Inside Number 9: Episode 12: Seance Time

A creepy finale

to the season.

 One of the most

daring episodes of

 the series thus far.

Season two of the show has certainly been wrought with ups and downs. Some of the absolute best episodes of the series, mixed in with some fairly disappointing messes. So where does the season finale stand on the spectrum? Honestly, I think this episode can be seen as a microcosm for the season on the whole. A lot of amazing and daring good points, mixed with some groan-worthy low points. 

The most fascinating element of this episode is it's atmosphere. The tone and growing feeling of gnawing tension throughout the episode is top-notch and is up there with some of the best episodes of the series. Inside No. 9 has managed to capture a sense of palpable dread in all it's greatest episodes and it is this tone that I want to become the most remembered aspect of the entire show. Seance Time is notable for it's exceptional early twist, which throws it's audience off in ways that no other episode of the show has up to this point. This twist, along with the great set-design and the all-around great performances are what create the magical atmosphere of this episode, and I love every second of it. 

Despite the quality of this atmosphere however, and all the elements which contribute to form it, there are some glaring issues with this episode in my eyes. For a start, much like La Couchette and The Trial of Elizabeth Gadge, this episode suffers from misplaced comic relief. This comedic material serves to undermine the atmosphere in my eyes at points and does not server the episodes narrative in any substantial way, other than to hammer in some fairly one-note social commentary. If one compares the comedy here to the comedy in Nana's Party it becomes easy to see how much more substantial and integral to the atmosphere of the later episode the comedy is by comparison. Here, the comedy detracts for the most part rather than benefit, which is a shame.

Despite this however, we are still given one of Shearsmith's best performances of the entire season and a genuinely impress tone and atmosphere. On the whole I did enjoy this episode and, much like the season on the whole, find it more than worthwhile to dig through the flaws to find the duo's masterful achievement in televised horror which lies beneath.

By Jack D. Philips
A Zoom Film Review
Inside Number 9: Episode 12

Inside Number 9: Episode 11: Nana's Party

An 
uncomfortable

and deeply moving

episode. An 
emotional

high point for the series.

This is episode of the show is not for the faint hearted. Nana's Party is the ultimate culmination of he efforts made by episodes such as The 12 Days of Christine and Last Gasp, to create a fully satisfying and complex family drama in only thirty minutes. I honestly cannot say that I have ever seen such a potent and complex range of emotions in such a short space of time, this episode is simply triumphant over it's restrictive format.

The primary reason for this episodes success is the wealth of excellent performances on display here. Aside from our familiar duo, who are both equally phenomenal here and provide some of the most powerful moments of the entire show, Claire Skinner is our standout talent for this episode. The actress' greatest talent is without a doubt her relatablity, which makes watching such horrible scenarios happen around her quite uncomfortable from the beginning. It is worth noting that this is the second episode of the show to be directed by Pemberton and Shearsmith, and I am only growing to love them for the quality of performance they are able to get from their actors. Not a single line falls flat here, and I cared deeply for every single one of the main cast.

Before I ramble for too long about the acting, I must deliver some kind of praise at the script for this episode. If it isn't the strongest script of the entire series then it is certainly close, and I believe this episode sands as a primary testament to the duo's immense collective writing ability. The script here is absolutely wonderful in it's plotting, without a doubt the strongest of the series thus far and it is filled with a host of stunningly funny and heart-achingly potent moments. This episode's climax is a true marvel, perfectly built up and incorporating every character and plot point of the episode up to that point in one incredibly powerful (and surprisingly hilarious) conclusion.

Overall, this episode is a masterwork and stands a one of the show's newest highpoints. Although season two of the show is certainly less consistent than the first, I can say that it has certainly offered up some incredible television.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 11

Inside Number 9: Episode 10: Cold Comfort

Certainly the most 

unique episode

 of the season. 

A wonderfully experimental

 outing that

left me satisfied and highly

 impressed.

The second season of Inside Number 9 is certainly making efforts to remain unique and innovative. Despite the heavily flawed nature of some of the episodes, every one (barring the fairly derivative La Couchette) has been unique and has pushed the show in a bold new direction. Of all of them, Cold Comfort may be the most innovative of them all, utilising a unique visual style that I have legitimately not seen before in either TV or film. The episode takes place using a fixed camera set-up (in the style of a CCTV camera), which does not alter throughout the entire episode. This set-up highlights the cabin fever and confinement felt by those working in support centers. This is what I love about Inside Number 9, how it takes mundane and rarely portrayed aspects or situations of day-to-day life and brings out their latent tension and drama. I never thought that a call-center would be a location with a story to tell, however I have witnessed one now.

