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RELATED: No Time To Die: 10 Spy Thrillers To Watch Before The New Bond Movie Is Releasedįew spy film franchises are as exciting and thrilling as those featuring Jason Bourne, played by the great Matt Damon. Films in this genre immerse the viewer in a world of mystery, deceit, and exhilaration, as characters attempt to figure out exactly what’s going on and how the spy will manage to overcome the villain.
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It might be a long shot, but as Slow Horses reveals over the course of the series, people can be full of surprises.There’s something innately exciting about spy thrillers. What is also perverse is that, for all the oppositional stance Slow Horses seems to be taking to, say, the glamorous mode of espionage practised by James Bond, it’s hard not to watch Lowden – who looks good in a dark suit and brings a surprising charisma to River – without thinking that hmm, maybe he’d make a good one. Perverse as it may seem, the familiarity of it all is actually quite refreshing. There’s not a bowler-hatted gent nor a glittering tourist attraction to be spotted: the streets are grey, the light is flat.
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This is professional drudgery of the highest – or lowest – order.īeyond the dreariness of the primary characters’ day jobs, it’s hard to remember London itself looking quite so grim on screen. And that’s assuming they even go home at all, a custom to which Jackson Lamb – whose revolting corporeal presence Oldman obviously has great fun portraying – appears to have taken the Bartleby the Scrivener approach: he prefers not to. The operatives’ evenings are not spent sipping shaken martinis in exotic locales, but necking sad pints in a local boozer to escape marital and social woes, as two of Cartwright’s new colleagues, Min (Dustin Demri-Burns) and Louisa (Rosalind Eleazar) find themselves doing in episode two. However what is most striking about Slow Horses – and also, given that it’s a thriller, quite ingeniously perverse – is just how boring it makes the whole spy game look. River needs little encouragement to start some extracurricular snooping, prompting a ripple of other spooks, including young hot-shot Sid (Olivia Cooke), washed up at Slough House for reasons that no one can quite work out, to have to keep tabs on him. River’s first task in his new workplace is to go through bin bags belonging to a seedy journalist (Paul Hilton) who seems to be hiding something and may be in some way connected to the kidnapping of a young Muslim student (Antonio Aakeel) whose beheading, according to the threats made by his anonymous captors, is imminent. Of course the six-episode show, which is smartly written by Will Smith ( Veep, Back), and engagingly directed by James Hawes ( Black Mirror, Penny Dreadful), has a pacey plot which doesn’t take long to emerge. Instead, it occupies a rickety upstairs office in Moorgate, the door of which can only be opened by a shoulder-barge, and is populated by a gaggle of demotivated deadbeats overseen by another improbably named agent, Jackson Lamb (Gary Oldman) whose primary contribution to the first two episodes is farting.
Slough House is not, in fact, in Slough, but is so nicknamed because it is so far away from the important MI5 business, overseen by the terrifying Diana Taverner (Kristen Scott Thomas, naturally), that it might as well be. River’s stake-out does not play out as hoped – in fact, is nothing short of disastrous – and he finds himself banished to Slough House, a kind of limbo for operatives who have, in some minor or major way, fucked up.
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This, it must be said, is as glam as the first episode of Apple TV+ spy series Slow Horses, based on the acclaimed Mick Herron thriller of the same name, is going to get.
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