlights how Blacks were treated then, a problem that was even prevalent in the police force. It’s the offhand way that the bigotry presents itself that’s most disturbing, like it was accepted behaviour (which at the time it was) with the minorities sometimes playing up to it so as not to rock the boat.

The ’70s was a particularly bad time in Northern Ireland and the third episode focuses on the prejudices just being Irish invoked, with arrests made based solely on where you were born, without evidence to back it up. The message of the episode is clear; this sort of treatment may have pushed honest Irishmen to join the IRA.

Yet the series shows us all this and still manages to bring back fond memories of those times. As DI Gene Hunt, a violent, racist bully who makes The Sweeney’s Jack Regan look like… well, Inspector Morse, Philip Glenister is brilliant. He takes this larger than life caricature and turns him into a human being, someone you may at times despise but who never fails to keep your attention. By contrast John Simm gets the less showy part of Sam Tyler. The opposite of Hunt, Tyler is moral, even-tempered (most of the time) and just an all round nice guy who you instinctively like. You’re rooting for him to get home, back to 2007 and yet and the same time you’re not because if he leaves 1973 the series will end and it’s far too enjoyable to want that.

Primeval

Episodes 1-3

This new show from the British ITV channel is clearly looking for the same audience for family SF that the BBC showed was there with its successful re-launch of Doctor Who. The first episode borrows ideas from such disparate sources as Jurassic Park, canceled US TV show Surface and even Stargate and blends them together to create one of the best British SF series ever.

The show deals with holes in time, the creatures that come through them to create chaos in the modern world, and the team whose job it is to minimise the danger. It’s brilliantly paced, giving us lots of action each week but also just enough of the mystery surrounding the “anomalies” to keep us hooked. Best of all it has a cast of truly likable characters; everyone from scientist Nick Cutter to the team nerd Connor Temple are both brilliantly written and wonderfully played. One reason for watching the show is to see the monster of the week, but you also want to know what happens to the team, not just with regard to the big story but also the internal dynamics of the group.

You know you’re onto a winner when you can’t wait for the next episode and this has that feeling in spades (though not quite as much as Heroes).

It’s no surprise that the series that drew me back in was NBC’s superhero show Heroes – as a long time comic book junkie, it was impossible to resist. I also tried a few of the other new series, notably Jericho, Shark and Justice. Sadly Jericho failed to make the most of its interesting premise and Shark relied too much on the star power of James Woods at the expense of original stories and interesting characters. Only Justice grabbed my attention, with its did-they-or-didn’t-they stories that kept you guessing until the very end and Victor Garber as a lawyer who made Shark look like a goldfish. Of the three, Justice was the one that got canned, go figure.

On top of the new shows I returned to some old favourites, though not quite to the level of my previous addiction. I’m currently watching seven ongoing series and trying some others when they pique my interest. So here’s what I’ve been watching in January.

24

“Day 6: 6am-12am”

Jack’s back, cue explosive action scenes and absurdist plot twists. I don’t know why most people watch this show but for me it’s seeing how far Jack will go to get the job done and what outlandish events the scriptwriters will conspire to throw at him. Already this time we’ve seen Jack take out fellow CTU agent Curtis Manning and Jack’s father and brother tied into events that have put nuclear weapons into the hands of terrorists. Not to mention the revelation that the man behind the events of Day 5 was Jack’s brother.

If anyone else had been released after twenty months as a Chinese prisoner they’d probably need help just walking but, after a quick haircut, shave and probably a manicure, Jack is still a match for any terrorist he comes across. Hell, he doesn’t even need to use his hands, he quite literally chews up terrorists and spits them out (luckily his Chinese captors never went to work on his teeth).

The idea of a nuclear detonation on American soil is the biggest threat the show has ever presented and the sight of Jack standing looking at a mushroom cloud in the distance is one of the most memorable images I’ve seen on TV this year. It makes you wonder how they could top it for Day 7.

Battlestar Galactica

“Rapture”

After over a month’s wait for the conclusion of the two-part story that began with “The Eye of Jupiter” this is something of a letdown. Yes there is plenty of action as Apollo and his team hold off the attacking Cylons and even a little tension when Adama aims Galactica’s nukes at the planet daring the Cylons to call his bluff but at the end of the day we don’t really learn much.

