TV Week in Review: 25th-29th September

Let's get right down to the recaps, with two stellar season premieres...

Boardwalk Empire: “21”; Season Two, Episode One [B+]

It’s a sombre episode, and a low-key one but the production values, the taut direction, precise writing and excellent acting ensures that it’s a good one. It’s setting us up for what is sure to be an explosive season and the arrest of Nucky at the end is especially interesting. Jimmy is dealing with his dual alliances – for his father and Nucky and it’s going to be interesting watching him juggle those allegiances. I’m especially thrilled seeing Margaret comfortable in her new role even if she’s still troubled by the little things like the way the nun looks at her. Van Alden’s storyline felt a bit strange, and I’m not sure what Paz will be doing this season. The tense opening with the Klu Klux Klan was stunning, though, as was watching Nucky speaking to both aggrieved parties. It’s that sort of troubling duality which this show examines so well.
[Writing: B+; Directing: B+/A-]

Breaking Bad: “Crawl Space”; Season Four, Episode Eleven [A-]

I admitted last week that I was feeling something akin to a disconnect for a few episodes of the season which last week’s stellar episode eviscerated, and this week we get what I believe to be the finest episode of the season which develops plot points and points to some catastrophic fallouts in the final two episodes of the season. As annoying as I find Walt generally, this is one of those episodes where I’m somewhat firm in my sympathy towards Walt. It’s something terrible watching as everything unravels around him, and there’s something especially sad about that confrontation he has with Jesse, overemphasised by the way that Jesse has hardened towards him – with reason of course. What makes the situation even troubling is the disappearance of the money, only because Skyler is trying so hard to help her family and I’m glad that her arc will end up having ramifications for the final two episodes.
[Writing: A-; Directing: A/A-]

The Good Wife: “A New Day”; Season Three, Episode One [B+]
I’ve always griped about the way in which the series discerns Alicia, always seeming to sweep her less than lovely attributes under the carpet. And, it’s not so much that this episode delves into a darker side of Alicia, so much as Julianna has managed to find that lilt in the character where she’s less good and more conflicted and it offers a nice beginning to what I hope will become a brilliant third season. The episode is about setting up the season, but not in a pedantic way. We’re seeing how everyone is adapting to the new state of affairs. Cary and Eli seem to be thriving best, with Eli doing well with his consultancy firm and Cary forming an interest bond with Sophia. Kalinda and Alicia, naturally, are still at odds and Will is being deliberately cold to Alicia because of their continued liaisons. It leaves Diane as the only member left to her usual sagacity and it suggests an interesting direction for the season to take. I can’t wait for some good Peter/Alicia drama (I’ll always prefer that admittedly dubious coupling to Will/Alicia.)
[Writing; B+/A- ; Directing: B+]

The Big C: “Crossing the Line”; SEASON FINALE; Season Two, Episode Twelve [B/B+]
Continuing on the starkly dramatic turn the show has taken recently this second season finale ends things off suggesting even more drama to ensue when the third season returns next summer. Cathy is making her preparations to run the marathon that Lee was never able to complete as Paul tries to get a refund on those plane tickets – money they desperately need since he’s quit his job. The drug use precipitated by Mick always seemed like an oddity and though it’s been a great season for Platt who has a powerful final scene, it felt a bit too deliberate. It’s nice, though, how everything has sort of come full circle as Adam has softened a bit, and Cathy’s old doctor turns back up. It’ll be interesting to see where next season takes us.
[Writing: B+; Directing: B/B+]

Gossip Girl: “Yes, then Zero”; Season Five, Episode One [B-/C+]

I decided to catch up on Gossip Girl, and I can’t be certain if I’ll be watching avidly this season but I tuned in nonetheless. It’s a shame that it’s lsot that acerbic bite that used to make it so much fun for the first two seasons, even if the characters are well established enough for you to at least appreciation thew hijinks they get themselves into. I still can’t surrender to the concept of Blair and Dan, even if I’ll admit that Penn Badgley has matured past the initial boorishness in his acting. I’m not sure where that pregnancy storyline will go, an abortion would seem like a copout. More importantly what would Blair do with a baby? Serena’s machinations continue to be terribly trite, although I’m not sure if it’s the machinations as much as lively – but I can’t spend five years arguing the same point. Even Chuck seems freakishly toned down, for all his fatalistic behaviour. Maybe I’ll tune in next week to see what becomes of these arcs…
[Writing: C+; Directing: B-]

