BeneCumb

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.

The Tourist is a series that succeeds largely on the strength of its performances and its unpredictable storytelling, even if its two seasons vary in tone and overall quality. Season 1 begins with an immediately gripping premise: a man who loses his memory after an accident must piece together his identity while being hunted by those who know more about his past than he does. It's a familiar setup, yet the show keeps things fresh with sharp Australian humour, strong character work, and a moody atmosphere reminiscent of Fargo. Jamie Dornan anchors the story convincingly, and Danielle Macdonald delivers a standout performance as Helen, playing her with warmth, vulnerability, and understated comic timing. Several supporting actors, especially Ólafur Darri Ólafsson and Greg Larsen, make memorable impressions and add texture to the mystery.

Season 2, however, proves more divisive. Moving the story to Ireland gives the show a brisker pace and a different stylistic flavour, but the narrative leans more heavily into eccentric side characters and increasingly implausible scenarios. The dynamic between returning leads Helen and Elliot remains central, though the direction of their relationship is not too convincing. Still, Macdonald continues to handle her role with nuance, and the season benefits from the humour and unpredictability brought by returning characters.

Despite its uneven second season, The Tourist remains an engaging watch-part mystery, part character drama, and often darkly funny. Even when its ambition outpaces its coherence, the series holds your attention and delivers enough entertainment to be worth the time.