LOST 3.1 - "A Tale Of Two Cities"

4 Oct 06. ABC, 9/8c pm
WRITERS: J.J Abrams & Damon Lindelof DIRECTOR: Jack Bender
CAST: Matthew Fox (Jack), Josh Holloway (Sawyer), Evangeline Lilly (Kate), Michael Emerson (Ben), Elizabeth Mitchell (Juliette), Julie Bowen (Sarah Shepherd), John Terry (Christian Shepherd), M.C Gainey (Tom) & Blake Bashoff (Karl)

WARNING: I hate spoilers and always try to avoid them. However, with Lost it's impossible to discuss anything without mentioning things that could be classed as spoilers. I strongly suggest you don't read this review until you've seen the episode. I'll never ruin major surprises (like character deaths), and do my best to avoid them in general, but don't blame me if I indirectly ruin something for you...

Jack, Kate and Sawyer find themselves held captive by The Others in a strange complex somewhere on the island...

After a stunning pre-credits sequence, easily one of Lost's most jaw-dropping moments, the season 3 premiere settles into an interesting but ultimately unmomentous story. Unlike last year, the fallout to the preceding season's finale is nowhere near as unpredictable as Desmond and The Hatch was. Instead, A Tale Of Two Cities is a fairly run-of-the-mill story of imprisonment and mind games.

This week's flashbacks focus on Jack, a character who was the focus in season 1, only to fade into the background during season 2. It doesn't help that the writers have gradually made Jack quite a whiny and tortured person, as he was far more enjoyable to watch as the tough but kind-hearted doctor.

Jack's history with his alcoholic father and marital problems has never been particularly interesting to me, despite the always excellent presence of John Terry as Christian Shepherd. Another piece of Jack's puzzle is presented to us, although after two years it's becoming difficult to care about some of the characters' histories when the present day island-based adventure is now far more interesting. Only Locke has a flashback storyline I'm desperate to see reach a conclusion.

Anyway, it transpires that The Others live in more modern accomodation than you'd expect, and have access to "The Hydra" (a underwater hatch, explaining season 2's shark). It's still not clear if The Others are remnants of DHARMA, but at this moment it's difficult to think why else they'd be there! Of course, straight answers are never very forthcoming with Lost, with any answer usually spawning more questions.

Sawyer finds himself locked in a cage that apparently used to contain a polar bear (a definite explanation for where the season 1 polar bear came from), so it would seem Sawyer and Kate are being kept in a zoological station of some description. Why? Well, folks, that's another question...

To be frank, A Tale Of Two Cities does very little beyond accustom the viewer to the new locations and characters. The most enjoyable and rivetting moment happens in the first five minutes, with everything else failing to match it. Elizabeth Mitchell joins the cast as Juliette, another enigmatic Other and sexy blonde (the number of identikit sexy blondes on the show is staggering and increasingly confusing...)

The really good news is that Michael Emerson is now a main cast member as Henry Gale (real name Ben, we discover). Emerson is a wonderful actor and brings a much needed creep factor that unsettles the screen whenever he's around. At the moment it appears Ben is the leader of The Others, although you can never be sure of anything with this show! Where's Miss Klugh?

Overall, A Tale Of Two Cities isn't a bad episode, but it's certainly not as dramatic as the season 2 premiere. In fact, much of what happens was predicted by fans throughout the summer, and it's worrying that the pre-credit twist (while undeniably excellent) is basically the same trick performed in last year's premiere. Together with the fact season 3's opening hours will be split (hydra hatch/boat) just like season 2' (swan hatch/boat) is another echo that makes it seem like the writers have fallen into a pattern.

Then again, every time you suspect Lost is about to jump the shark, it manages to get back on track and throw a delicious curve ball. I hope season 3 will continue to see the show evolve into new areas now we're out of The Hatch. Perhaps a few answers to some long-standing questions might also be in order, as it would be a mistake to store up all the answers for the final season.

TRAILER PARK: Grindhouse

Any movie fan should be clamouring for Grind House, the next movie from Quentin Tarantino and Robert Rodriguez. Tarantino has yet to make a bad movie (Jackie Brown is just the "least good" of an amazing filmography). Rodriguez went a little haywire after 1996's From Dusk Till Dawn, focusing too much on his cutesy Spy Kids franchise, before making his awesome return to adult cinema with 2005's Sin City.