We get more talk of “the final five” without any revelations and Lucy Lawless gets decommissioned as Number 3. Yet the main purpose of the episode seems to be to return Baltar to Galactica.

“Taking a Break from All Your Worries”

At its best this series ranks as a high point in TV SF. Unfortunately this episode doesn’t present the series on top form. The interrogation of Baltar is excellent, with James Callis giving an exceptional performance as the ex-president pushed to his limits as Adama and company use any means to find out what he knows about the Cylons.

Where the episode fails is when it concentrates of the relationship of Lee and Kara. Both characters have been weakened by the recent affair, with the viewers’ sympathy firmly with their spouses. Apollo in particular has come across as a whiny wimp. This episode seems to be attempting to turn the clock back with both characters trying to mend their broken relationships. The main problem is that with everything else that’s going on, we don’t really care if they succeed or not.

Criminal Minds

“No Way Out”

In its first season this was a good show; this year it’s become a great show. The main reason for the improvement has been a more character-centred approach to the stories with the members of the team being fleshed out into more rounded creations.

This episode concentrates on Gideon as he has a battle of wits in a diner with Frank, a serial killer played by guest star Keith Carradine. Carradine’s character is no ordinary killer; as Gideon says he’s the “most prolific serial killer ever” and it’s a part Carradine clearly relishes. His scenes with Mandy Patinkin are a joy to watch, with two great actors going head to head. Their relationship recalls Kevin Spacey and Morgan Freeman in Seven and the episode even references that film when Frank says, “But you know what’s an even more interesting question? What the psychopath’s got in the bag, Jason.”

This episode marks a high point for the show and the story’s resolution leaves the way open for Carradine to return as Frank, something I for one would welcome.

CSI

“Leaving Las Vegas”

While this episode focuses mainly on Catherine as she heads out of town in search of new evidence when a man she testifies against is found not guilty, it’s Grissom’s impending leave of absence that is really the core of the episode. It’s not that Willows’ investigations are any less interesting than normal (it’s the usual clever murder mystery), more that Grissom is the heart of the show and you can’t help wondering how the series will survive without him.

While it’s only to be a four-week sabbatical at the moment, I get the feeling they are testing the water for a more long-term, maybe even permanent, absence for William Petersen’s modern day Sherlock Holmes. The arrival of a package addressed to Grissom that sits unopened on his desk implies that the model-making killer case that has featured in several episodes this season may not be over after all. Will its conclusion lead to Petersen’s exit? I hope not.

“Sweet Jane”

This episode marks the arrival of Liev Schreiber’s Michael Keppler, a character designed to fill the gap left by William Petersen. Thankfully, rather than creating a Grissom clone, the writers have gone the opposite route, making Keppler the anti-Grissom. Schreiber’s character goes more on gut instinct, trying to get into the mind of the killer in much the same way as a profiler. When Catherine calls him up on this he can’t see the difference. Catherine points out, in true Grissom style, that as CSIs they let the evidence tell the story.

This week also sees Ned Beatty making a guest appearance as deadly dentist Dr. David Lowry. Beatty is a terrific actor and his final confession, where he shows a total lack of remorse at killing a number of young girls over a forty-year period, is the episode’s highlight.

Grissom may be gone but thanks to two big name guest stars the show weathered the first episode without him well. We’re left wanting to learn more about Keppler and that has to be a good thing.

“Redrum”

While his first episode left me intrigued, Schreiber really won me over with this one right from his first scene. Getting chewed out by Undersheriff McKeen, over a working breakfast with Catherine and Brass, Keppler is more interested in the waitress getting his eggs wrong than what McKeen is saying. He’s clearly not a guy to suck up to the boss and it’s probably the only character trait he shares with Grissom.

Coming up with a plan to catch a missing murder suspect by using “reverse forensics” he convinces Catherine to go along. The only problem is the rest of the team have to be kept in the dark. It’s not long before Nick starts asking questions and, when he doesn’t get answers, he recruits the rest of the team for a little private investigation.

This episode sows the seeds of inner turmoil within the group, with Stokes no longer trusting Catherine even after she explains the reason for the deception. Is Grissom’s team breaking apart in his absence? We’ll have to wait and see.