Aside from it's downright inspired concept, this episode is also notable for being the first episode of the show directed by Pemberton and Shearsmith, as well as being written by, and starring the duo. In the case of Number 9, I can only assume that increased creative control only benifits the show, as the intensity of some of the performances (particularly Pemberton's in this case) are outstanding. I would call this a highly successful directoral debut from the duo, and I am curious to see if they choose to direct any future episodes, or possibly even a larger project.

In terms of the episodes writing and storyline, they are both very strong here. I will admit that I find certain plot points a touch contrived, and so in that aspect the screenplay is far from perfect, however overall it allows for probably the best character interaction and dialogue of the entire season thus far. The episode this one reminds me of the most is The Understudy, which was also a tightly written and emotional character drama based around the behind the scene workings of a stressful industry. I feel it is safe to say that it is this type of episode that impresses me the most out of all of Inside Number 9.

Overall, i adore this episode. It is not my favourite episode of the series, or even the season so far, however I respect it immensely and can only see it as something of a creative breakthrough for the duo, due to their decision to take control behind the camera as well as in front.

By Jack D. Phillips
A Zoom Film Review
Inside Number 9: Episode 10

Inside Number 9: Episode 9: The Trial of Elizabeth Gadge

Better than La Couchette,

however another 

mixed episode

from the 

second season.

I feel that is safe to say that this season of Inside No. 9 is far less consistent than the last. The first season offered a very consistent level of quality and rarely wavered in that aspect. This season has so far offered a fairly underwhelming episode (La Couchette) and a utterly fantastic episode (12 Days of Christine), and now this installment. The Trail of Elizabeth Gadge is a flawed and fairly confused episode, and is pretty much the opposite as anything that could be described as consistent. 

Let's start with the good things the episode does. For a start, its comedy is generally funny, pacing it far ahead of the considerably less amusing La Couchette. There were several moments within this episode which made me laugh, and overall it succeeds as a comedy in my eyes. Furthermore the epsiode's atmosphere is far more compelling than La Couchette's and brings many unique elements to the series which have not been seen before now. The unique period setting marks a first for the series and unlocks several possibilities for future episodes. 

Finally, the episode features some exceptional performances. Shearsmith and Pemberton deliver their most significant performances of the season thus far, and are exceptional as always. Particular praise must go towards the restraint and dignity of Pemberton's performance. Furthermore, the titular Elizabeth Gadge is brilliantly portrayed by Ruth Sheen and delivers one of the more interesting and complex characters of the entire series.

Then we arrive at the episodes rather hefty flaws. Much like La Couchette the episode's atmosphere is damaged at points due to the presence of broad comedy. It is possibly even worse here due to the intensity of certain sequences, and how brutally they are undermined by the comedy. For example, a scene of horrific torture is soon followed by jokes about an anal probe, destroying any sense of tragedy or horror. The episode is also far to blatant in it's plotting in my opinion, as character motivations are frequently repeated and plot points are hammered in far too many times. Furthermore some of the supporting actors were far to goofy in their delivery and further created dissonance between the tone of the comedy and the tone of the drama.I also dislike the episodes second twist, which honestly felt like something of a minor betrayal to the style and sensibilities of the show, and was painfully predictable despite this.

Overall, this episode is even more confused and jumbled than La Couchette. I overall prefer this episode to the aforementioned and commend the quality of some of the acting and atmosphere. However it's flaws are deep and ruin what could have been a standout portrayal of a subject which I have always found highly interesting.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 9

Inside Number 9: Episode 8: The 12 Days of Christine

Season 2 finally

gets going, with the

most touching story of the

duo's career.

I finally figured out why La Couchette didn't work properly. It lacked the growing sense of dread that defines the series and makes it so special for me. That sense is not forgotten again however, as this episode is one of the most intense and potent pieces of television I have seen in quiet some time.

