Leo Woodall

Thoroughly entertaining: Tuner reviewed

I can’t see why anyone wouldn’t enjoy Tuner. It’s a heist caper as well as a romance and while it hits some familiar beats it hits them in new ways. Set in the piano-tuning world – which may be a first – it’s sound-driven (jazz, classical and more) and has something to say about music, identity, artistic envy. In addition it stars Dustin Hoffman and Leo Woodall, who have cracking chemistry. You will not have realised that bird song can hurt It’s a first feature film from Daniel Roher (otherwise an Oscar-winning documentary maker), who proves here that he has equal talent for fiction. Hoffman plays Harry, a New York piano tuner who once played jazz with Herbie Hancock and the like – although maybe he didn’t. (He seems to be slipping into dementia.

Certainly intriguing: Apple TV+’s Prime Target reviewed

Needless to say, there have been any number of thrillers that rely on what Alfred Hitchcock called a MacGuffin: something, however random, that the goodies have to find before the baddies do. Less common are those where the MacGuffin is the mathematical formula for prime numbers – which is where Apple TV+’s latest show comes in. His first thought on seeing a 204 bus was that 2042 is the sum of three consecutive cubes Prime Target began in ‘Baghdad, Iraq’ – and therefore in a bustling market. Or at least it bustled until a large gas explosion opened up a hole in the ground leading to a spectacular medieval chamber. For a while, the chamber went unexplained as we cut to ‘Cambridge, England’ – and therefore to eight strapping young men rowing on the river.

This month in culture: January 2025

From our US edition

Wallace and Gromit: Vengeance Most Fowl January 3, Netflix The panic that gripped the McMorris household in November 2023 was rivaled by that of the great toilet paper shortage of 2020. Greater even, for this crisis could not be solved with a credit card and the willingness to fight hand-to-hand against fellow Costco members. Aardman Animations, the last bearable producer of children’s entertainment, was running out of clay. The sole remaining British factory that produced the stuff behind Wallace and Gromit and Shaun the Sheep had shuttered. Only a pitchfork would suffice. The advent of CGI has fried parental eyeballs with neon ever since Toy Story and only Aardman has resisted the trend, delivering us stop-motion Stan and Ollie routines.

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