Glee: “I Am A Unicorn”; Season Three, Episode Two [B/B-]
I swear, Kurt will eventually exasperate me to the point where I can’t enjoy the show anymore and I’m sure it’s not Colfer because I didn’t find the character that annoying in the first season, and I can’t pinpoint what specifically the writers are doing – but it’s just not work. Idina Menzel’s return is strange, since it’s buoyed by Sugar Motta’s dad forming a second Glee club at the school (although I LOVED her irked “I am a shining star.”). It’s odd, because if one club can’t twelve members I wonder how two will. I suppose we shall see. All of Idina’s scenes succeed – the duet with Rachel, the precise and vaguely talk with Quinn, and the rather sweet one with Puck. Quinn’s wanting custody of the child is a bit of an about-face considering everything, but I suppose drama is necessary. The episode still feels filler-ish. I suppose I understand the point they’re trying to make with Kurt, but it’s wise to note that no actor can play every role and it’s hard for me to feel truly bad for him – even if the judges were a bit unprofessional with that second audition.
[Writing: B ; Directing: B ]

Parenthood: “Step Right Up”; Season Three, Episode Three [B]
This is an especially low-key episode and when it ends I sort of think, hmmm, that was slight. But, it’s not necessarily a poor episode. The arc with Crosby and Jasmine is a vaguely problematic for me because it’s such a well-worn arc that I doubt true life can be breathed into it. D. B. Woods appearance is nice, even if I’ll always remember him trying to kill Spike on Buffy which is a not insignificant no-no…but, I digress. Even though it felt a little too schmaltzy it was nice having Adam approach the boy’s parent to drop the charge against Alex, and it’s sweet things like that that always underscore how pleasant a show this is. Sarah and her daughter sorting out their issues is getting a bit overly trite, but perhaps things will get better.
[Writing: B; Directing: B]

Revenge: “Trust”; Season One, Episode Two [B/B+]
It’s another deliciously devilish and vaguely ridiculous episode of a fine drama. I’m getting into Emily Vancamp’s performance. It’s easily the best work I’ve seen from here, and she’s managing just the right amount of meanness and poignancy for the character. The way she’s managing one life destroyed per episode is a bit troubling, because I still wonder how the writers will keep up the arc going for an entire season and more. Gabriel’s Nolan is still the show’s most interesting character and it’s a nice touch him paying Jack just to be friends. Declan’s arc, longing for the rich girl with the violent boyfriend, is a bit tired but Paolo is a good actor and it manages to work. The afternoon with Victoria was a nice bit of acting from Vancamp and Stowe, even though I still feel that Stowe hasn’t been given as much to do as I’d hope.
[Writing: B/B+ ; Directing: B/B+ ]

Modern Family: “Phil on Wire”; Season Three, Episode Three [B]
This episode is a bit odd, it boasts some great performances but it feels much to on the nose for me to love it. The families each are up to their own machinations, and it’s the Gloria/Jay arc which falls the flattest. The two are dealing with the dog which Jay favours, and though Vergara puts in good work it feels a bit too tired. Burrell hasn’t been given a great arc yet, and his man-on-wire act doesn’t quite land as well as I’d hope although his interactions with Gould are – ahem – gold. Alex, Sarah and Claire fare much better even though I’m beginning to get worried with the vaguely harridan ways Claire keeps being painted. Mitchell and Cameron have the strongest diet going on their juice fast, and it’s goodness until the final moments where it just becomes a bit too ridiculous to be sincere. Still, it’s a fairly good episode. So, no huge complaints.
[Writing: B ; Directing: B/B+ ]