The episode stars Sheridan Smith as Christine, in a role that has netted her (and the episode on the whole) much praise and analysis. This praise is defiantly deserved. Smith is very likable here and portrays a character who seems eerie in her realness. This episode rivals The Understudy in how relatable and human it's main character is, and that is far from small praise. Smith, alongside the simply amazing script, is able to condense an entire life of struggle and joy into less then thirty minutes, and makes every moment feel real and powerful. This is certainly the most grounded and affecting the duo's writing has ever gotten, and shows a remarkable level of maturity and skill. The supporting actors also do a great job here, adding to the living-breathing life that Smith forms for here character over the course of a decade, and giving Pemberton a surprisingly downplayed role. It is clear that neither Pemberton or Shearsmith intended to dominate our attention here, this is the story of Christine as portrayed by Sheridan Smith, and that is respected to the utmost.

The twist ending of this episode is perhaps the series' finest yet. A deeply moving and shocking ending, which is open to much interpretation and debate. I am sure this twist will be discussed for long after this season ends, and will be remembered as one of the duo's greatest achievements as writers.

In conclusion, if this is not my favourite episode of the series it is certainly at least close. A tale of loss, heartbreak and love in under thirty minutes. There is genuinely nothing else out there right now like it.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 8

Inside Number 9: Episode 7: La Couchette

Although certainly

weaker than any

season 1 episode, I

am still hopeful 

for the rest of

the season.

I feel that the first thing I need to discuss in regard to this episode is the idea of disappointment. Did I find this episode disappointing.... maybe. I think judgement has to be reserved until the season is complete, then I will be able to place it in full context and decide where it fits in with the show overall. Moving on from this however, I feel it is safe to say that this is my least favourite episode of the show so far. That does not make it a bad episode, as the prior season set a very high standard, however it naturally means I found some pretty gaping flaws.

Much like Sardines this episode is something of an ensemble piece set within a confined location. Unlike Sardines the episode does not attempt to create a creepy or awkward atmosphere, instead opting for a more nauseating and frustrating tone. This honestly works very well at first, with this increasing sense of pent up frustration brewing within the episodes most highlighted character (Shearsmith). However, for some reason I feel this tone becomes forgotten latter in the episode. The character's become too civil with each other, and none of the aggression or frustration leads to anything. This was a minor disappointment for me and cheapened the setting significantly. Furthermore I was a little put off by the greater emphasis on comedy, far broader comedy at that. Again, I am not worried for the rest of the season, but it grated on me somewhat this time.

Moving on from the tone, how was the acting? Well this is complicated. Shearmith and Pemberton are great, providing the bulk of the laughs in my opinion. Seeing the two bicker in German was a delight, particularly as someone who knows a bit of German and could semi-follow their conversations. The rest of the cast were fairly mixed, weaving between annoying, bland and funny, all except one, Jack Whitehall. I hated this guy, he was highly grating, utterly pointless to the episode on the whole and did nothing but deliver the most forced lines and dialogue of the entire series so far. It feels hyperbolic to say this guy almost ruined the episode for me, but he was not far off.

On a more positive note, aside from Whitehall's lines (which I can only assume was the result of  a hung-over writing session from Shearmsith and Pemberton), the dialogue is snappy and fun, granting me a good handful of genuine laughs throughout. The cinematography was also as good as ever, highlighting the claustrophobic and uncomfortable environment of the train carriage.

Overall, I still think this was a good piece of darkly comedic television. However I do not think it will be remembered highly when compared to the show overall, with it's gross-out humor and the presence of Whitehall. It should be noted that the twist was very good and did a lot to save the experience for me, offering the darkest and smartest joke of the entire episode.

By Jack D. Phillips
A Zoom Film Review
Inside Number 9: Episode 7

Inside Number 9: Season 2

Inside Number 9 season 2 has begun. I will begin reviewing each episode as they are released. I hope you enjoy!

By Jack D. Phillips

The Harrowing (2014) [Guest Review]

Acknowledging Genius

The Harrowing

I understand that it’s odd for someone to review a late episode of a series, let alone the finale and skipping the previous chapters. Well let me clear something up;

Inside No. 9 is what British television has needed for a long time coming. With the long strands of story-driven programmes often suffering in quality due to failing to keep the audiences interest with the same essential characters and story for weeks bordering on months, a low-key anthology was a welcome entry to BBC2. Especially when it turns out to be the newest lovechild in the ever-growing family of unsung British comedy heroes Reece Shearsmith and Steve Pemberton.

