Pay-tv films

The Weekend Australian - Review - - Pay Television -

Re­mem­ber that dis­claimer from pro­ce­dural TV shows, “Any re­sem­blance to ac­tual per­sons, liv­ing or dead, or ac­tual events is purely co­in­ci­den­tal”? It seems apt — of­fi­cially, at least — here. Suc­ces­sion fol­lows the fic­tional Roy fam­ily as they con­tem­plate their per­sonal and pro­fes­sional fu­tures while their age­ing fa­ther be­gins to step back from the me­dia con­glom­er­ate he built. Peo­ple have spec­u­lated about who they think this show de­picts, and cre­ator Jesse Arm­strong has cited in­flu­ences from British press baron Robert Maxwell to Wil­liam Ran­dolph Hearst, the Trump fam­ily and the British royal fam­ily. “There are loads of suc­ces­sion sto­ries to draw on,” he says. So there. It stars Brian Cox, Kieran Culkin, Matthew Mac­fadyen and Aus­tralian Eric McCor­mack, star of the re­booted Will & Grace, also fronts this time-trav­el­ling se­ries that re­turns for a third sea­son on Net­flix. He plays Grant MacLaren, the leader of a team of highly trained op­er­a­tives from the fu­ture who have jour­neyed to the present day. In this new sea­son, with the ex­is­tence of the Trav­eler pro­gram now leaked to the world, the team must find a way to stop the Fac­tion, hunt down the elu­sive Trav­eler 001 and save the world from a ter­ri­ble fu­ture. It is co-cre­ated by Brad Wright of Star­gate: SG-1 fame. So, if we are lucky, three sea­sons might just be the be­gin­ning. The In­no­cent Man Stream­ing on Net­flix from Fri­day It seems Ada, Ok­la­homa, is set to be­come the new Man­i­towoc County, Wis­con­sin ( Mak­ing a Trav­el­ers Mur­derer), as this new true-crime doc­u­men­tary se­ries ar­rives this week. In­spired by John Gr­isham’s best-sell­ing non­fic­tion book, The In­no­cent Man: Mur­der and In­jus­tice in a Small Town, this six-part doc­u­men­tary se­ries of the same name fo­cuses on two mur­ders in the 1980s that shook the small town. It in­cludes in­ter­views with vic­tims’ friends and fam­i­lies, Ada res­i­dents, lawyers, jour­nal­ists and oth­ers in­volved in the cases, and is di­rected by Clay Tweel. Fans of the true-crime genre will love it. Net­flix threw down the gaunt­let to the film in­dus­try in March last year when chief ex­ec­u­tive Reed Hast­ings told me and as­sem­bled jour­nal­ists at the com­pany’s Sil­i­con Val­ley head­quar­ters that not much had changed in the movie busi­ness in 30 years. “Well, the pop­corn tastes bet­ter, but that’s about it,” he said. The qual­ity of Net­flix’s film re­leases since then has been patchy, with rare ex­cep­tions such as Roma (stream­ing on Net­flix from Fri­day). Draw­ing on his child­hood, Os­car-win­ner Al­fonso Cuaron ( Grav­ity) tells the story of a young do­mes­tic worker, Cleo (Yal­itza Apari­cio), who works for a mid­dle-class fam­ily in Mex­ico City. (In case you missed David Strat­ton’s re­cent re­view, he wrote: “Roma is stun­ningly pho­tographed by the di­rec­tor in gor­geous black and white. Rich in de­tail and su­perbly staged, this per­sonal story rings true on ev­ery level with­out the slight­est hint of ex­ag­ger­a­tion. This is per­haps the ma­jor cin­ema ex­pe­ri­ence of the year so far.”) Also this week, Fox­tel is launch­ing its “12 Days of Christ­mas” movie pop-up chan­nel, start­ing with Love Ac­tu­ally (Fri­day, 8.30pm, Fox­tel Movies More). It is fol­lowed by Elf, Die Hard, The Santa Clause and Na­tional Lam­poon’s Christ­mas Va­ca­tion across sub­se­quent days.

Eric McCor­mack and the cast of

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