fri 29/03/2024

Adam Sweeting

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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

The Unforgivable review - Sandra Bullock gets stuck in a doom-struck rut

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The Beatles: Get Back, Disney+ review - 1969 revisited in Peter Jackson's three-part documentary

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Dopesick, Disney+ review - the harrowing inside story of America's OxyContin scandal

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Bruised review - Halle Berry takes the blows and does it her way

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Showtrial, BBC One review - drama a cut above the rest

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Dalgliesh, Channel 5 review - doleful detective fails to fire on all cylinders

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Temple, Series 2, Sky Max review - more calamitous adventures of rogue surgeon Daniel Milton

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Shetland, Series 6, BBC One review - too many cooks and too many crooks

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Invasion, Apple TV+ review - sci-fi epic or a pile of space junk?

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All Creatures Great and Small, Series 2, Channel 5 review - familiar formula continues to satisfy

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Squid Game, Netflix review - murderous game show hits the ratings jackpot

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The Starling, Netflix review - a slender idea unsatisfyingly executed

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Schumacher, Netflix review - authorised version of the life of an F1 legend

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The North Water, BBC Two review - a terrible voyage into the great beyond

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The Collini Case review - it might be legal, but that doesn't mean it's justice

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theartsdesk Q&A: filmmaker Marco Kreuzpaintner

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Bach's Easter Oratorio, OAE, Whelan, QEH review – the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...

Schubert Piano Sonatas 4, Paul Lewis, Wigmore Hall review -...

“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty...

Vossa Jazz 2024 review - Norwegian festival embraces William...

“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as...

First person: playwright Paul Grellong on keeping pace with...

I’m writing this in the lobby of the...