When united with friends Mark Gatiss and Jeremy Dyson, Shearsmith and Pemberton collectively form the much known and loved League of Gentlemen, the comedy show that with elements of gothic, macabre and just plain unnerving horror. I know I’ve yet to get the episode BUT BARE WITH ME because I need to establish how much J’adore La Ligue des Gentlemen. They manage to utilize many established horror tropes from recognizable classics yet somehow still come across as something new and original. When the group moved on to separate works, Reece and Steve (we’re soul mates) often co-create new shows with vastly different structures of storytelling to prove themselves as more than one trick ponies. They first made Psychoville, a dream-like whodunit with an insane cast connected to a dark incident from their pasts. And most recently No. 9, a “Tales of the Unexpected” style anthology series mixed with their traditional dark humour. And the gimmick is that each episode takes place in an area numbered nine, be it a house, room, gym locker etc...

 While Big Blogger has already told you what to think of the previous five episodes, I will nonetheless quickly summarise my opinions of series 1’s run.

Sardines = A genius discomfort comedy with a terrific set and a perfect ensemble cast. Special praise goes to Tim Key’s award-deserving performance and a twist ending that left me shivering.

A Quiet Night In = An ambitious feat to modernise Laurel and Hardy pays off splendidly. Great set design, hilarious silent comedy form Reece and Steve and they, much like their previous work, show how low-brow, often tasteless humour can be done right.

Tom and Gerri = The previous episodes reassured me the two are still funny, but this episode made me realize how thoughtful and understanding they are under the hook-clown masks. A tragic commentary on human impulse and trauma led by two fascinating characters. Steve’s Migg fills me with bile and Reece’s Tom breaks my heart.

Last Gasp = The most tender of the entries. A compelling tale of greed and hypocrisy with an always welcome appearance from Tamsin Greig. Admittedly, this is the episode with the least “re-watchability” due to the lack of sensational drama but it’s definitely worth a watch.

The Understudy = The traditional “Macbeth production goes wrong oh how ironic” story has been done many times before. Thankfully, this episode is saved from being clichéd by three-dimensional performances from every actor involved and some top-notch lighting. Also, the sinister tremulous ambiguity helps the episode stand on its own terms from the others. And yes, “Fuck me, it’s a ghost!” is the best quote of 2014 T.V.

And now, my detailed review of the series one finale

The Harrowing =  …well. I previously mentioned how in their League days, their writing would stop the laughs and hit you with no-holds barred horror. Well the ending of this episode is the most frightening thing these two have made since the League of Gentlemen Christmas Special.

The tale tells the aforementioned tale of teenage girl Katie( Amiee-Ffion Edwards), who has been hired by two odd neighbours to take care of their invalid brother, Andrass. The two brother and sister pair Tabitha (Helen McCrory) and Hector (Reece) tell her to never visit Andrass upstairs but to simply maintain the temperature and deliver him milk and biscuits from a mobilised chair, like some sort of maid for the uncanny. Without notifying the two, she soon invites her Goth BFF Shell (Poppy Rush) and the two gradually learn more morbid facts about their unseen client.

The notable homages to horror directors such as John Carpenter, William Friedkin, Dario Argento and numerous others are amazing to find on Television these days. You can tell this episode was written with love and care from Reece and Steve by the cognitively dissonant atmosphere that what you’re seeing is horrible yet jolly good fun. The nine-numbered house itself is one of my favourite sets of the series. Much like its residents, it tightropes between Carry On-esque cheese and a classical horror style in the vein of James Whale’s The Old Dark House. As for the residents themselves, they prove to be the beating heart of the duo’s trademark horror-comedy. Reece is at his most delightfully perverse as the quivering spectre of Hector, delivering his ridiculous dialogue with barely restrained glee and McCrory is equally having a ball with her larger than life character whilst never losing the gravitas of her usual thespian training.

Not to say that the protagonist is inferior. Edwards’ proves to be a surprisingly professional and convincing actor for her age, managing to convey a naturally confused and frightened response to the situation whilst keeping in sync with the comedic set-up of said events. We quickly sympathise with Katie as we would with Laurie Strode, Ellen Ripley, Sally Hardesty and other horror female leads not because of the comparisons with this episode and the films of those protagonists, but because Edwards is likable in the role and well written by Reece and Steve.

Also, props to Fields for assuming a role that could have easily been reduced to that of the “obnoxious sensitive friend” archetype we see in MANY slasher films before Wes Craven felt the need to point it out for us, because she turned out far better than I feared. Her character is far more layered and complex and Fields herself has great comic timing, particularly when her dialogue emphasises the poor grammar of our youth. The shame.