Community: “Geography of Global Conflict”; Season Three, Episode Two [B/B-]

The minor arc of Britta trying to be revolutionary came off as completely preposterous for me. It’s become almost desperate the way the writers are trying to keep Jeong as part of the fabric of the show. Annie’s UN machinations, though, are interesting to watch and it returns to one of the show’s interesting dynamics – the relationship between Jeff and Annie. Annie II was a lovely addition and it’s great seeing Brie have these episodes where she gets to go through the gamut of silly emotions. [Writing: B/B- ; Directing: B ]

The Office: “The Incentive”; Season Eight, Episode Two [B/B-]

I appreciate this episode much for the plot development, but a number of the actual issues don’t land as resoundingly as you’d hope. I like Ed Helms, but I’m already getting a little bit annoyed with his shtick although the idea for the incentive is inspired and it’s great watching the team come together to do this sort of silliness. I like that Jim, although not the official right hand man retains his position as advisor. I’m still trying to discern just what California’s role on the show is, Spader is amusing when he appears but he’s not made a decisive contribution to the show yet. The ending hook with Angela and Pam was lovely, tough. Angela will always remain as an insane harpy, which is precisely why I love her.
[Writing: B ; Directing: B]

Parks and Recreation: “Ron and the Tammy’s” Season Four, Episode Two [B+]
I had thought it would be a season long arc, Ron getting audited; but Tammy I pops in and out but she leaves a wreck behind completely eviscerating the memory of the Ron Swanson we know and love. The shaved Ron is weirdness, and Patty Clarkson is loveliness even though I wish that my darling Megan Mullally could have appeared for more than a few minutes. It was great watching the office gather round to see the drinking contest and drunk Leslie is never not humorous. The Ben/Tom arc was a bit strange, and a bit unrealistic but it’s proof that Scott can make even the strangest of things work. Ann dealing with Chris’ craziness wasn’t exactly new but I don’t think we’ve ever realised just how ridiculous he can be.
[Writing: B+; Directing: B+]

Grey’s Anatomy: “Take the Lead”; Season Eight, Episode Three [B/B+]
The show has entered this vaguely innocuous lilt where everything is nice enough, but sort of lacking a potent drama…and it’s making for a good TV, but not GREAT TV. Still, three episodes of fairly good, if not quite riveting stuff, is not something I care to complain about and hooray for plot development. Owen takes over as Chief of Surgery, and Bailey still bristling from Richard taking the fall for Meredith is not quite pleased. April is still getting acclimated to her Chief Resident status, and the two power couples Owen and Cristina and Meredith and Derek are working through their issues. No significant actor shines, but those cute ensemble moments work and even if April and Jackson are not quite Izzie and George the rapport between the quintet works. Having the generally douche-like Derek remind us of their wedding voice was a lovely beat, and was a fine example of the subtle continuity this show sometimes goes for.
[Writing: B/B+; Directing: B/B+]

Random Thoughts

• How cool was Alicia and Kalinda out-bitching each other?
• In an episode of startling images, Skyler watching Walt lose it at the end was just powerful.
• One of the most interesting facets of the premiere was watching the characters’ transformations – just look at how worldly Margaret is now.
• So, wasn’t Platt the best in show for this past season? just superb for me.
• As silly as it was, how adorable was Lauren Graham lifting Mae Whitman out f the room with the rat. Adorable.
• Holy crap, Kurt. You sang “The Greatest Star” as your audition song. Can you blame them for not thinking you’re a fit for Tony?
• I suspect that we’re back to last season this time in terms of an April/Alex liaisons. Let’s see if it happens this time around.

