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Critic Reviews
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Enthralling. ... We’ve seen this character before, a cliché of sorts, but as portrayed by Imelda Staunton this Mary is unforgettable—utterly convincing. ... Richly compelling narrative of Vivien, her children, and the ever-present Mary—not to mention Vivien’s love affair and her children’s steely resistance to the idea of their mother marrying the man.
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There is a cherishable sense of deftness and overarching control about the whole endeavour that leaves you longing to find out what will happen rather than anxious amid proliferating possibilities. If there is nothing groundbreaking or fabulously innovative here (you can see shades of many previous dramas – most recently perhaps Gold Digger and Deadwater Fell), it is no problem at all. If there is nothing groundbreaking or fabulously innovative here (you can see shades of many previous dramas – most recently perhaps Gold Digger and Deadwater Fell), it is no problem at all. It is a good story well told and those two things, done well, are quite rare enough.
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Flesh and Blood is a curious beast. It is stuffed with middleclass cliché — Heal's interiors, crisp white wines, Boden shirts — yet the finished product feels light and tight, promising four hours of guilty pleasure.
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Watching these actors over the course of “Flesh and Blood” is consistently enjoyable. ... Alas, the story line, written by Sarah Williams (“Small Island,” “Becoming Jane”), is a bit less compelling. ... It’s all fairly juicy and melodramatic, but ultimately not especially original or surprising.
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At points, Flesh and Blood’s writing is too on the nose. ... But elsewhere, Williams is great at showing the speed with which siblings transition from laughing through games of charades to jabbing at each other’s drinking habits. Your family knows you better than anyone else, that’s why they end up hurting you so much.