The pair have now teamed up for Grind House, a duet of hardcore movies based on the "grindhouse" aesthetic of the 1970s. Tarantino will direct Death Proof, a slasher film starring Kurt Russell; while Rodriguez directs zombie movie Planet Terror with Michael Biehn.

In an effort to make this "grindhouse" experience as authentic as possible, there will also be trailers for fake movies, some directed by Eli Roth (Hostel) and Edgar Wright (Shaun Of The Dead). These trailers will include a blaxploitation film, a kung fu film, a sexploitation film, a Spaghetti Western and a Swedish porno.

Also of interest is the project's eclectic cast. There are potential career resuscitations for Kurt Russell, Michael Biehn, Josh Brolin and Jeff Fahey; roles for From Dusk Till Dawn alumni Danny Trejo, Michael Parks and Tom Savini; plus some other up-and-coming actors like Freddy Rodriguez, Naveen Andrews (Sayid in Lost), Stacy Ferguson (Black Eyed Peas), Rose McGowa and Rosario Dawson (Sin City).

If none of that has wetted your appetite, then you must be dead. The film opens next year in the US on 6 April, but check out this awesome trailer... and begin counting the days...

Superman II - Richard Donner Edit - 5-Minute Scene!

Superman II, the beloved sequel starring Christopher Reeve, is being re-released on DVD in November as a newly-edited version! The movie will also include scenes shot by director Richard Donner before he was replaced by Richard Lester. WB have put up a 5-minute scene, which includes updated special effects!!

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EXTRAS 2.5 - "Episode 5"

12 Oct 06. BBC 2, 9.00 pm
WRITERS & DIRECTORS: Ricky Gervais & Stephen Merchant
CAST: Ricky Gervais (Andy Millman), Ashley Jensen (Maggie Jacobs), Stephen Merchant (Agent), Shaun Williamson (Barry/Shaun), Sir Ian McKellen (Himself), Damon Beesley (Martin Savage), Iain Morris (Guy Henry), (Liza Tarbuck (Rita), Sarah Moyle (Kimberley), Jamie Chapman (Brains), Andrew Buckley (Gobbler), Shaun Pye (Greg), Gerard Kelly (Bunny), Sarah Preston (Make-Up Woman), Nadia Williams (Third A.D), Jonathan Cake (Steve Sherwood), Anna Crilly (Woman At Tea Table), Priyanga Burford (Sir Ian's Assistant), Rufus Wright (Fran/Leslie), Germaine Greer (Herself), Mark Kermode (Himself) & Mark Lawson (Himself)

Reeling from a critical panning of his sitcom, Andy secures a part in a play being directed by Sir Ian McKellen to regain some respect, but isn't aware his character is gay until the audition...

In the penultimate episode of this patchy second series, Extras finally produces something with the correct laugh-to-cringe ratio, even if it comes at the expense of more low-brow writing...

Sir Ian McKellen is the prime celebrity target, but gets off lightly with a silly scene where he bestows his acting knowledge to Andy ("I pretend...") that's hardly the match for fellow X-Men star Patrick Stewart's turn last year. However, McKellen is as magnetic as ever in his scenes and a joy to watch.

Extras has already established Andy Millman's unease around gay people, and it's a character trait that's given centre stage in Episode 5. The problem facing Andy is Ian McKellen's insistence of a real kiss with co-star Leslie, and the fact a group of homophobic friends are in the crowd on opening night.

It's a breath of fresh air to see the comedy and awkwardness of Extras return and work in tandem again. Previous episodes haven't quite managed to weave the two together properly, but here the plot, comedy and embarrassment-factor all pull together.

Elsewhere, the underused Ashley Jensen (Maggie) and the overused Stephen Merchant (Agent) are thrown together in a slightly unlikely manner, but thankfully their romantic date together proves to be a highlight with the hapless Agent's toilet problem involving an egg whisk...

The episode again ends with more humiliation for Andy, again played out to a crowd full of people, friends, and a personal enemy. It's a situation that is becoming increasingly predictable, but retains its power to make you feel empathy for Andy thanks to Ricky Gervais' performance.