Standout Performers
Bryan Cranston in Breaking Bad A-
Steve Buscemi in Boardwalk Empire B+
Anna Gunn in Breaking Bad B+
Jesse Tyler Ferguson in Modern Family B+
Oliver Platt in The Big C B+
Nick Offerman in Parks and Recreation B+
         
Kelly MacDonald in Boardwalk Empire B+
Julianna Margulies in The Good Wife B+
Michael Pitt in Boardwalk Empire B+
Eric Stonestreet in Modern Family B+
Laura Linney in The Big C B+
Alan Cumming in The Good Wife B+
Archie Panjabi in The Good Wife B+
Alison Brie in Community B+
Nolan Gould in Modern Family B+
Julie Bowen in Modern Family B+

Randomness: Kate Hudson and Something Borrowed

I was determined, foolishly I suppose, to give Something Borrowed a chance. Granted it was a significant time after it came out. And, true, I didn’t expect to find its romantic/comedic posturing to be anything revolutionary. But – and this is not an insignificant but – I still feel that despite her romantic amblings Kate Hudson is, at the very least, an interesting actor to watch and Big Love has long made me a believer in Ginnifer Goodwin. The added presence of John Krasinski only served to assured me that despite all the thinly veiled criticism lodged against it there must be something to savour here.
          
It’s probably been examined to a point where it seems hackneyed, but I find the act of infidelity a provocative discussion topic. Thus, film represents a fine medium through which to examine in – theoretically, of course. The film rests on the “friendship” of Rachel and Darcy, and the object of the film’s tension lies in the fact that Rachel is secretly in love with Darcy’s fiancé Dex. Early on in the film the two, both drunk, sleep together and the continuing of that affair is essentially the film. What’s exasperating about the film, though, is that it never has the gumption to examine these prickly issues with any effort at practicality. Goodwin’s Rachel is a sickly sweet girl, and Darcy is something of a harridan so it’s only natural that we root against the blonde.

Kate Hudson, though, evoking an allure that she sometimes eschews in the worse of her films is magnetic as Darcy. The film doesn’t care for her. Regardless of how much they set up the film as a friendship ripping apart at the seams, the script offers no indication as to a significant liaison between the two ladies. From every direction Darcy is painted negatively making any potential tension come off as a grossly insignificant. I kept thinking that the film was going to end up with some surprise redemption of the character but a final one-two punch in terms of revelations completely destroys the credibility of it even as Kate surrenders completely to the script. She and Krasinski are the only two who come off as worthy of attention. I’ve never found Goodwin as shrill, and Colin Egglesfield as the leading man is terribly ineffective, even he looks vaguely like Nadal. Apparently the novel on which it is based has a sequel where Darcy’s character is redeemed and an ambiguous ending (out of touch with the actual film) suggests that it might be filmed too. But, really, this film is so exasperatingly not so much absolutely terrible, as abysmally lazy that I can’t even appreciate a silver lining….

First Half: B-
Majority of Second Half: C
Final Fifteen Minutes: F
Grade: D
Kate Hudson trying: B-
        
Anyone else saw this one? Am I alone in thinking Kate was trying hard?

“The truth about this virus is being kept from the world”

Contagion: directed Steven Soderbergh; written by Scott Z. Burns

I’m always impressed by films which manage to achieve a universal type significant despite the specificity of their issues. Oftentimes it’s literary adaptation, like how the house in Howards End is representative of more than just a house; or how the procedures at Lacuna in Eternal Sunshine of the Spotless Mind suggests repercussions for more than just our romantic lives. Contagion, though, with its deliberate nods to internal organisations it aspires to be a universally conscious drama. I’ve heard more than a few critics compare it to the prototypical disaster with its generally physicality toned down to something more cerebral. For me, though, Burns’ screenplay immediately intrigues me because of the science-fiction premise which could easily be a nod to a classic type of horror flick. Imagine the airborne disease replaced with a zombie virus and the movie’s fabric would change while curiously remaining the same.

Contagion is the type of film curiously low on cinematic pretentiousness – for better, for worse. It’s so tightly constructed that its screenplay that the screenplay skilfully, and deceptively I might add, seems to emerge as the film’s beacon. And, Burns, writing is a significant portion of the film’s success. He’s acutely aware of those universal themes which he wishes to address and he immediately launches into his discourse craftily avoiding the usual hectoring you would anticipate from the genre. His screenplay, unlike the actions it’s presenting, unfolds placidly almost journalistic in its tone and the Soderbergh’s direction matches it with aplomb. I may have mentioned before that my favourite Soderbergh film is Erin Brockovich, a film where his direction is so on-point in the best of ways preventing the simplicity of his protagonist’s life from becoming simplistic. Whereas there he was intent on drawing the audience in, here he’s intent on keeping them at a distance. He handles the presentation of the events with enough deftness for us to attain sympathy, but in doing so creates something of an alternate universe where their world seems much more fantastical – or so he’d have us believe – than ours.

