Pay-tv films

The Weekend Australian - Review - - Pay Television -

The best an­i­mated se­ries on TV right now has re­turned for its long-awaited third sea­son. Dan Har­mon re­cently sought to dis­pel spec­u­la­tion about con­flict with co-cre­ator Justin Roi­land ( Ad­ven­ture Time): “The rea­son sea­son three took long is be­cause it took [too] long to write, be­cause it was sea­son three of a show that we were scared to make worse than sea­son two or one.” As well they might. The first episode, ti­tled The Rick­shank Redemp­tion, was re­leased on the in­ter­net ear­lier this year as a teaser. (It set off a mi­nor on­line craze for a cer­tain Szechuan dip­ping sauce, a ref­er­ence to a McDon­ald’s pro­mo­tion for the 1998 Dis­ney film Mu­lan.) Rick­manc­ing the Stone had Sum­mer and Morty trav­el­ling to a Mad Max di­men­sion full of post-apoc­a­lyp­tic This three-part adap­ta­tion of Eve­lyn Waugh’s 1928 novel of the same name stars Jack White­hall as Paul Pen­nyfeather, a divin­ity stu­dent at Ox­ford Univer­sity who is dis­missed for in­de­cent ex­po­sure — a prank, as it turns out, per­pe­trated on him by The Bollinger Club. Pen­nyfeather is ap­pointed head­mas­ter at an ob­scure pub­lic school in Wales, which em­ploys an as­sort­ment of mis­fits and drunks. But when he meets Mar­got Beste-Chetwynde, played by Eva Lon­go­ria, it is love at first sight. Bri­tish crit­ics were full of praise for this amus­ing minis­eries. Bar­be­cue Stream­ing on Netflix, from Tues­day Can bar­be­cue solve the world’s prob­lems? Ac­cord­ing to Matthew Salleh, the direc­tor of this doc­u­men­tary, which de­buted at SXSW ear­lier this year, the answer is an un­equiv­o­cal yes. “There’s a pas­sion in the way peo­ple cook meat over fire,” he says. “I wanted to show the best of cul­tures, rel­ish their dif­fer­ences and be heart­ened by what is com­mon to us all.” Salleh and co-pro­ducer Rose Tucker have sur­veyed the cul­ture of bar­be­cu­ing in lo­cales from South Africa to Texas, and Tokyo to Aus­tralia (nat­u­rally). Who knew we needed an el­e­vated, cin­e­matic med­i­ta­tion on bar­be­cue? And yet here it is. With the wel­come but not un­ex­pected news that Daniel Craig will play Bond again — rather than slash­ing his wrists, as he fa­mously has said — Fox­tel’s Movies More chan­nel is hav­ing a film marathon. The marathon be­gan yes­ter­day, but on­line read­ers can pick up the thread with 1967’s You Only Live Twice (to­day, 12.55am) with Sean Con­nery, and quick-wit­ted print read­ers with 1973’s Live and Let Die (to­day, 7.15am), all the way through to Craig’s Spec­tre, en­joy­ing all the Bonds be­tween: Roger Moore, Ti­mothy Dal­ton and Pierce Bros­nan. (Craig re­port­edly has signed for a fur­ther two films, the first ten­ta­tively ti­tled Shat­ter­hand and slated for 2019.) Di­rected by Jeremy Sims, and star­ring Michael Ca­ton and Jacki Weaver, Last Cab to Dar­win (Sun­day, 6.20pm, Mas­ter­piece) tells the story of a taxi driver from Bro­ken Hill in NSW who drives to the North­ern Ter­ri­tory to pur­sue eu­thana­sia. Gen­er­ally one gives higher marks to films that leave you think­ing long af­ter they are fin­ished — un­less it makes you pon­der in­con­sis­tent logic, such as: how in Lon­don Has Fallen (Sun­day, 5pm, Pre­miere) did they co-opt most of the Bri­tish po­lice and se­cu­rity es­tab­lish­ment into a ter­ror­ist plot? No mat­ter, it’s en­ter­tain­ing.

Rick and Morty are in a pickle

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