When I first heard that the two main leads of The Harrowing would be two teenagers I was slightly concerned. Two middle aged men attempting to capture the essence of young people not from their generation has often led to mixed to embarrassing results (see certain episodes of Doctor Who written by Steven Moffatt ). Thankfully, whether it be by thorough research into the demographic or the sheer magic dust that emanates from the two writers’ fingers, Katie and Shell are funny, engaging and realistic as both roles and as representations of homo sapiens youngsters.

The only mild complaint I have for The Harrowing is how when something particularly nasty happens, the madcap humour can be a little disingenuous, but that’s often par for the course for the stylings of the League, whether they be full, halved, quartered or just a standard Mark Gatiss episode of Who or Sherlock. On a petty note, it does feel odd with Steve’s absence from this episode but Reece wasn’t in Last Gasp so it all evens out.

I couldn’t have felt more satisfied or terrified as I did when the hilariously inappropriate end credits of The Harrowing played out. I would recommend that should you watch this show in no particular order, always finish series one with this, as the impact would be grossly diminished otherwise. The new series airs on March 26th, BBC2 at 10:00pm. Please watch it. I don’t care if you hate it; just show these two geniuses that their talents don’t go unacknowledged. 

By Harri Davies

A Zoom Film Review         

Inside Number 9: Episode 6: The Harrowing

The season

finale is funny, clever and

entertaining. Also, one

of the most terrifying 

endings in recent television

history.

Inside Number 9's season finale is certainly the most ambitious episode of the season. It attempts to homage classic horror films, simultaneously parodying the genre whilst creating an atmosphere and tone similar to such horror classics. This is not an entirely unique concept, and has been attempted by previous films such as Scream and The Cabin in the Woods. I like both of these films, however I feel that they both fell short in some aspects. The Harrowing is not perfect either, and is certainly not my favourite episode of the show, however it is certainly one of the most potent entries within this little sub-genre.

This first and most interesting element of the episode to me is the production design. I was blown away by the setting of this episode, a classic old dark house, due to the sheer amount of effort that was put into upping the uneasiness of the environment. The hellish paintings on the wall, the stark black paint on the walls, and especially the furniture. The house's furnishings are clearly of a different time, outdated and comically contrasting with the modern outfit of the main character. However the fact that this detail is not pointed out very much allows it to melt into the atmosphere rather than being forced into the forefront. That detail helps to explain why so much of this show works so well, it respects it's audience and is happy to let an element simply do it's job, rather than specifically pointing it out. This applies to script details, visual details or music details. I love this show, and so much of that comes from the way Shearsmith and Pemberton respect their audience.

Speaking of Shearsmith, he offers the most entertaining performance of the entire season in this episode. The character Hector, whilst far from being the main character, is an absolute joy. Shearsmith goes completely over the top here and loves every second of it, granting an endlessly quotable character. Despite this however, the character retains a slyly creepy dimension throughout and always maintains an eerily creepy presence despite his hilarious dialogue and delivery. The same applies to Helen McCory, who is also great as the episodes other source of chilling villainy. She isn't as funny as Shearsmith (although sill having a fair number of amusing lines herself) however she manages to be even more unsettling, driving home the effective horror edge of the episode. The episode's main character, Katy, exists in stark contrast to these eerie beings and acts of a strong base to keep the audience grounded and on edge, for we are genuinely concerned for her safety.

The final thing which deserves note is the ending. The episode's creepy undercurrent grows throughout, until it's ending. The final scene of the episode will stick with whoever watches, it is is not only explicitly horrific, but also implicitly disturbing and implies far more horrible things for the main character. The episode's twist is nowhere near as shocking as others within the season, however this scene more than compensates.

Overall, this episode makes a worthy conclusion to the first season and leaves the viewer with a harrowing (chuckle) feeling. The second season of this excellent show begins airing this Thursday (26th March) on BBC ONE. I highly recommend giving the second season a try in case you missed the first, or buying the first season on DVD to catch up on some amazing television.

By Jack D. Phillips
A Zoom Film Review
Inside Number 9: Episode 6

Inside Number 9: Episode 5: The Understudy

The greatest acting and

writing showpiece of the entire

season. Truly masterful.