One of the best things about the show is how, after the revelation that Grissom and Sara Sidle had a relationship at the end of last season, it hasn’t overplayed the storyline. This episode continues in that vein as Sara receives a bizarre gift from Gil in the mail. It’s a nice little scene that doesn’t get in the way of the main plot.

And once again we see that mystery package on Grissom’s desk, foreshadowing things to come.

The Dresden Files

“Birds of a Feather”

Imagine The Rockford Files crossed with DC Comics Constantine and you’ll have some idea what this show is aiming for. Harry Dresden is a wizard taking on paranormal cases and in this pilot episode he’s dealing with a monster in a kid’s closet. It’s hard to believe how dated this series feels. With its cheap look, underdeveloped characters, and clichéd performances, it would have felt right at home in the eighties.

As Dresden, Paul Blackthorne shows none of the charisma he brought to Stephen Saunders, the villain in the third season of 24. The British actor does a decent American accent but that’s about the only good thing I can say about his portrait of the annoyingly smug Dresden.

Expect this to have a short life span.

“The Boone Identity”

I like to give new shows a chance and rarely condemn them on one episode alone; unfortunately this second outing is even worse than the pilot.

This time it’s a young girl’s ghost Harry has to help find peace and to do it he has to find a body-hopping criminal. The outcome is never in doubt and we’re several steps ahead of Dresden as the dim-witted wizard takes forever to put the pieces together.

This is a BAD show with absolutely nothing to recommend it and I won’t be wasting any more of my time on it.

Heroes

“Godsend”

A welcome return after a six-week absence for one of the season’s best new shows; unfortunately most of the running time is spent going over things we already know.

Mind reader Matt fills his wife in on his abilities, indestructible cheerleader Clare jumps off the water tower again to show Zach what she can do after her Dad wiped his memory, and Niki fills her lawyer in on the fact she’s sharing head space with her dead sister.

This makes this a perfect jumping on point for new viewers (surely what it was designed for) but a little frustrating for those of us who’ve been there from the start. Luckily it does have something new to offer in the shape of Christopher Eccelston as the appropriately named Claude, who may be the key to saving the world. Claude, you see (or rather don’t), has the power to become invisible and he’s been appearing in Peter’s dreams.

Peter thinks he’s the key to saving the world but the fact that in the dream he’s seen laughing like a madman while Peter goes boom may suggest otherwise.

“The Fix”

Now this is more like it!

This time we find out a little more about Claude as it’s revealed that Peter isn’t the only superpowered person he’s had contact with. Eccelston, thankfully not attempting an American accent, gives an enjoyably animated performance as Claude.

Recently, my favourite character, Hiro has become a little annoying. His quest for the sword to restore his powers seems a little silly and at odds with the SF nature of the rest of the series. He’s no less annoying in this episode but things are looking up as he’s delivered into the intimidating presence of his father, played by Star Trek’s George Takei.

The episode also sees a return to the series’ previously perfect cliff-hanger endings as Sylar comes face to face with an unsuspecting and unprotected Mr. Bennet.

Who’d have though seven days could seem so long?

Masters of Horror

“Right to Die”

One has to wonder what qualifications are needed to become a master of horror. The director responsible for this entry in the series is Bob Schmidt, a name that may not be overly familiar to horror fans. Schmidt directed Wrong Turn, an enjoyable backwoods cannibal movie, but hardly something that puts him on the same standing as horror legends John Carpenter or Dario Argento. Having said that, he does a good job on this supernatural tale.

When married couple Cliff and Abby are involved in a car accident that leaves Abby horribly burned, Cliff’s first reaction is to have the life support machines turned off to end her suffering. It becomes clear however, after she flat-lines, that Abby is due a little payback and the only thing stopping her from getting it is being alive. Cliff is forced to keep her alive because if she dies, so will he.

Martin Donavan gives a good performance as the philandering Cliff and the episode also features a hammy turn from Corbin Bernsen as Cliff’s sleazy lawyer.

Not the best the series has offered, but far from the worst.

“We All Scream for Ice Cream”

Tom Holland’s adaptation of John Farris’ short story has a very Stephen King feel to it. With flashbacks to events from the lead character’s childhood that have repercussions in the present day and a bad guy dressed as a clown, this feels like It lite.