It’s Soderbergh’s direction which gives the film its personality, which is all the same never quite personal. There’s a faint – almost imperceptible – wave of cynicism in the way he studies his characters. I suspect that it’s part of his overall attempt to underscore the basic inanity of human nature. It’s to his credit that he doesn’t overemphasise these themes. Considering the wide potential for the film to have overstressed the mob psychology tendencies of human nature I’m impressed there are only a few direct indications, none of which is garishly presented. The indistinct shadow of resentment which follows Paltrow’s patient zero is one of the most interesting, albeit underdeveloped, aspects of the story. The fact that the film is so succinct means that the hoard of issues it suggests could present a plethora of topics to discuss. It’s impressive how Soderbergh and Burns never attempt to glamorise its characters, but it’s still somewhat troubling that those flashbacks of Beth seem to be faintly buoyed by an accusatory perspective.

Like another disaster drama Airport the film’s actors are left to fend for themselves in a sort of sink-or-swim scenario where they’ve mostly got little time to establish their inclinations without coming off as terribly prosaic. The entire cast succeeds in being effective even if Cotillard’s scientist seems oddly like an automaton on occasion. Fishburne and Law are the most effective of the cast with the latter in particular making me distrust the film’s intent to make him the most despicable of the characters. Really, they’re all just pawns in the film’s overarching intent to establish its point. I’m not absolutely certain what that is, though. The fact that this could probably happen to us seems too rudimentary, and for all its discussion points I suppose the film isn’t any less successful if it’s just a thought-provoking entertainment romp – a scientific twist on horror, or a horrific twist on science. …One or the other….perhaps both. I can’t be certain. It flourishes regardless.
         
B+

“I really can’t tell if you’re really mother fucking dumb or really mother fucking smart”

The Guard: directed by written John Michael McDonagh
         
In a way, The Guard premise defies logic a bit. The eponymous guard of the title, Brendan Gleeson’s Boyle is a prototypical Irishman with the prototypical Irish brogue who for reasons that are not quite clear goes against the odds to try to take down a gang of drug smugglers. Perhaps, I’m grandstanding. It’s not specifically that the premise defies logic, it’s just that McDonagh's film is a bit too much of a reflection of its protagonist – equally ridiculous and vaguely odious as it is insightful and precise so that you wonder which is which, since it’s not the obvious thing to imagine that the two portions are one in the same.

Even though it depends on its title character, it’s fish-out-of-water Wendell played by Don Cheadle who contributes a significant amount to the investigation. The basic foundation is that a body turns up in Boyle’s district which happens to have ties to aforementioned drug ring and American Wendell heads up to Ireland to do his bit for the investigation. It’s happenstance that Gerry already knows that one of the suspects they’re looking for is already dead, and the thing about happenstance is that cinematically it often comes off looking like an easy way out. Nonetheless, with this turn of events Gerry and Wendell become allies briefly, even though the film never descends into a buddy film. The fish-out-of-water arc is more of a supplemental plotline than a major one, which is a somewhat ironic character study on Gerry.

The film’s finest asset is it unembellished nature. True, it’s still very “movie-like”, what with the constant witticisms being put forth by the characters. And, I cringe at calling it gritty simply for the fact that it use swear words to qualify its points. Instead, I’d say that the film wins points because even in the “movie” world it’s more than willing to be grotesque to make its points. Gleeson is the most obvious candidate giving a fearless performance that could very well have drifted into slapstick of the most candid forms but which manages to retain a strident amount of sincerity so that silly, if innocuous actions manage to take on a vague wave of sorrow that’s much appreciation. In keeping with its character-study form Gerry has a lonely life, and what seems to be troubled relationship with his mother. And, in a scene that shouldn’t land as well as it does he takes her to a concert where with a mere three sentences we’re given insight – if briefly – into a whole other facet of our main character. A few moments later when she leaves the films he says, “She was my mother,” a throwaway line that has a startling profundity.