On the one hand, this episode could be accused of being the least ambitious most simplistic episode of the entire season. Almost all the episode takes place within a single room, the cast is fairly limited (confined to five lead performances) and the majority of the story is told through dialogue. However despite all of this, not only is this one of my favourite episodes of the season, but I would also consider this to one of the most tightly made episodes in British television history. Feel free to quote me on that if you care to.

Pemberton plays Tony, an arrogant and narcissistic stage actor currently performing Macbeth. Pemberton dominates the screen with his huge amounts of charisma and presence at all times and it's great to see the actor finally able to unload his full potential. He is clearly having a blast here, and it makes an interesting contrast to compare this to his role in Last Gasp, which saw him at probably most subtle and reserved versus this far louder and brasher character. However it is Shearsmith who dominates the episode, playing the titular understudy Jim. I will not spoil this performance, however alongside A Field in England, which is one of the greatest British films I have ever seen, this performance helped to cement Shearsmith as one of my favourite British actors. Jim is in my opinion the most relatable, developed and unique main character of the entire season, and he portrays all the human pain and disappointment which would naturally come from being forced into such a position. The other performances and characters in this episode are also wonderfully portrayed, bolstered by the strongest interactions that have been written for the series yet. Particular praise to Lyndsey Marshal for her excellent and subtle performance as Laura.

Aside from the acting, this episode features the season's best script, without a doubt. The dialogue is fluid, the pacing is perfect (special praise for the use of a five act structure, giving the episode an appropriately Shakespearean scale and tone) and the twist is the best of season in my eyes. This is both in terms of the shock it provides, and the way it changes the way you view the preceding story and character interactions in such a drastic manor. 

Overall, I cannot praise this episode enough. I wish I could continue on to praise every element of this episode individually. The dramatic and intense lighting, the genius of setting the entire episode within a single dressing room, the line 'Fuck me it's a ghost' (the most quotable line of the season). This episode is a masterpiece of dark comedy, character drama and theatrical fable, and I recommend it higher than any other episode of the season.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 5

Inside Number 9: Episode 4: Last Gasp

Not as twisted

or shocking as other episodes.

Instead, here we have

 a moral drama

with dark and revealing

ideas.

If Tom and Gerri acts as the perfect encapsulation of the series in my eyes, then this episode acts as the odd exception to the ideas established throughout the series. Last Gasp has no twist ending, it cannot even loosely be considered a horror themed episode and it doesn't even feature Reece Shearsmith in an acting role (I realise I've been misspelling his name so far, I am a moron). Despite being the season's most a-typical episode, I still find much to enjoy here and recommend Last Gasp as the morbid moral drama it is.

Although Shearsmith does not appear here, Pemberton carries the torch with what may be his most layered and detailed role of the season. A conflicted father attempting to do what is best for his daughter, whilst still clearly being deeply affected by the consequences of these actions. The cast for this episode outside of Pemberton is also fantastic, featuring much of the sadly underrated acting talent within British television. The cast comes together to form characters who are probably the most identifiable of the entire season, all understandable in their motivations and limitations. The episode also features Tamsin, the only prominent child character and performance in the entire season, who is handled with shocking delicacy and realism. Overall I cannot praise the character acting in this episode enough, nor the excellent writing with is used to bring the characters to life.

The plot of the episode is a moral drama which exposes perhaps the most ugly aspect of the British psyche, the obsession with celebrity. The episode clearly condemns this obsession, yet does so through action rather than by lecturing the audience. We are made to form our opinions on the issue by watching the increasingly disgusting actions of the characters and the lengths many will go to in order to exploit other human beings. If he were still alive this would be the kind of story I could see Sidney Lumet directing, and the Inside duo handle it masterfully.

Overall, despite an ending which I found to be slightly rushed, I consider this to be a great episode. It is far from my favouite, and it is certainly an odd one within the season, yet overall it provides an uncomfortably frank tale of greed and brutality.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 4

Inside Number 9: Episode 3: Tom and Gerri

Perhaps the

 most complex twist,

and screenplay in

general, of the entire

season. 

A great episode.

If I were to pick a single episode of the entire first season of Inside Number 9 to encapsulate the entire series overall, it would be this one. Excellent writing, wonderful performances, a deeply disturbing and genuinely brilliant twist ending. This episode is perhaps the most complete and complex episode of the entire season, and I would not be surprised if this was the story which inspired the entire enterprise.

