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We Know Where You Live - Remix:
The Complete Series
featuring: : Simon Pegg, Fiona Allen, Amanda Holden, Sanjeev Bhaskar, and Ella Kenion

director: Nick Jones

175 minutes (15) 1997
Fremantle DVD Region 2 retail

RATING: 5/10
reviewed by J.C. Hartley
Not the 2001 Amnesty International presentation, but an early-ish outing for the ubiquitous Simon Pegg (Shaun Of The Dead, Hot Fuzz), before the more successful Big Train, and the superlative Spaced. The punk-ish, flashing, opening credits, in which the performers strike poses in the street and barge into shops, suggests a quick-fire streetwise show; and the quality of the cast promises much, that unfortunately the material in the end doesn't supply.

Trouble is, there are something like 11 writers, some of whom don't appear to have worked again; apologies to the likes of Gary Howe and Georgia Pritchett who have extensive writing credits elsewhere. This isn't, one assumes, the kind of ensemble writing beloved of American sitcoms, but a case of a team of writers submitting sketches, and some of them shouldn't have made the cut. It is remarkable, reviewing the disc, how the quality tails off over the course of the series, from a hit-and-miss first show which is carried by the enthusiasm of the cast, to the, at times, embarrassing final offering, where things like the laughter track just seem to emphasise the lack of ideas.

The cast are never less than sincere and committed, and in most cases don't appear to have suffered any fallout from this ultimately disappointing single series. Simon Pegg clearly stands out for his versatility and charm. Fiona Allen (Smack The Pony) is fantastic in whatever she does, and a bit gorgeous to boot, her porn star in this is inspired, "You've caught me being all domestic," she coos, doing the washing-up which is inevitably revealed to be a selection of dildoes. Amanda Holden has an impressive string of straight acting credits, Sanjeev Bhaskar is a prominent writer and performer, Ella Kenion has continued to give sound support on screen in things like The Catherine Tate Show, only Jeremy Fowlds' subsequent TV career appears patchy.

Having absolved the performers from blame, the fault must inevitably lie with the writing and direction. Even where sketches hit the mark, there is a tendency for them to go on too long, almost as if to ensure that any slower members of the audience have indeed got the joke. It is indicative of the material overall that this review can be completed without a mention for any standout sketch. The feeling after the first show was positive with reservations, the feeling during the last was one of when will this embarrassment end?
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