This week, Reggie (Martin Clunes) is having trouble with small talk. Of course, Reggie is struggling with bigger and worse things, but it's the small talk where it breaks out. Whether chatting by the water-cooler or having a glass of wine with his mother, he can't hit the right note, and those vivid fantasy moments he has don't help. He also continues to pine for Jasmine (Lucy Liemann), the gorgeous woman at work. Liemann has practically nothing to do, but does it well. Likewise, Fay Ripley seems wasted as Reggie's wife and tonight Geoffrey Whitehead and Wendy Craig add to the roster of comic talent worthy of more and better material. Better is the occupational health "wellness woman" whose response to any ailment is a perky "Oh that's horrid! Oh you sad sausage!" But it's a brave move for the script to mock poor-quality TV - luckily it's in one of the better lines, as Reggie notes, "Quite tiring the telly, isn't it? At one point I seemed to be watching CSI: Bournemouth."

"I am not a sheep; and there are thousands of people out there who feel exactly the same way!" So, with finely tuned impotence, protests frustrated office worker Reggie Perrin (Martin Clunes) in the second episode of this underwhelming sitcom remake. Perrin's daydreams about a different life get more and more outlandish until, with a fateful kiss, they spill over into the real world.

Martin Clunes knew he was taking a risk when he took on Leonard Rossiter's famous role. He said in an interview: "I'm sure they'll say, I'm not as good as..." For all that, he brings a sympathetic gloom to the character, and there are plenty of good jokes swirling around his misery. Better yet, all the smaller parts have been cast to perfection. With good jokes, strong characters and a classic set-up, what's not to like? Only the lack of ambition. Tonight Reggie tries to find a programme on television that is "easy, warm and comforting". This would have suited him perfectly.

Reactions to this remake have been pretty mixed and if things don't pick up in week two, the BBC could find that it's the viewers who are doing a disappearing act.

Tonight finds Martin Clunes's Reggie having trouble with office small talk and a visit to his company's sympathetic Wellness Person is called for. There are also unwanted visits from his mother and father-in-law to contend with - and Geoffrey Whitehead and Wendy Craig, in particular, have both been pulled from the BBC's bottomless pit of stupidly posh-voiced thesps.

Like the show's ill-judged laughter track (the weaker the gag, the bigger the laugh), these cardboard cut-out characters are harder to believe in than Reggie's flights of fantasy - although Clunes continues to do a heroic job conveying Reggie's disconnection with the rest of the human race.

Don't do it. Seriously, you'll want to sue the Beeb for the 30 minutes you've just lost. Dreadful stuff that even Martin Clunes can't save. Things are lifted a fraction by the presence of Wendy Craig as Reggie's mother. But, sad to say, even her saintly presence doesn't make this worth watching.

You the Jury: Reggie Perrin

This week our jurors consider BBC1's remake of the classic 70's sitcom Reggie Perrin.

Reggie Perrin: A remake too far?

So much of this just seemed contrived, and desperately flapping around trying to replicate some of the original show's more classic moments, but the harder everybody tried, the more forced and unfunny it all felt.

Comparisons are all but unavoidable in the case of Reggie Perrin, a remake of The Fall and Rise of Reginald Perrin, with Martin Clunes making the bold attempt to fill Leonard Rossiter's boots. I don't know if I can stress enough what a depressing idea this is on paper. A television channel should always have the ambition to create its own fond memories rather than lazily refurbish those from 30 years ago. And if you do go the recycling route you're likely to find that the fond memories of five years ago will probably get in the way. When David Nobbs's sitcom first went out, its bleak take on the purgatory of office life had very few rivals. The remake has to compete not only with memories of its own source, but also of The Office, a comedy that effectively rewrote the rules about how you could tackle the anomie of the nine-to-five.

It really is a bit surprising, then, that Reggie Perrin should work as well as it does. Martin Clunes helps a lot. He looks funny when he's glum, in a way that's sufficiently different to Leonard Rossiter. And the script - a collaboration between Simon Nye and David Nobbs - has some good lines in it. Reggie doesn't work at Sunshine Desserts anymore (though he walks past the sign on his way to the office), but at a grooming products company. CJ is younger and rather less dependent on his "I didn't get where I am today" catchphrase, and Reggie's toadying subordinates have been replaced by an unconvincing pair of marketing-types. It's not a disaster, by any means, which may be the best you can hope for from such an unimaginative commission.

We tried to pretend this didn't exist before and wasn't a 1970s TV great mixing misery and mundanity in a cynical sitcom. Pretend it's brand new. Come to it fresh. The verdict: this is quite a funny sitcom with a few good characters and a few good lines, possibly even worth watching throughout its run. Without such pretence: this is a horribly weak, unnecessary remake with all the lovely unique touches ironed out by the BBC comedy department's blandness steamroller, no doubt inflicted by Simon Nye, who can churn out humdrum sitcoms in his sleep and has been paired up with Perrin's brilliant creator David Nobbs.

The fall and rise and fall and rise and fall

Individual lines, which may have been Nobbs's, and may have been Simon Nye's, were fine, and Martin Clunes did a fair job as Reggie, also driven to fantasy by his humdrum life. But there was something wrong about the whole thing.