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DIY SOS (1999– )
9/10
How to improve your programme - make it real.
6 December 2020
Ten years ago DIY SOS was a 'me too' programme about a group of builders trying a bit too hard to be funny while sorting out the minor disasters of incompetent home improvers. Then someone at the BBC must have been watching Extreme Makeover Home Edition and decided they had the perfect vehicle for an improved version stripped of corporate self glorification, mawkishness, product placement and over-engineered palaces which look as if they are going to cost a fortune to run and maintain.

The programme makers, of course, will always be looking for 'good television', but the usual focus is on practical and often beautiful changes to life-limiting or even life-threatening home situations for people in desperate need. The changes are frequently total rebuilds within the old shell, but never just for show. BBC budgets ensure that.

There are also larger community projects such as a street of homes for veterans which attracted the participation of two princes, and a huge boxing gym for kids affected by the terrible Grenfell Tower for in London.

The presenter and builders are the same but the programme has changed beyond all recognition, becoming much more significant and dealing in real, often heartbreaking family situations. The emotions are sometimes raw but for the most part the programme makers avoid sentimentality.

Nick Knowles is not to everybody's taste, but his contributions and interviews of family and friends have become much more perceptive and empathetic. A lot of time is given to tradespeople who come from all over the UK free of charge and to companies who often donate materials or staff free of charge, most importantly without advertising their names. The part of Extreme Makeover I really disliked was donors' corporate logos sprawled all over the screen and the inevitable words, "Our friends at CVS Pharmacy know how difficult life has been..." or similar.

One reviewer identified a problem with diversity. Perhaps there is something to look into there, but I have seen several featuring what the contributor might describe as non-white families (including in the two veterans episodes).

There is still some of the old 'banter' between the showbiz builders, but the regular builders' selfless enthusiasm and obvious enjoyment of the experience keeps the new version of the programme grounded. Nick Knowles' little sermon at the end of every programme can still sometimes be awkward, even cringeworthy, but in fairness he has got better. He can be annoying, but I don't think it's fair to see his light hearted insults as evidence of bullying.
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The Yorkshire Vet (2015– )
10/10
Real people, real situations, no fake jeapordy - what reality TV should be
21 November 2020
If all reality TV was like this I wouldn't be so allergic to it. Rather than looking for (even stoking) conflict, it celebrates warm and engaging people, both the vets and their clients. Instead of scripting scenes to try (and normally fail) to make them more dramatic/funny/interesting, it lets these warm and engaging people live their real life dramas, and in the process lets you see how genuinely funny and interesting people can be when just benig themselves. And then of course there is the glorious scenery, and the animals which are the supposed reason for the programme. I say supposed because it is really about the people first and foremost; in the Greens, a supremely cuddlable old couple, the show really has struck gold. The vets tend to deal with clients more like friends, and I never got the impression as in some vet shows that they are preening for the camera. My only worry is that the takeover of the Skeldale practice by conglomerate Medivet, saying they will no longer treat large animals, might kill off the show.
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The Borrowers (1997)
8/10
An enjoyable fantasy, unless you hate slapstick.
9 April 2012
I haven't come to the film through the book, and so have no memories to spoil. Purely on its own terms I and my family greatly enjoyed this piece of family entertainment. Personally I rather liked the vaguely mid-Altantic fantasy universe which strangely encompasses the whole of the 20th century, a rather dowdy place where the policemen look Edwardian but people might wear 1930's clothing while speaking on their mobile phones, yet drive 1960's Morris Minor cars on the right despite road markings on the left. Yes, mainly slapstick with flimsy screenplay (and occasionally flimsy acting too, though it's rarely awful as some suggest). In no sense is it deep, but none the worse for that. It's entertainment pure and simple, and on that level it succeeds.
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