ryanjmorris

Whittaker was enjoyable in Series 11, but Chibnall's hesitant writing and lacklustre narratives held her back. Just two episodes into Series 12 and Jodie can shine properly - solving problems in the maddeningly eccentric way we all know and love. This was her most assured performance to date - she finally felt like the Doctor.

Chibnall's script was fast and flashy, showcasing both his biggest strengths and most frustrating weaknesses - he's very good at rollicking pacing and snappy quips, but relies on exposition dumps and forced conversation to explain his plotting. Narratively, part two didn't fully satisfy all of Spyfall's answers, but the cast and the thrilling sense of time-travel-adventure held it afloat.

Things are looking up.

Energy. Style. Something for everyone to do. Moments for Whitaker to shine. Any actual sense of threat or urgency.

Pretty much everything missing from the previous season was brought thrillingly back with Spyfall. We don't have the full narrative yet, so most answers remain unresolved, but all you can ask from a Part One is that it has enough mystery to see you through to the end and leaves you wanting more. Spyfall does it perfectly.

Best episode of the show since Moffat left.

If I had a chunk, a piece, the tiniest little fragment of Rian Johnson's mind, I'm still not sure I'd know what to do with it. Forgive me for the number of superlatives in this one.

Knives Out is astonishing. An immensely entertaining, thrillingly escapist whodunnit that pulls the rug out from underneath you more times than you can count. Every line has a payoff, every hint has a resolution. It's razor sharp and uproariously funny, with Johnson giving every cast member enough juice to play with but plenty of room to still have their own unique kinds of fun. It's a writers' movie through and through, but the cast still shine.

Saying any more and properly diving into what Johnson is really doing here risks spoiling elements the film, and Knives Out is not a story you want spoiled. Johnson reliably plays with formula, he riffs on Vertigo and adds layer upon layer, having a blast as he does so - and it's infectious. Sharp, fast, funny and beautifully satisfying down to its body-tinglingly cathartic final frame. Knives Out is a fiendishly and relentlessly clever film, but Johnson does what he always does - he makes it look easy.

My favourite film of the year.