Cheadle isn’t given as much to do because even if McDonagh flirts with the idea of making this a dual lead, it’s not his film. But, he’s always been a ready and able actor and he plays the pitiable part of the straight-man with a self awareness which does him well. McDonagh’s purpose for him ends up becoming something of a surrogate for the audience who is as confused, disgusted and arrested by what’s going on around us. And, it’s a bit of a flaw in the structure that Cheadle takes so long to show up. It’s often through his wan reaction shots that we know how to respond. The final shot of the film is a penetration glance from him, and it’s astonishing just how much he manages to establish with it which again raises the question as to why – despite the actual screenplay being quite effective – McDonagh couldn’t have used his supporting cast with more alacrity.

He gives us shades of the oddities who make up Gerry’s Irish world and the cast is especially game – a rookie policeman and his wife, an unbelievably precocious boy, various suspects all manage to give their characters a lived in feeling that manage to preserve its realness in the face of the unreal. Of the lot I have to single out Mark Strong specifically, as one of the criminal who in a few scenes delivers a fully formed, dynamic character that’s brutal, funny and charismatic all at once. He’s lucky in that McDonagh’s biggest asset is his ear for dialogue (at its best, caustic brilliance) but he takes it up a notch by being that good. And, there’s a sense, that the movie could have been that better if McDonagh had let a more skilled director handle the heavy lifting. As result, we end up with a film that’s good, occasionally great, but fails to retain that wallop that the screenplay continuously teases us with. Like its protagonist we’re unsure if we’re to take it sincerely or ironically. Is it ridiculous, or just ridiculously smart? In the long run, I suppose it doesn’t really matter because it’s a more than effective ride.
 
B

"God himself could not sink this ship."

Forgotten Characters 4.5

So, after an unplanned hiatus – shame, me – here’s another forgotten soul to ruminate on this week.
    
So, you know how some films endure in our memories but not for all the reasons. Sometimes we remember just one specific performance, when there’s a whole lot happening on the sidelines. And, even if the film itself isn’t that excellent there’s more than that single thing to remember. I sort of feel that that’s what became of
       

John Krasinski in It’s Complicated

as Harley

granted, I never forgot his work. Rewatching bits and pieces of It’s Complicated recently I got to thinking that despite my review of it – which I stand by – there are some excellent facets of it which get better with time. And, I initially singled out Krasinski as my favourite element – and he still is. He’s playing Jane’s son-in-law and really it’s a role that should be extraneous for the most part. And, there’s a sense that Meyers is milking Krasinski for all he’s worth because she knows he’s up to it and it works. The film is really that of the trio’s (Streep, Baldwin and Martin all doing good work) so, to through Krasinski into the ball game he becomes the one who finds out about the affair which is one of the moments where the film is fearlessly silly in its comedic nature – and manages to work.

It’s one of those moments of pure happenstance that allows Harley and Lauren to be at the same hotel where Jane and Jake go to get it on, but the results are delightful in all their obviousness. Krasinski’s beacon on The Office has always his been his control over his face and it’s great seeing that augmented with traces of physical humour.

all in the quest to prevent what he knows will be a terrible secret from getting out.

It’s good for a laugh, but there’s a strong amount of sincerity amidst those expressions

and, I like to think that it’s proof of how good a relationship Harley has with both Jake and Jake. And, though, it’s never developed and though Meyers gets carried away with the silliness later in the film moments like the pot in the bathroom,

Or Harley diving in for a family hug

always make me think fondly of this performance.

Did you appreciate John's work here? Or did you only have eyes for Meryl?