Series 2 has moulded Andy into a tragically unlucky figure, whereas last year he was merely disgruntled, and the "normal" one compared to Maggie. Series 2 has also made Andy a sexual incompetent, with numerous references to his late virginity and inability to chat-up women; a new facet that is a little at odds with last year's character.

Overall, Episode 5 is definitely the best of series 2 so far, and on-par with series 1. The jokes are broader and more low-brow (a vaseline gag could even be considered "beneath" the show, but it remains funny). There's also a perfectly executed gag with a fizzy drink bottle that is sublime physical comedy and one of the funniest moments of the year.

HEROES 1.2 - "Don't Look Back"

2 Oct 06. NBC, 9/8c pm
WRITER: Tim Kring DIRECTOR: David Semel
CAST: Milo Ventimiglia (Peter Petrelli), Santiago Cabrera (Isaac Mendez), Ali Larter (Niki Sanders), Masi Oka (Hiro Nakamura), Hayden Panettiere (Claire Bennet), more...

As the Heroes continue to develop their powers, a new threat is revealed in a killer called Sylar and Hiro makes a nightmarish discovery in New York...

Just to recap; I reviewed the first episode of Heroes (in a rough-and-ready format) a few months ago here, and much of what I said at the time is still true. Some problems were ironed out by the time it premiered on NBC, such as a more plausible rescue from a fire-ravaged building, but the scattershot pacing and characterisation remained. Overall, I gave the Pilot a rating of 2/5, but the finished product was a more solid 3/5.

Don't Look Back finds Peter in hospital following his leap from a building... Hiro discovers a comic-book that has predicted his arrival in New York... Claire averts celebrity status for her heroism... Mohinder finds an ally to help him trace his father... and Niki discovers a frightening side to her power...

The amazing thing about Don't Look Back is how it hits the ground running and introduces a number of new elements that immediately make Heroes one of the most interesting shows on television, if still the most unoriginal and thinly written.

Ali Larter continues her impressive work as Niki's power goes from being the most ludicrous to the most original and intriguing. Of all the characters she undoubtedly has the strangest ability, and her character's struggle is the most dramatic aspect to the show at the moment.

Masi Oka could so easily become the most annoying character on TV (and if they don't reign in his cute sci-fi references, that could still be the case), but right now Oka's made Hiro a very watchable bundle of energy. It helps that Hiro's powers are perhaps the most impressive in the show, and his storyline the best thing about Heroes at the moment.

I'm not going to needlessly churn over the rest of the cast's actions this week, needless to say that some characters are still underused -- Isaac the precognitive painter is effectively a walking plot device at the moment! Mohinder is the lynchpin to the series, and there are signs his investigation into his father's death could evolve into something more interesting than first thought.

The main interest this week is the arrival of another hero, namely Greg Grunberg as a cop called Matt Parkman who discovers he has the ability to read minds. This comes in useful at a crime scene where FBI Agent Audrey Hanson (Clea Duvall) is investigating a serial-killer known as Sylar. It's with the mysterious Sylar that another new component to Heroes is introduced, as Sylar is clearly gifted with strange abilities himself (a family he murdered were frozen stiff and had their brains removed!)

The new additions to the show introduced in Don't Look Back go a long way to making it compulsive viewing already, despite only a few characters being written with any depth, and the dialogue being a little weak. There's also the vague sense that writer/creator Tim Kring just has a list of cool moments and revelations to throw into the story whenever the script runs out of steam. If true, Kring clearly can't keep that trick up forever, but for now he's done a decent job of introducing the many characters and plot-threads.

The final scene with Hiro is such a spine-tingling moment it surely ranks as one of the best climaxes to any sci-fi show of the past few years. For the moment, Heroes is on a roll I didn't expect based on the competent, but worrying, first episode.

My only concern is that once everyone's powers are explained and developed fully, the characters will remain relatively empty and the series will struggle to keep its momentum. However, with so many characters, a growing mix of personal and global perils, not to mention the overall mystery, Heroes should make for great entertainment in its first season at the very least.

ROBIN HOOD 1.1 - "Will You Tolerate This?"

