“A cream puff of cliché and delicious intrigue”

Our House

Our House, ITV

“This four-parter is standard ITV thriller territory, perfectly watchable, basically functional, if not particularly fresh. Whatever the TV equivalent of landfill indie is, this is it. It’s the kind of song that gets stuck in your head, because the first time you hear it, you feel as if you’ve heard it a hundred times before.”
Rebecca Nicholson, The Guardian

“It was a cream puff of cliché and delicious intrigue with occasionally am-dram dialogue, which I’m surprised didn’t make actors of Martin Compston’s and Tuppence Middleton’s calibre fall about laughing. And yet, it is rather moreish. At the end of episode one I feverishly fingered ITV’s preview site to see if any more were available. Like the ingredients of a fizzy drink, it’s mostly tat but you want another mouthful.”
Carol Midgley, The Times

“I don’t mind telling you that I love silly dramas like this, because the key is not to take them anything like as seriously as they take themselves. The writers probably want us to root for poor Fi. Instead, we marvel at how long the new homeowners put up with this stressful woman standing in their kitchen yelling: ‘But this is my house!’”
Anita Singh, The Telegraph

“We should be in a cold sweat at the mere suggestion that, one day, we might come home and everything that matters will be gone. So far, this four-parter doesn’t have that effect. For all the melodrama, it’s far too polite.”
Christopher Stevens, Daily Mail

“Cunningly plotted it may have been, but the characterisation had all the depth and emotional heft of the back of a cereal packet. And the most that can be said for the dialogue is that it was briskly functional. It’s propulsive enough to keep us strapped in for the next three nights, but don’t expect to remember much come the weekend.”
Gerard Gilbert, The i

“Our House is a slow-burn mystery that just never engages with its audience. In the real estate terms, of which the show is so fond, this insipid thriller is like shopping for a mansion in Knightsbridge, but settling for a converted garage on an industrial estate.”
Nick Hilton, The Independent

“It’s hard to imagine that new screenwriter Helen Black’s punchy fact-based drama Life and Death in the Warehouse won’t help shift every viewer’s individual dial to walk to an independent shop next time they need something. The unfolding disaster is a study in what happens when humanity is subordinated to corporate greed, the futility of individual desire or even action in a system immaculately designed to stymie and suppress it, and the true cost of cheap goods and charming convenience. It covers a lot of sociopolitical ground without forgetting to make us care about the people – those 1 million and counting – who are suffering as its footsoldiers.”
Lucy Mangan, The Guardian

“If this story had been told even 10 years ago, it would have seemed like dystopian science-fiction. But inside these vast, featureless sites, an army of workers is picking up the packages you ordered online, under conditions that would be described as Orwellian if that wasn’t one of the most over-used descriptors in the English language. This was an eye-opening drama that should be required viewing for those of us who mindlessly click ‘next-day delivery’.”
Anita Singh, The Telegraph

“Here, at odds with her chaotic tabloid image, she was warm, likeable and, beneath the bling, refreshingly low-key. Price took a backseat to Harvey and it was sweet to watch her pride in his progress. Harvey is highly engaging character – a funny, big-hearted boy who loves trains, frogs, colouring and cake. His behaviour when distressed was challenging to watch but both Price and the staff at National Star were endlessly patient.”
Michael Hogan, The Telegraph

“There was always a danger with a seasoned reality star like Price that the film could have ended up being mostly about her. And indeed, filming took place during Price’s latest headline-making misadventure – a drink-driving incident that could have landed her in jail. But far more involving was what happened when the focus was solely on Harvey adapting to his new surroundings. As with the equally moving 2021 film, the overriding achievement here was asking us to reconsider our attitudes towards the mentally disabled.”
Gerard Gilbert, The i