Tag Archives: Frances O’Connor

BBC’s The Missing

For anybody who’s a fan of mysteries centred on missing people, cold cases, decades-old secrets, multiple timelines, meticulous police procedural intrigue and deeply affecting human drama, I’d highly recommend BBC’s The Missing, Europe’s answer of sorts to HBO’s True Detective. This series not only contains everything I just listed above, but it executes each one of those elements pretty much flawlessly, and is one of those shows that compels you to put your phone down to track every detail, absorb every frame and immerse oneself completely, a seldom attained state of storytelling nirvana. So there are two seasons, done in anthology form, the only connective tissue between them besides thematic material being Tchéky Karyo’s deeply pragmatic, selfless freelance investigator Julien Baptiste, a sort of St. Francis of ex-cop PI’s who goes where he is needed, compelled on an elemental level to help out families whose children have disappeared.

Season one sees Baptiste assist a couple from the UK (James Nesbitt and Frances O’Connor) whose young son disappeared into thin air one night while they are vacationing in a small French village. The police work tirelessly, it becomes a media sensation and two separate timelines eight years apart from one another unfold in symbiotic parallels. This case not only affects the parents, Baptiste and the local police force but also has a ripple effect into the nearby towns and eventually all over the continent as it becomes a notorious mystery akin to that of Maddy McCann. It’s a taut, emotional, incredibly complex series of events that isn’t too sensationalist but feels organic, momentous and immediate. The second season, which I loved even more than the first, takes place over in Germany where a challenging mystery plays out with the backdrop of a military garrison and all the families involved. Baptiste is here investigating the reappearance of a girl named Alice Webster who vanished nearly a decade before and may have connections to yet another girl that he failed to find many years ago. Her parents (David Morrisey and Keeley Hawes) are just glad to have their baby back until bit by bit doubt creeps in and it seems like something about her is.. off. So begins a series of revelations, callbacks to an older mystery years before in the Iraqi war and the ever present yet unseen presence of a monster who has been kidnapping girls for a long time.

This is peak long form television and taken as a pair of dual stories glued together by Karyo’s Baptiste, it’s a near perfect achievement in storytelling, a collective sixteen episodes that feel as if literal years of content has been presented in real time. I prefer the second season because it feels more well rounded and cohesive as a cinematic story, also it’s a lot less bleak than the first. These girls have been through hell and it has bled out into every other character around them, which is part of this show’s genius; this isn’t just about the victims, the perpetrators and the authorities who try to make sense of it all. This affects everyone who touches it or even hears about it, detail and careful attention is paid right down to the second, third and fourth tier characters until we feel immersed in a tangible world of human beings and every complicated, contradictory, evil, compassionate, inexplicable and every other act under the sun that they’re capable of. The acting is absolutely 100% top quality all around, not a false note or weak performance in sight and wonderful work provided by folks like Jason Flemyng, Roger Allam, Laura Fraser, Anastasia Hille, Olafur Darri Olaffsson, Abigail Hardingham, Saïd Taghmoui, Titus De Voogt, Eric Godon, Ken Stott and many more. Simply put: if you’re looking for a binge-worthy, addictive, intellectually stimulating, emotionally nourishing, all-bases-covered piece of programming, look no further because this is about as top shelf as anything gets. It’s streaming on Amazon Prime right now, too.

-Nate Hill

Harold Ramis’s Bedazzled

In most movies The Devil is a dude, but what if ol’ scratch appeared as a super attractive girl, namely Elizabeth Hurley? The power of persuasion would be given a significant boost as it does for Brendan Fraser’s Elliott, a hapless schmuck with no friends and no girlfriend. Harold Ramis’s Bedazzled is a lighthearted, irrelevant piece of leisure that doesn’t take itself too seriously or think too hard about its central premise, and nor should the viewer. Fraser is a whirlwind of physical comedy, beginning Elliot’s arc as one of those horrifically animated dweebs who everyone in the workplace avoids. When Hurley’s smokin’ hot Satan tags him as the perfect sap, he’s given seven wishes in exchange for his soul and the opportunity to win over a colleague (Frances O’Connor) who he has always loved. Cue a series of increasingly hysterical vignettes in which he tries his best to distill just what it is that girls find attractive while Hurley keeps cleverly sabotaging his efforts and making things go wrong, sardonically commenting on his plight from a female perspective. This is a very entertaining experience because Fraser, ever a cartoonish comic dynamo, gets to play like seven different characters including a ‘sensitive’ ginger, a flamboyant intellectual, Colombian drug lord and, my favourite, a seven foot tall NBA player complete with white dude black guy hair. There’s also a sweet, happy last minute ending that some say is tacked on but honestly Elliott, despite being a bit of a doorknob, is an ultimately very sweet guy who learns along the way exactly what the would might be and that it ain’t worth trading for nothing, he kind of deserves a a kickback after all that. I’m aware this is a remake and haven’t seen the 60’s version but will get to it, but found this quite the fun film!

-Nate Hill