All I Could Do Was Link

My blogging has been scant lately, apologies. Real life problems abound – technological and otherwise. In the midst of all my issues, everyone else has been blogging. And, there’s really nothing left for me to do but to point the way to them. I haven't even got time to comment as much, which is shameful I know, I know.
     
Hopefully, I’ll be back in good stead – blogging-wise – sooner than later so consider this pseudo-blogging, because I’m only really commenting on everyone else is saying. I promise I’ll try to be back on my soapbox as soon as possible. Now, on with the links.
       

My favourite post of the week, which is a series of post, are the musings Nick (Nick’s Flick Picks) does on the films of 2011, thus far. I’m linking to the Best Actor/Best Actress race but really, you’d do well to check them all out. Nick is a genius writer. And head over to see what Joe (Low Resolution) does on his choices for the year, thus far. And Tim (Antagony and Ecstasy) turns out his own list. Love how a certain actress shows up in all three, the lovely JB. I might have to do one of these next week...


You all know how much I adore Mean Girls, so you’d expect I’d turn my nose up at a top-ten list of high school films which doesn’t include it. But this is a stellar list from Kevin (Anomalous Material).
The list is made all the more valuable by the little blurbs on each film, and I especially love the two on Rebel without Cause and The Last Picture Show. It’s odd, though, I never really think of the latter one (in all its loveliness) as a high school film.

CS (Big Thoughts from a Small Mind) is back with another match-up having us choose between Amy Adams and Michelle Williams. The match-up doesn’t thrill me for being difficult to choose, it’s easily Amy for me, but I’m moved to get off my chest – for the last time, I promise – that I still don’t really appreciate Michelle Williams as an actor. Lovely, in Blue Valentine yes, but I find her screen presence so lacking in charm. And it sounds especially superficial of me, but it is what is.

Paolo (Brown Okinawa Incident) was talking about Gosford Park recently, and really you know soon as I hear Gosford I’m there. In a number of ways I think of the film like a dense novel, because there are so many facets to examine. I was thinking about Emily Watson, who he talks up, in it because we’ll be seeing her soon-ish in War Horse and Elsie is such a complex character I wonder if I’ll appreciate her more on a second viewing? It’s just that I’m firmly in the Sylvia McDordle camp, despite her bitchiness, and Elsie is firmly NOT in that camp. Me and my love of Kristin Scott Thomas, regardless of how she plays

On the topic of charm, how great is that Kate Winslet won her Emmy? I know, I know, I’ve said nothing on the show...but what is there to say? It was so bland and the winners were generally tepid. Mark (The Critical Condition) managed to spew off some good thoughts on it and his message to Kate Winslet haters was especially apt. Lord knows, who can believe there’s such a thing as Kate haters? Sigh, this world.

Tom (Reinvention: Journal of a Dog Lover, Book Reader, Moviegoer and Writer) takes a second look at The Tree of Life which I liked, but did not love. His thoughts are stirring, but I wonder if I'd have the time or inclination to see it again. I think I should at some point, though...

Apparently I wasn’t the last person to see Insidious, one of the better films of this vaguely boring year (thus far at least). And, I wasn’t the only one who liked it either. Jose (Movies Kick Ass) offers up a review of it.

Tony (blah blah blah gay) has a double review of Double Indemnity up. I always feel like a charlatan when I say that my favourite Stanwyck performance is Sorry, Wrong Number. I sincerely need to rewatch Double Indemnity.
   
Get to reading, and I promise things will be back to normal, soon-ish. Probably.

TV Week in Review: 18th-22nd September

If any week has been proof of my overindulgence in my television viewing – it’s this week. I really don’t know how I manage twelve shows, school work and work/work but there you go. I guess I’m manic. On with the reviews.