7 Oct 06. BBC 1, 7.05 pm
WRITER: Dominic Minghella DIRECTOR: John McKay
CATS: Jonas Armstrong (Robin), Lucy Griffiths (Marian), Keith Allen (Sheriff Of Nottingham), Richard Armitage (Guy Of Gisbourne), Gordon Kennedy (Little John) & Sam Troughton (Much)

Returning from the Crusades, Robin of Locksley finds that England has fallen under the harsh rule of the Sheriff Of Nottingham in King John's absence...

Undoubtedly one of England's greatest legends, second only to King Arthur, Robin Hood has been adapted countless times for stage and screen -- from the dashing 1938 adventures of Errol Flynn, through the 1980s TV series Robin Of Sherwood, to Kevin Costner's American incarnation in the 1991 hit movie.

The BBC have revived the beloved myth for contempory audiences high on Lord Of The Rings, and are clearly hoping to create a Doctor Who-style phenomenon for the winter months. But will Robin's arrow hit the target?

Robin Hood's first episode is restricted by the fact it has to go through the motions of setting up the overly familar concept. So we find Jonas Armstrong's Robin returning to England with his friend Much (Sam Troughton), only to find the people under the tyrannical rule of the Sheriff Of Nottingham (Keith Allen).

Will You Tolerate This? opens with a fun scene of Robin (already obscured behind a large hood, immediately evoking a curious parallel to contemporary teen "hoodies"), fending off some of the Sheriff's horsemen with flashy archery skills -- the kind of which defy ratonality, but are no doubt impressive.

From here, the story trundles along and introduces many of the story elements you're expecting to see. Of particular interest is the episode's focus on Robin's status as respected landowner of Locksley and the political aspect of the Sheriff's actions. Of all the updates to the show, the medievel politics stood out as being quite pleasing to see in a family show.
With the show ultimately sticking to the broad story of Robin Hood, it's more interesting to note its changes.

Armstrong's Robin is a roguish charmer with an eye for the ladies, apparently styled on a lead singer of an indie band. The fact someone so young has apparently seen the atrocities of war in the Middle East and is ruler of a township isn't easy to believe, but Armstrong's age and good looks doesn't stop him making a strong impression where it counts.

Lucy Griffiths plays Marian -- no longer prefixed "Maid" and thankfully not written as a waif who makes doe-eyes at Robin every few minutes. She's a plucky heroine with a natural beauty and should prove to be quite an engaging romantic foil for Robin.

Keith Allen has nabbed the potentially scene-stealing role of the Sheriff, a character always enjoyable to watch in any incarnation, but now made particularly notable by Alan Rickman's performance in Robin Hood: Prince Of Thieves.

Allen isn't a favourite actor of mine, primarily because he hasn't really starred in anything of note (beyond Shallow Grave -- where he played the dead flatemate...) There's something a little seedy about Allen, but thankfully this quality serves him well as the Sheriff. Allen is no Rickman, but he wisely plays the Sheriff straighter than Rickman's snarling panto villain, and makes a good impression. But there are elements of Rickman's baddie sprinkled into the script -- such as when the Sheriff crushes a budgie in a fit of pique!

The supporting cast are good, particularly Richard Armitage as Guy Of Gisbourne -- a villain who, for my money, often surpasses the Sheriff because he's more pro-active. Armitage is a striking and imposing figure who I hope can use these assets to create an unnerving antagonist and not just a stereotyped macho henchman.

The production, filmed in Hungary, is of a very high standard. The countryside is beautiful with the buildings believable and atmospheric, particularly Nottingham Castle. It's clear a lot of money has been spent on the series' aesthetic, although I'd have preferred a dirtier look myself. At times, everything is so bright and beautiful you feel like you're watching a re-enactment group riding horses through a theme park.

However, this a minor complaint given the quality of everything on display. The only element that caused me genuine concern was in the needlessly-flashy directing, with every little sword fight or punch-up tarted up with distracting visuals. For period action films I always find it annoying when flashy Matrix-esque camera moves are introduced. Did Peter Jackson over-complicate Lord Of The Rings' action sequences with anything more complicated than slow-motion? No. Robin Hood would be wise to follow this example, as the show-off editing of even the simplest action beats grew irritating -- particularly a contrived sword fight in the opening 10 minutes.

