Truly, Madly, Deeply

The BBC's sweet, feminine answer to Ghost concentrates on the emotions (and the ratty flat) of Juliet Stevenson, so desperately unhappy after her lover's death that he comes back from the grave to be with her. As a metaphor for the experience of bereavement, the conceit is over-extended, though Stevenson almost makes it work. Minghella has an irritating sub-Forsythian tendency to cloy, most nauseatingly over Michael Maloney's New Man, who gradually comes to fill the gap in Stevenson's life. Much more fun is Alan Rickman's chauvinistic apparition, inviting his deathly mates round to watch Woody Allen videos at all hours of the night.