Thankfully Holland manages to craft plenty of suspense from the somewhat flimsy story of an ice cream seller who comes back from the grave to get revenge on those responsible for his untimely (if accidental) death.

This also ranks as one of the grossest episodes as his method of revenge is to dissolve the culprits into puddles of ice cream. Yes I know it sounds silly and it is, but it’s to Holland’s credit that he pulls it off as well as he does.

All in all another middling episode of a disappointing second season.

“The Black Cat”

The high water mark of the second season, but that should come as no surprise given that it reunites the Re-Animator team of director Stuart Gordon and actor Jeffrey Combs. This time these true masters of horror turn their attention to Edgar Allen Poe’s oft-filmed tale.

Rather than just doing the story as it’s been done before they’ve entwined it with the life of Poe, creating something far more enjoyable than a straight adaptation. Combs plays Poe as a drunken poet compelled to sell lurid tales of death to make ends meet and care for his sick wife. When he finds himself unable to write, his wife’s cat becomes the focus of his rage.

With a plot that twists and turns so that you don’t know where reality ends and the fantasies of the increasingly unhinged Poe begin, this is as fine a crafted piece of horror as the series has ever put out. Combs is in great form as Poe and it’s thanks to his superb performance that the episode works so well. He’s done madness and obsession before but he’s never been quite as convincing as he is here.

Stuart Gordon is one of the most underrated horror directors and one of the few that improves with age. While Carpenter’s and Argento’s best work is behind them, Gordon is still making great films like 2003′s King of the Ants and it comes as no surprise that he handles this period piece so well. As with his best work, it manages that fine balance of comedy and horror that few directors achieve.

“The Washingtonians”

After the high of “The Black Cat” comes the ultimate low. Peter Medak is another director who seems under-qualified to be called a master of horror. Perhaps someone out there considers Species ll a classic.

George Washington was a cannibal who liked eating children and was responsible for a cult who continue such practices today. That is the essence of the story. Is it a horror story? A satire? A comedy? A spoof? A comment on current US politics? No, in the inept hands of Mr Medak it is one thing and one thing only – a mess.

With performances that range from dull to the truly awful this is much like passing a traffic accident – you don’t want to look but once you have you can’t look away. It seems unfair to single out a child for special attention but Julia Tortolano’s performance as the youngest member of the family terrorised by the Washingtonians is so mind blowingly bad I feel it’s a public service to warn any potential viewers.

If there is a season three, one hopes the producers will be a little less free in selecting directors. Perhaps a questionnaire, starting with “Have you ever made a good horror film?” That one would have weeded Mr Medak out.

Next month another show I’ve gone back to returns – Lost is back, plus all the usual suspects.

This week Peter Petrelli also provides a lighter moment as his attempts to fly result in not only a bruised body, but a bruised ego as well. On a more serious note, there’s a rift between him and his brother after Nathan informs the press that Peter’s jump off the building was a suicide attempt brought on by depression. All of this improves Peter’s character to no end. He’s getting much more interesting, and even punches Nathan out. I didn’t think he had it in him. He also hooks up with Simone after she breaks up with junkie precog artist Isaac when he refuses to get treatment for his addiction.

Matt Parkman, the telepathic cop we were introduced to last week, not only convinces the FBI agent who arrested him that he’s not Sylar but also gets the chance to help catch the killer. He even gets to save the little girl from last week from another attack by Sylar, pumping several bullets into the super-powered serial killer. But it seems that Sylar’s as invulnerable as Claire and manages to escape. Matt’s home life is less than perfect however, one of the downsides of being able to know what your wife is thinking. He finishes the episode face down in a bar after an encounter with a man whose thoughts he can’t hear. Matt’s story is interesting enough, but far from the ace in the Heroes deck.

The mystery surrounding single mother Niki deepens. She believes the bodies she found in an unmarked grave in the desert to be victims of her estranged escaped convict husband, although after the events of the previous episodes this viewer is pretty sure she should probably look in the mirror for the culprit. She’s picked up by a cop working for Mr. Linderman, who is presumably the mob boss she owes money to. I hope for Linderman’s sake he doesn’t piss her off. There’s an unpleasantness to Niki’s story that keeps it consistently gripping, it’s got a certain film noir feel to it and she’s definitely a femme fatale.