Episode 1 was a solid if unremarkable beginning. The actors are by far the strongest aspect to the show, closely followed by the set design. The plot will hopefully develop once the show's concept is set-up (Robin unites outlaws to "rob from the rich to give to the poor", yada yada...) and we should have an entertaining family adventure for our Saturday nights.

CHILDREN OF MEN
Cert: 15 Duration: 109 minutes
DIRECTOR & WRITER: Alfonso Cuaron (based on the novel by P.D James)
CAST: Clive Owen (Theo Faron), Julianne Moore (Julian Taylor), Michael Caine (Jasper), Claire-Hope Ashitey (Kee), Pam Ferris (Miriam), Chiwetel Ejiofor (Luke), Danny Huston (Nigel), Pete Mullan (Sid), Charlie Hunnam (Marichka), Paul Sharma (Ian) & Jacek Koman (Tomasz)

Britain has a close relationship with dystopian futurism. Since George Orwell's classic 1984, the UK has been the setting for a variety of downbeat futures; from Terry Gilliam's fanciful Brazil to the recent V For Vendetta. Now it's director Alfonso Curaron's turn to shine a murky light on our potential future, in an adaptation of P.D James' novel Children Of Men.

Britain, 2027 A.D. The green and pleasant land is now a grey, polluted shell, home to the last remnants of humanity following a global meltdown born out of an infertility epidemic (no pun intended). For 18 years, no babies have been born; a sad fact that means mankind is on the verge of extinction and the living face a childless world without hope or a sustainable future.

Clive Owen stars as Theo Faron, a former political activist who now works at the Ministry Of Energy. On the day when the youngest human is killed by a disgruntled fan, a world-weary Theo is kidnapped by a terrorist group (the "Fishes") under command of his ex-wife Julian Taylor (Julianne Moore), and given a mission that could mean the salvation of the human race... to transport a pregnant girl to off-shore authorities...

Mexican director Alfonso Cuarón, who came to prominence in the West with Y Tu Mamá También, before creating arguably the best Harry Potter movie, The Prisoner Of Azkaban, stays with Britain for another literary adaptation. However, as screenwriter, Cuarón's story contains many alterations to P.D James' source book. In fact, only the concept remains fully intact.

Children Of Men is a bold and intelligent piece of speculative science fiction. There is no shortage of dystopian movies around, but what sets Cuarón's film apart is the attention to detail and determination to craft a compellingly realistic experience.

The calibre of the cast is exemplative of Cuarón's growing stature; Clive Owen is enjoying a resurgence in his career, and here he tackles a character with more humanity and emotional range than we usual see in him. He's a solid actor, although he remains emotionally difficult to form a connection to at times.

The next actor of note is Michael Caine, a screen legend now enjoying the supporting roles that afford him to take some risks, or have some fun. In Children Of Men, Caine plays Jasper; a long-haired recluse living in the middle of a wood with his mute wife. Jasper is a roguish charmer who has seemingly resolved to remain young at heart given the crisis around them. It's a great performance, full of eccentricity and poignancy, with Caine on dazzling form.

Julianne Moore is one of modern cinemas best actresses, and she rarely delivers a bad performance. She's good here as the opinionated activist, although the role isn't big enough to really leave its mark.

The supporting cast are all very good, with nobody giving a bad performance. Young actress Claire-Hope Ashitey is fantatsic as pregnant Kee, Pam Ferris is good as a former mid-wife, even afforded a heart-tugging scene to sink her teeth into. The main antagonist is Chiwetel Ejiofor as rebel terrorist Luke, who once again makes a compelling villain. On the sidelines, Pete Mullan makes an impression in a small role as a prison warden called Sid.

But, this is Alfonso Cuarón's movie every step of the way. No actor can upstage Cuarón's direction, with Children Of Men most notable for its stunning camerawork, cinematography and art direction. The future Britain is perfect; always recognisable despite occassional technical flourishes (the animated advert billboards on buses, etc.) There are also some brilliant scenes of warring citizens and bombed streets.

The suburban dystopia is created with such care and attention that the movie has plausability to spare. Throughout the movie you are fully immersed in this world and, thanks to some "on the shoulder" camerawork, some sequences are particularly immersive.

