Skip to main content

The Bridge review – the TV version of a dire corporate away-day

It was supposed to be a show about teamwork and logistics in the face of adversity. Instead, this quest to win £100,000 consists mostly of participants bickering and moaning

The Bridge (Channel 4) is at just over its halfway point, and Saga Norén is yet to appear in her little green sports car to talk about how much she likes sex while solving Scandinavia’s most twisted murders. Alas, this is The Bridge, not The Bridge: the latest in a long line of survival shows where contestants must work together in order to reach an island in the middle of a lake, where £100,000 is being held. Or at least they think it is. In order to jazz up an exercise wheeled out by corporate away-days, various dastardly twists have been introduced, reducing the prize fund and – more importantly – causing everyone to argue with each other, all the time.

This is standard survival-show fare. The contestants are kept hungry, so they argue about how hungry they are. They do not all hold the same view of teamwork, so they argue about who is pulling their weight and who is not. Nobody seems capable of agreeing on much, which, given that all they have to do is string a few logs on to some plastic, ad infinitum, is quite remarkable. The actual task of bridge-building appears to be so repetitive that it is barely shown on screen. Instead, they bicker and bicker.

Continue reading...

from Culture | The Guardian https://ift.tt/3myXD6b
Labels:

Comments

Post a Comment

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4
Post a Comment
Read more

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV
Post a Comment
Read more

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...
Post a Comment
Read more