Tag Archives: Chris Coghill

The Walk In. Television Review.

Liverpool Sound and Vision Rating * * * * *

Cast: Stephen Graham, Dean-Charles Chapman, Leanne Best, Jason Flemyng, Andrew Ellis, Bobby Schofield, Jodie Prenger, Ryan Mcken, Shvorne Marks, Chris Coghill, Molly McGlynn, Paul Brown, Tracy-Ann Oberman, Kate Robins, Danny Cunningham, Richard Hope, Nicola Stephenson, Bryony Corrigan, Gary Oliver, Dean Lennox Kelly.

Extremists of any background are a danger to the country, not just our own, but around the world, if you have to even raise more than your voice in defence of your political position then you have lost the argument, you have lost the right to be seen as civilised and part of the system.

Endeavour: Harvest. Television Review.

Liverpool Sound and Vision Rating * * * *

Cast: Shaun Evans, Roger Allam, Anton Lesser, Sean Rigby, Dakota Blue Richards, James Bradshaw, Sheila Hancock, Sara Vickers, Alex Mann, Simon Meacock, Caroline O’Neill, Natalie Burt, Michael Pennington, Joanna Horton, Jane Whittenshaw, Chris Coghill, Emily Forbes, Grahame Fox.

It can never be too much of a coincidence that in times of deep disharmony, of scaremongering and deep fear biting at the ankles of those immersed in watching world events, that a television drama, even of the murder/crime genre, can take you back to the roots of the nuclear power debate and show just how close such thinking can wreck the environment and kill thousands of people if there was an accident or act of sabotage.

The Driver, Television Review. B.B.C.

Liverpool Sound and Vision Rating 5/10

Cast:  David Morrissey, Ian Hart, Colm Meaney, Claudie Blakley, Darren Morfitt, Sacha Parkinson, Lee Ross, Harish Patel, Lewis Rainer, Andrew Tiernan, Chris Coghill, Shaun Dingwall, Andrew Knott, Nathan McMullen, Ciara Baxendale, Leanne Best, Dominic Coleman, Rick Bacon, Emma Bispham, Karl Collins, Alan Rothwell.

 

The British gangster drama, whether on television or in the cinema has never really captured the days of Brighton Rock with Richard Attenborough and William Hartnell or the fantastic The Long Good Friday with the much missed Bob Hoskins    and the excellent Lock, Stock and Two Smoking Barrels. Since those days of cinematic greats the genre seems to have become too safe, it has waved a white flag in surrender to its American counterpart.