BeneCumb

Death Valley, set in the beautiful countryside of South Wales, gently pokes fun at traditional British detective dramas like Midsomer Murders and Inspector Lynley. With its witty, self-aware tone and delightfully mismatched main characters, it also manages to bring something fresh and original to the genre.

The story follows the unlikely partnership between Janie Mallowan (Gwyneth Keyworth), a socially awkward detective sergeant who still lives with her mum, and John Chapel (Timothy Spall), a washed-up actor best known for playing a TV detective. After meeting during a suspicious death investigation, the two form a quirky, unofficial crime-solving team. The result is a light-hearted, character-focused series with plenty of humour and just enough mystery to keep things interesting.

Spall is, as always, excellent as the eccentric and pompous ex-actor. But it's Keyworth who really stands out -she brings warmth, awkwardness, and heart to her role. Their odd-couple chemistry is fun to watch and keeps the show grounded, even when the stories get a bit silly.

The mysteries are purposely over-the-top, but that's part of the charm. The show doesn't take itself too seriously-and neither should its viewers. There are lots of clever little jokes throughout, and fans of classic British comedy will notice familiar touches in the dialogue and tone.

The Welsh setting adds even more to the show, with its stunning scenery offering a nice change from typical city-based crime dramas.

In the end, Death Valley is a fun, tongue-in-cheek spoof of murder mysteries, led by two great actors and full of warmth and charm. It's cosy, clever, and - like a good cup of tea - comforting. Here's hoping for a second season!

P. S. I know everyone has their own taste, but I still wonder what kind of shows appeal to people who rate this one 1 or 2 stars... 😊

Dexter: Resurrection is more than just a revival - it's a redemption. After the controversial season 8 finale and the emotional but divisive New Blood, the viewers were left with more questions than closure. But Resurrection brings the iconic series back to its dark and thrilling roots, offering a powerful and satisfying continuation that feels both familiar and new.

Michael C. Hall steps back into the role of Dexter Morgan with ease, reminding us why he's one of the most interesting characters on TV. His performance is just as strong as ever - cold and calculating, yet still oddly sympathetic. The show's psychological tension is back in full force, thanks to smart writing and excellent performances.

Peter Dinklage is a highlight as a clever and dangerous new villain, and his scenes with Hall are full of intensity. Uma Thurman and Krysten Ritter also give strong performances in their roles, while returning cast members bring a welcome sense of nostalgia.

The series strikes a great balance between respecting the original and trying new things. It keeps the same dark tone and slow-building suspense, but also adds deeper emotional moments - especially between Dexter and his son, Harrison. The visuals and music are also top-notch, adding to the mood and atmosphere.

Not everything works perfectly. The new detective character feels a bit underdeveloped, and Batista's storyline could have had more emotional weight. But these are small issues in what is otherwise a great season.

In the end, Dexter: Resurrection feels like a true comeback. It fixes past mistakes and sets up an exciting future. With seasons 2 and 3 already confirmed, the Dark Passenger's story is far from over - and fans are ready for more.

A must-watch for longtime fans. 8.5 (= 9) - just slightly below the original series.

Leida Laius's Ukuaru is a profound and emotionally resonant portrait of the Estonian spirit, embodied through the unwavering determination of its heroine, Minna. Played with quiet strength by Elle Kull, Minna chooses love over wealth, devoting herself to building a life with Aksel (Lembit Ulfsak), a penniless musician whose accordion becomes a symbol of hope and resilience.

Set in the rugged landscapes of pre-WWII Estonia, the film offers a moving depiction of rural life, womanhood, and survival. Laius, Estonia's only active female director at the time, directs with precision and restraint, stripping the narrative down to its emotional core. Arvo Pärt's haunting score, especially the iconic Ukuaru Waltz, deepens the film's lyrical atmosphere.

Minna's journey is not merely romantic - it's existential. She represents the archetypal Estonian woman: hardworking, self-sacrificing, and fiercely independent. She gives birth, builds a home, and carries her impractical husband through life without complaint or regret. Her suffering is quiet, her triumphs understated.

Screenwriter Mats Traat adapts only the first part of Veera Saar's novel, wisely focusing on Minna's personal battle rather than collective ideology. The result is timeless: a film that transcends its Soviet context and still speaks to modern audiences.

Ukuaru is not just a film - it's an ode to endurance, love, and the power of finding one's place in the world.