Latest news with #OrdealbyInnocence
Elle
16-06-2025
- Entertainment
- Elle
If You Loved Matthew Goode And Kelly Macdonald From 'Dept. Q', Here's Where Else You Can Watch The Cast On TV Now
Dept. Q, the TV adaptation of Jussi Adler-Olsen's bestselling novel has already amassed a cult following, and it's no wonder – since its premiere on May 29, it has consistently held a spot in Netflix's top three TV shows. With the potential of a premiere of season two still a long while away, you might have found yourself missing the performances from lead actors Matthew Goode, Kelly Macdonald, Chloe Pirrie and more as well as the strong supporting cast. From psychological thrillers to crime dramas, many of these actors have appeared in other standout crime thrillers on both the big and small screen. Here, we break down some of the best films and series they've starred in—perfect for fans of Dept. Q, dark mysteries, and the cast members themselves... Ordeal by Innocence follows a man who returns to clear his name after being accused of a murder that he did not commit. The ordeal sees his wealthy adoptive family being thrown into the chaos as buried secrets begin to surface. Matthew Goode stars as Philip Durrant, a paralysed former pilot whose sharp tongue and substance abuse masks his inner turmoil. When a whistleblower leaks highly confidential information that uncovers an illegal NSA operation to sway support for the Iraq War, she puts her life and freedom in jeopardy. Matthew Goode plays Peter Beaumont, a journalist with strong morals who helps break the explosive story. Stoker sees a teenage girl become more and more disturbed after the sudden arrival of her mysterious uncle, shortly after the death of her father. As hidden family secrets begin to surface, so does the threat of danger. Matthew Goode stars as Uncle Charlie, a mysterious and unsettling figure with a dangerous agenda. A grieving mother publicly accuses a man of murdering her child years earlier, which brings about a tense legal battle that prompts questions of morality, justice, revenge, and identity. Kelly Macdonald plays Anna Dean, the distraught mother at the heart of the trial. Based on a true story, a group of ageing criminals plan and execute one of the largest heists in British history by breaking into a high-security vault over a holiday weekend. Matthew Goode plays the Guv'nor, the evasive and calculated mastermind behind the operation When a hunter finds drug money in the American desert, he unintentionally sets off a deadly chain of events involving a ruthless killer and a worn out sheriff who must confront a changing world. Kelly Macdonald plays Carla Jean Moss, the innocent and tragic wife of the fugitive, caught in the violent aftermath of his choices. A discreet police unit must investigate corruption within their own law enforcement, which causes deep and dangerous conspiracies to surface as trust breaks down within the ranks. In season six, Kelly Macdonald plays DCI Joanne Davidson, a senior officer whose loyalties and secrets raise serious suspicion about her character. Jack Ryan follows a CIA analyst who suddenly finds himself thrust into dangerous field assignments, uncovering global conspiracies and threats. Alexej Manvelov plays Alexei Petrov, a Russian operative who is caught up in the complex web of international espionage. When a CCTV operator stumbles across footage of a man from her past, she embarks on a journey of revenge and redemption. Kate Dickie plays Jackie Morrison, the protagonist confronting her past.
Telegraph
28-02-2025
- Entertainment
- Telegraph
Towards Zero, review: a sexed-up, slang-filled spin on Agatha Christie
Between 2015 and 2020 Sarah Phelps dramatised five stories by Agatha Christie for the BBC. The results were stylish, steamy and lavishly well cast. In Towards Zero (BBC One) the adaptation duties have been handed on to Rachel Bennette, who takes charge of a double murder in a posh pile on the Devon coast, but we remain very much in Phelpsland. As in Ordeal by Innocence and The Pale Horse, this is richly handsome to look at. The gents' threads and, especially, the ladies' fashions (clinging silk gowns, Cruella de Vil furs etc) are the lush fantasies of touched-up magazine spreads. Like Phelps, Bennette has done plenty of rewiring on the original plot. New characters have been slotted in as red herrings and/or plot mules, while others are cast out. The 1944 novel was a valedictory case for Superintendent Battle, a lesser-loved detective in the Agathaverse who has been dumped altogether, leaving his assistant Inspector Leach (Matthew Rhys) to piece together clues on his lonesome. To give Rhys some meat to chew on, Leach has shell-shock and suicidal tendencies that formerly belonged to another character. This being a 2020s reinvention of the 1930s, there are de rigueur anachronisms in casting and in language that will trigger rote Pavlovian groans. The more striking shock is a peremptory oral pleasuring enacted on the main staircase for all to see. In the book such naughtinesses happened between chapters behind closed doors in the reader's imagination. Here, feast your eyes. At the heart of the case is a good question, posed by Leach. 'What on earth are you doing on your ex-husband's honeymoon?' The husband is tennis hottie Nevile Strange (Oliver Jackson-Cohen), who takes his sultry second wife Kay (Mimi Keene) to his aunt's house yet encourages his sultry first wife Audrey (Ella Lily Hyland) to tag along too. Other characters rather pale next to this preening trio, even the bilious aunt Lady Tressilian. To secure Angelica Huston for the role is a casting coup on a par with John Malkovich's Poirot in The ABC Murders or Kim Cattrall in Witness for the Prosecution. From her eyrie in bed she tosses off bon mots in the mode of a certain dowager countess. 'My dear, a woman can't be her own person.' 'Why have a husband when you can have a lawyer?' Huston's respectable English accent slightly saps her of power and charisma, and she feels somewhat wasted. Clarke Peters is a grizzled treat as the lawyer Treves. To him falls the opening oration that explains the title. 'I like a good detective story,' he says, 'but you know they begin in the wrong place. They begin with the murder.' We must wait until midway into the second episode of three to find whose death is to be solved. Only then does the story work its evidential way back towards the point zero of motive. Thus this Christie feels like a long skip to the centre of an impeccably clipped maze, followed by a long trudge to the exit.