Two scenes should stick in your memory; firstly, a frightening ambush by terrorists, shot (apparently) in one continuous take. Secondly, another action set-piece choreographed to perfection and filmed in one take with a single camera, as Theo races through the ravaged streets of a refugee internment camp. Both are exemplory cinematic moments that, for my money, cement Cuarón's growing reputation as a filmmaker bordering on genius. The only film that compares to these moments in recent memory was Spielberg's D-Day opening from Saving Private Ryan.

However, for all its technical and artistic achievements, beyond its concept, Children Of Men isn't particularly special. The storyline is quite simplistic, and expectation for a killer twist never materializes. The story pretty much plays out as you'd expect, beyond a few bumps in the track, and the finale is slightly disappointing in its abruptness.

You get the feeling that Cuarón was so enamoured with the concept behind P.D James' book, and its artistic possibilities on-screen, that he forgot to write a story with more turns in its beaten track. There are plenty of political parallels that are enjoyable to pick out, and Children Of Men will certainly spark huge post-movie debate... but, as a story, it's not much more than a generic dystopian road movie, really.

However, despite its storytelling fault, the pro's far outweight the con's. This is high-concept political sci-fi from a visualist on fine form, acted with conviction by a talented cast. For the first hour, you suspect this might be the best film of the year, it's just that the last hour doesn't really go anywhere interesting once the set-up is over.

EXTRAS 2.4 - "Episode 4"

5 Oct 06. BBC 2, 9.00 pm
WRITERS & DIRECTORS: Ricky Gervais & Stephen Merchant
CATS: Ricky Gervais (Andy Millman), Ashley Jensen (Maggie Jacobs), Stephen Merchant (Agent), Shaun Williamson (Barrie/Shaun), Chris Martin (Himself), Ronnie Corbett (Himself), Stephen Fry (Himself) & Richard Briers (Himself)

Andy is bemused to find his sub-par sitcom has earned him a BAFTA nomination for Best Comedic Performance, but a series of misunderstandings converge to ruin the big night...

The second series of Extras continues with a consistently amusing episode that pokes fun at the television BAFTA ceremony. Episode 4 is perhaps the series' most accessible episode, freed from the occassionally overbearing assault of bad taste gags and instead content to poke fun at celebrities.

Chris Martin, lead singer of Coldplay and husband to Gwyneth Paltrow, is the episode's big name guest star (another singer after Episode 2's David Bowie; I guess the Live 8 networking went well last year, Mr Gervais?). Martin impresses as a competent deadpan comic, savaging his eco-friendly image by insisting a white background is emblazoned by his band's Greatest Hits album whilst filming a charity appeal.

Again, the obsession with Andy's sitcom is the primary focus, this time when Chris Martin wrangles a guest spot in When The Whistle Blows to promote his new album. It's a curious piece of meta-comedy, as Gervais and Merchant have essentially "sold out" themselves by including this skit in Extras, whilst making their statement about sell-out celebs. I'm still not sure if they're guilty of the sin they're speaking out about, or not.

Ashley Jensen is better utilized this time, but still on the periphery compared to last year. It's enought to make me consider the fact Jensen's attentions were split during filming (she has a role in a US sitcom Ugly Betty). If so, her reduced role may be understandable, but it's still disappointing. If not, this is a criminal waste of a talented actress. In a scene at a dressmakers, where Maggie is derided by a snooty employee, she exhibits more humanity and believable frailty than Gervais can muster in an entire episode.

But, onto the BAFTA awards. To be honest, the potential for hilarity at a formal awards bash is somewhat squandered. A key sequence where Richard Briers cuts a speech short to stamp on a malfunctioning catchphrase-spewing doll of Andy, is awkward and unbelievable.

Outside of the ceremony itself, the episode's saving grace arrives: the sight of Ronnie Corbett snorting cocaine in a toilet, and later being reprimanded by a BAFTA official (who alludes to the fact he expects such behaviour from Corbett). The role of celebs in Extras has always been to twist the perception of themselves, and turning national treasuer Ronnie Corbett into a junkie troublemaker is just inspired. Kudos to Corbett for accepting the offer to spear his nice guy persona to ruthlessly.

