fri 23/02/2024

Adam Sweeting

Adam Sweeting's picture
Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)

Articles By Adam Sweeting

Turn of the Tide, Netflix review - cocaine madness comes to the Azores

Read more...

No Hard Feelings review - nothing about this queasy comedy feels quite right

Read more...

Best Interests, BBC One review - a family feels the unbearable strain of terminal illness

Read more...

Chevalier review - a less than extraordinary film about an extraordinary man

Read more...

Hypnotic review - a riotously enjoyable thriller

Read more...

Inland review - a cracked mosaic of memories, impressions and lurking anxiety

Read more...

Ten Pound Poms, BBC One review - a new life in the Great Southern Land

Read more...

A different angle on the Anne Frank story in 'A Small Light'

Read more...

Fatal Attraction, Paramount+ review - Adrian Lyne's bunny-boiler blockbuster expanded onwards and outwards

Read more...

Citadel, Prime Video review - did Amazon really pay $300m for this?

Read more...

The Diplomat, Netflix review - can London's new American ambassador prevent World War Three?

Read more...

Malpractice, ITV1 review - she got into a mess on the NHS

Read more...

How To Blow Up a Pipeline review - can eco-terrorism be justified?

Read more...

Why Didn't They Ask Evans?, ITV1 review - Agatha Christie gets a tense and twisty reworking by Hugh Laurie

Read more...

Magpie Murders, BBC One review - zinging TV adaptation of Anthony Horowitz's bestseller

Read more...

Rabbit Hole, Paramount+ review - sabotage, subterfuge and corporate skulduggery

Read more...

Pages

latest in today

King Lear, Almeida Theatre review - Danny Sapani dazzles in...

Less than three years after her magnificent Macbeth, Yaël Farber returns to the Almeida with another...

Bill Bailey: Thoughtifier, Brighton Centre review - offbeat...

I first saw Bill Bailey at least 30 years ago in the cabaret tent at...

Hadestown, Lyric Theatre review - soul-stirring musical glor...

Doom and gloom, we are told, may have abounded in the classical underworld, but Hadestown suggests otherwise. Returning to...

Tom Chatfield: Wise Animals review - on the changing world

Consider a chimp peeling a stick which it will poke into a termite nest. It strikes us as a human gesture. Our primate cousin is fashioning a tool...

Album: Aziza Brahim - Mawja

Glitterbeat is home to a wildly eclectic and reliably brilliant world of...

An Enemy of the People, Duke of York's Theatre - perfor...

Real life is a helluva lot scarier right now than you might guess from the performative theatrics on display in the new...

Double Feature, Hampstead Theatre review - with directors li...

It’s awards season in the film world, which means that we’re currently swamped by hyperbolic shows of love and respect – actors and their...

theartsdesk Q&A: Wim Wenders on 'Perfect Days'

Wim Wenders’ latest narrative film Perfect Days might seem an uncommonly mellow work by the maker of Alice in the Cities (...

Album: Laetitia Sadier - Rooting for Love

It must be kind of unreal living in the Stereolab universe.

A band of geeky...