In the acting department, Pemberton and Shearsmith dominate this episode perhaps more than any other. Sheersmith plays Tom, a deeply flawed yet totally relatable man who stands as perhaps the most detailed and profound character of the entire season. Pemberton matches this with a performance which is simultaneously eerie and engrossing, playing a character who I'm sure will be the subject of a far more intelligent analysis than I could provide. On the supporting front, there are only two other character's of note within the entire episode. One is Gerri, Tom's girlfriend and voice of reason (played by Gemma Arterton) and Stevie, an amusing voice of humanity within the increasingly unstable mind of Tom (played by Conleth Hill). Overall the acting within this epsidoe is perhaps the most impressive of the entire season, bolstered by the excellently witty and tightly crafted dialogue.

There is overall not much more to say about this episode. It showcases the duo's writing and acting skills more than perhaps any other episode and is probably the episode which is most deserving of deconstruction and analysis. I also consider this episode to be the sibling episode to the season's fifth episode, largely due to both episodes dependence on performance. Of the two however I can certainly say that this episode is at least the more chilling and mind-bending, and it stands as a testament to the writing talents of Pemberton and Sheersmith.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 3

Inside Number 9: Episode 2: A Quiet Night In

Some of the most

entertaining

30 minutes in

television history.

A Quiet Night In is so entertaining it is hard to truly describe. The episode takes the form of a silent comedy, clearly inspired by the works of Laurel and Hardy, and involves two cat burglars (played by Pemberton and Shearsmith) breaking into a house to steal a work of art. 

Although every episode of the season features comedy in some capacity, this episode is the only one which pushes it into the foreground. The comedy in this episode, all of which is visual do to the silent nature of the episode, is absolutely hilarious. The scenarios are totally ridiculous and the script keeps throwing bigger and better curve-balls at the viewer. This episode stands as an absolute comedy classic and is a much watch for anybody who either loves, or wishes to study great comedy.

The set design of the episode is also fantastic. It features a very 1980's neon aesthetic and reminded me a lot of Michael Mann's Manhunter. It is quite stunning to look at and helps to highlight the surprisingly mature cinematography that this episode, and by extension the rest of the series, boasts.  The production values are very impressive here, and with the exception of the final episode, I am sure A Quiet Night In had the season's biggest budget.

In conclusion, I adore this episode. I would consider it a contender for my favourite epsiode of the entire show and I look forward to re-watching it again and again. Get some friends together and enjoy.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 2

Inside Number 9: Episode 1: Sardines

A great balance of comedy

and tension. Possibly the best

writing of the entire season.

As a kick-off for the season, Sardines acts as the perfect tone setter for the macabre mix of comedy and thrilling psychological horror that makes up the bulk of the show. We get given a premise which forces several character's, many of whom do not like each other or have secrets they wish to withhold, together in a confined space.  This leads to tension, awkwardness and very dark humor.

I give much praise to Pemberton and Shearsmith for this introductory episode, not just for the top-notch quality of their script, but due to their willingness to not dominate the screen at all times. The two play a troubled gay couple, Pemberton playing a character who is introverted and clearly embarrassed by his partner, whilst Shearsmith plays the far more brash and loudmouth of the couple. The two do well with their roles, however they wisely decide to restrict their character's to supporting roles, giving other actors equal if not greater screentime and development. 

I will not spoil the other characters, however it should be said that the dialogue and interactions written by Pemeberton and Shearsmith are outstanding. Funny, detailed and all conversations help to illuminate a dark truth bubbling beneath the surface of several of the characters. This is probably the best screenplay of the entire season and one of the best 30 minute screenplays I have ever experienced, it really is something special.

In conclusion, Sardines acts as a stunning introduction to the series. It showcases the full writing prowess of the creative duo and assures the audience that they are in exceptionally capable hands. It also acts as a showpiece for several excellent performances and results in perhaps the most powerful twist of the entire season.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 1

Inside Number 9 Reviews

I recently finished watching the first series of the fantastic British TV show Inside Number 9. The show is without a doubt one of the most impressive I have seen in quite some time, and I give huge praise to the show's writers and stars Steve Pemberton and Reese Sheersmith. I was so impressed, and each of the show's anthology style episodes was so unique, that over the next week or so I will be reviewing each episode of the series individually.

I hope you all enjoy.

By Jack D. Phillips