Suresh discovers his father was connected to Sylar, who has an apartment in the same building. He decides to pay Mr. Sylar a visit, but on finding no one home breaks in. Inside, he finds a map much like the one his father has, showing the location of those with enhanced abilities. The difference between this map and his father’s is that this map has a lot more people on it and it’s clear they’re being hunted down.  Suresh leaves to summon the police only to find the room stripped bare on his return, yet more evidence of Sylar’s talents. Can he move through time like Hiro? The closer Suresh gets to the truth the more compelling his storyline becomes.

As was true last week, Isaac Mendez has too little to do and his role requires the most development from the writers. Still you can see their problem – what do you do with a character whose only power is to paint the future? At this moment it seems like he’s only there to further the plot, a human MacGuffin if you will.

Claire, the spunky indestructible teenager, is giving Hiro a run for his money as my favorite character. This week she has to deal with the geek who videotaped her heroic rescue at the train crash site. The tape has gone missing and he’s a little concerned, as well he should be, as it’s in the hands of Claire’s creepy stepdad. Then there’s the attempted rape by the school quarterback which leads to this week’s closing scene, which manages to top the one from last week. It was a case of jaw meet floor as the closing credits started.

The clever way the characters interlink must make the show a challenge to write, but it’s one the writers have risen to with gusto. Each week they manage to top the week before, telling a story that seems to have been carefully planned and yet keeps us guessing where it will go next.

This episode was written by Jeph Loeb whose name should be familiar not just to TV viewers, but also to comic book readers. On TV he’s been one of the writers and key creative forces on Smallville, and is also a supervising producer on Lost. In the comic world he’s most famous for his work with artist Tim Sale on titles like Batman: The Long Halloween and Daredevil: Yellow. As he knows TV and superheroes inside-out it pretty much makes him a perfect choice to work on Heroes.

This isn’t just “must watch TV” it’s “must watch NOW TV.” I haven’t felt this urgency to watch the next episode since the cliff-hanger Doctor Who stories of my childhood, and that was back in the days before the VCR, when, if you missed it, that was it. Roll on next week.

What makes this such a joy for the home crowd is the wealth of celebrity guests on offer. Richard Briers, Ronnie Corbett and Stephen Fry are practically household names in the UK. I can’t say for sure but my guess is that most American audiences won’t have a clue who any of them are.

One guest who will be known to viewers on the other side of the Atlantic is Coldplay’s Chris Martin. I’m not a fan of Coldplay, Martin’s mournful vocals on EVERY song put me off. I mean he’s a million selling rock star, you’d think he’d have something to smile about. But as a person he’s won me over after his appearance here. He sends up the charitable rock star type brilliantly. He’s even good when he makes a guest appearance on Andy’s sitcom When the Whistle Blows…at least until he starts to sing.

With Martin’s guest spot over with, the rest of the episode concentrates on Andy’s BAFTA nomination for Best Comedy Performance.

When Maggie is treated rudely in a designer clothes store while shopping for a dress to wear to the awards dinner, Andy decides to use his celebrity status to play the hero. Gervais is brilliant here, it would be so easy to overdo things and by doing so kill the scene but he lets the situation bring out the laughs rather than try to play it funny.

The dress brings more laughs as Andy and Maggie arrive at the ceremony, this time provided by Ashley Jensen. She can play straight drama; she showed that with Eleventh Hour co-starring Patrick Stewart. Yet comedy is her true calling, her timing is flawless and she’s every bit Gervais’ equal in front of the camera. She even has me wanting to watch Ugly Betty.

Richard Briers’ encounter with an Andy Millman doll and his two word put down of Andy gets him a standing ovation at the awards and is one of the episode’s highlights. As is Andy’s encounter with Stephen Fry in the gents toilet; no, not that sort of encounter!

However, it is that national treasure Ronnie Corbett who provides the nights finest moment. Caught doing cocaine with Andy’s agent with Andy on hand as an unwitting accomplice, they find themselves brought before the mighty BAFTA. The diminutive comedian steals the scene even before he opens his mouth.

After one final embarrassment for Andy the credits roll but there’s one final comedy gem to be treasured post credits featuring Moira Stewart. I bet all the American’s are saying “who the hell is Moira Stewart?”