Elsewhere, the episode again fluctuates between highs and lows. Stephen Merchant's character is quickly becoming a tiresome one-joke entity, and no matter how sporting Shaun Williamson is at being the butt of the joke... even his bumbling henchman role is beginning to stagnate.

The problem with Ricky Gervais in this series is that Andy is always on a downer. Last year he was somewhat morose and unhappy, but it was tempered with his fun relationship with Maggie. This year he's depressed about his sitcom's status, his inept management and the problems of celebrity, but there's no no fun with Maggie. A respite is offered in Episode 4 with a fun Pretty Woman pastiche, wherein Andy gallanty offers to buy an expensive dress for Maggie, only to try and reverse the situation when he discovers the garment costs £2,500. But it's not enough, despite even the first glimmer of a romantic interest between the pair.

A serious and somber heart has always been at the core of Extras, but with believability increasingly stretched for the sake of a cheap gag, and the relationship between Andy and Maggie pushed into the background, Extras seems to have become a fitfully funny sitcom without the consistency it had last year.

Apologies for the infrequent posts this week. Things should be back to normal next week, with reviews of Extras' episode 4, speculative sci-fi movie Children Of Men and the BBC's new Robin Hood! Till then...

EXTRAS 2.3 – "Episode 3"

28 Sep 06. BBC 2, 9.00 pm
WRITERS & DIRECTORS: Ricky Gervais & Stephen Merchant
CAST: Ricky Gervais (Andy Millman), Ashley Jensen (Maggie Jacobs), Daniel Radcliffe (Himself), Warwick Davies (Himself), Stephen Merchant (Agent), Shaun Williamson (Barry/Shaun) & Dame Diana Rigg (Herself)

Andy’s small-scale fame has landed him a role in a fantasy film, where star Daniel Radcliffe takes a shine to Maggie, and lunch at an expensive restaurant has serious repercussions for Andy’s career when he accidentally offends a boy with Down’s Syndrome...

Episode 3 is a mixed bag of highs and lows, but further evidence for the argument that Gervais and Merchant are resting on their laurels somewhat. There are some beautifully played scenes sprinkled throughout, and a deliciously un-PC attitude, but it’s all becoming rather predictable.

Ashley Jensen is once again superfluous to the meat of the story, yet the object of a celebrity’s affections (here, Daniel Radcliffe, star of the Harry Potter films). Last year Maggie was an integral part of the show and her storyline had some variety to it, but this year she’s been very underwritten and badly handled by Gervais and Merchant.

Ricky Gervais is always a dependable performer and can probably act out the carefully constructed moments of embarrassment in his sleep. He’s always worth watching and can elevate the material with an awkward grin of simple expression. It’s just a shame that, for the first time, his performance is no longer edgy and unpredictable; you can see exactly where the embarrassment is going to come from and is just undercuts the comedy.

Daniel Radcliffe is the “celebrity of the week” for Episode 3, playing an unashamedly horny version of himself. He’s actually very good, certainly better than you’d expect at self parody, and the “condom scene” in particular is a highlight of the series so far.

The story is the usual assortment of embarrassing scenes and wrong-end-of-the-stick comedy. Stephen Merchant’s Agent yet again makes Andy’s life a nightmare (posing the question why Andy doesn’t just get difference representation!), and Andy himself doesn’t help matters by accidentally offending a boy with Down’s Syndrome. The emphasis of series 2 is the effects of celebrity on normal people, and here Andy tastes the cruelty of the media who are quick to label him a cruel monster and exaggerate the misunderstanding.

There are some strong moments of comedy, thankfully more than last week, but again there are also some scenes that just fall flat (Merchant asking if he could fit inside the diminutive Warwick Davies’ house being a prime example). In their quest to offend, the writers are falling into the trap of believing any politically incorrect comment of gag will get a laugh just for its audacity. But that’s not the case; more often than not it just comes across as desperate.

Overall, Episode 3 is solid stuff and has something to say about how celebs are mistreated by the media (no earth-shattering revelations, but still) and there are enough laughs to justify its occasionally heavy-handed approach to bad taste comedy. This second series is still nowhere near as mannered and well-written as last year, but it can still pack a few solid laughs and remains a highlight of the viewing week...