BeneCumb

/Refers to Seasons 1-4/ Across the first three seasons, Professor T offers an enjoyable mix of quirky characters, clever mysteries, and surprisingly strong emotional moments. Ben Miller's performance is the heart of the show-funny, sharp, and oddly charming. His background in comedy shows in the professor's dry remarks, the odd fantasy scenes, and the way the series plays with what might be going on inside his mind. The supporting cast, especially his mother and his administrative assistant, bring extra warmth and eccentric humour, and the early seasons manage to balance crime, character, and light comedy very well.

Season 4, however, is a bit of a step down. The crime-solving takes more of a back seat to personal drama, some much-loved characters are missing, and the memorable music that once helped define the show is no longer there. At times, it feels more like a copy of the earlier seasons rather than a natural continuation. Even so, the plots are still engaging, and viewers who enjoy Professor T's psychological quirks, gentle humour, and character-focused stories will still find a lot to like.

For both new and returning viewers, the series remains a creative-sometimes whimsical, sometimes emotional-take on the whodunnit. Even when the tone feels uneven, its odd charm and Ben Miller's strong performance keep it enjoyable.

Despite a few missteps, Professor T is still a distinctive and entertaining mystery series worth watching. Hopefully future seasons will return to the more natural visual style and rich music that made the early years so strong. Only eight points from me, as the original Belgian version is richer and includes even more humour.

This film stands as an oddball hybrid that feels both ahead of its time and is firmly rooted in the cinematic experiments of the 1970s. What begins as a straightforward investigation-an inspector summoned to a remote Alpine lodge after a suspicious tip-gradually mutates into something far stranger. As an avalanche seals the hotel off from the world, the atmosphere grows increasingly claustrophobic, and the film's stylish, almost dreamlike aesthetic takes over.

Visually, the movie is a triumph. Reviewers consistently note the spectacular contrast between the blinding exterior snowscapes and the dark, disorienting interiors, where mirrors multiply characters and shadows behave like independent agents. It's a neo-noir sensibility refracted through an Eastern Bloc sci-fi lens, drawing comparisons to Alphaville, Suspiria, and even Blade Runner in its bold colour work and chilly futurism. Sven Grünberg's synthesizer score deepens the sense of unease, especially with its surreal gibberish lyrics-an accidental by-product of Soviet censorship that ends up enhancing the film's uncanny texture.

Narratively, the film's slow, sometimes cryptic progression and its abrupt, socially charged ending can leave people divided; some may find it subtle and haunting, others opaque and unsatisfying. Yet even its detractors acknowledge its charm, atmosphere, and originality.

Ultimately, The Dead Mountaineer's Hotel may not appeal to those seeking a grounded whodunit, but for viewers drawn to stylish, surreal, and genre-bending cinema, it remains an intriguing, at times mesmerizing cult artefact.

/Refers to seasons 1-14/

At its best, Death in Paradise delivers exactly what fans want - a quirky British detective far from home, a close team of local officers, and a steady stream of unlikely murders set against beautiful island scenery. The first four seasons set a very high standard. Ben Miller's sharp, fussy Richard Poole, followed by Kris Marshall's wonderfully awkward and gangly Humphrey Goodman, created some truly memorable moments. Marshall's wide-eyed "aha" realisations and his gentle, clumsy romance with Camille are still among the show's most charming highlights.

The supporting cast has often been the heart of the series. Danny John-Jules's Dwayne brought warmth and mischief, and many fans still miss him. The wider ensemble has usually been strong too, with actors like Sara Martins, Joséphine Jobert and Don Warrington giving the show real depth. The regular change of Detective Inspector keeps things interesting, though it naturally means people prefer certain eras. Ralf Little has his supporters, bringing a lighter, softer touch, though opinions about his time in the role vary.

Not all casting choices have worked well, and a few characters can feel unnecessary. And of course, it hardly seems realistic that such a small tourist island could have so many murders. The show's familiar formula - as cosy as an old jumper - can also feel repetitive. But that simplicity is part of its appeal. This isn't meant to be hard-hitting crime drama; it's warm, easy-going escapism.

Even though the quality dips in later seasons, Death in Paradise still offers an enjoyable hour of sunshine and mystery. Whether you're a loyal fan or new to the series, it's worth starting at the beginning, where the show's mix of character, comedy and Caribbean charm is at its strongest.