Breaking Bad: “Salud” [B+/A-]

For the last two episodes or so, I’ve not completely loved how the show’s been going. It’s going well, but not as well as I wanted and I was glad that this episode improved upon that significantly. We’ve got our three arcs pretty much all existing of their own volition. Remember that well deserved beat-down Walt suffered last week? Well, it has its repercussions this episodes as he misses Walt Jr.’s birthday. Cranston takes all the things that make Walt annoying and uses them to elicit a brilliantly awkward conversation with his son. It’s the arc most lacking in ostensible plot development, but it’s wrought with character development. With only a couple scenes Gunn delivers yet again with Skyler dealing with that potential auditing crises at her old workplace and she’s simply a joy to watch. There are more significant issues afoot, though, as Gus tries to destroy the Cartell’s and pays for it. Jesse taking control is going to be an interesting state of affairs and should make for goodness in these final episodes
[Writing: B+; Directing: B+]

The Big C: “The Darkest Day” [B]

After a brilliant string of eight great episodes I’m less than thrilled with the overly dramatic direction the show has taken. It’s not that I don’t want dramatic things to happen, but it’s coming off as vaguely hokey and rarely humorous – something the writers managed to avoid during the early parts of the season. Lee’s death is a loss for Cathy, and the show, but it was a profound moment for Linney and Dancy. Kudos to Platt and Sidibe in that scene where Paul tells Andrea what’s up with Mick, and I have to give the writers props for explaining what was up with that arc – event though I’m not too fond of how easy an out it was for them. The Poppy/Adam arc should have felt more profound but, as good as it was, it wasn’t as good as it should have been. Still, it’s not like the episode lacked goodness. The Christmas presents, Cathy’s tirade in the classroom were all classic moments of the show and it’s always sincerely presented.
[Writing: B/B+; Directing: B/B+]

Web Therapy: “Strange Bedfellows”; Season One, Episode Ten [B]

What a season it’s been for the television incarnation of Web Therapy. the show has endured as a fine vehicle for the special talents of Lisa Kudrow who continues to be an excellent actor and although it’s faltered on occasion with the other characters Fiona has continued to exasperate as much as amuse. Bucatinsky has emerged as the most significant of the supporting players for me, and it was his scene this episode which I found most on point. Everything about that conversation just landed. Still, no badness comes out of Alan Cumming being despicably charming and it’s fun watching Fiona play him…or him her? The final scene – content-wise – was not as resounding as I’d hoped; Kip running for office is interesting but lacked a certain panache. Still, the conversation itself was a delight since it gave Cumming, Garber and Kudrow chances to be hilarious and I am looking forward to see how a second season of this quirky, but generally rewarding show, will fare.
[Writing: B/B+; Directing: B]

Parenthood: “Hey, If You're Not Using That Baby...”; Season Three, Episode Two [B/B+]
There’s something about Parenthood even amidst all its generally rote simplicity. It’s a show that is so comfortable traversing those well known hooks and crannies that’s so easy to watch and still manages an emotional connection and this episode was a good example of that. The strongest arc was easily Kristina going into mommy mode and dealing with Max being at a regular school. Potter continues to balance the good and bad qualities of characters so well delivering, oftentimes, the show’s most multifaceted performance. There are other good things afoot, most importantly the adorable Lauren Graham and the equally adorable Jason Ritter getting naked and whatnot. I am very interested in seeing how that relationship ends up working. Crosby and Adam buying the studio isn’t shocking but it leads to nice moments between the two, and Adam and his father. And, I’m a bit worried as to how Haddie’s issues will pan out – the same for Julia. I’m glad that the show just bit the bullet and let her ask the latte girl (awkwardly) to adopt her baby, even the small amounts of the great Sam Jaegar do not sit well with me.
[Writing: B+; Directing: B/B+]

Glee: “The Purple Piano Project”; Season Three, Episode One [B/B+]
I think it was Rob who said, despite his enjoying the premiere, he was tired of Glee beating their metaphors into our heads with their purple pianos and I completely get what he’s getting at. Still, I’m staying positive and it’s a good opening to what I desperately hope is a return to form to the show – although some things are making me wary. First and foremost, Kurt continues to annoy me and it’s not that I don’t like Darren Criss, but making him a regular at McKinley undermines all this promise of focusing on “core characters” this season. And that entire arc of Kurt essentially forcing the dude to switch schools is just ridiculous. And, as burgeoning theatre folk it makes little sense that Kurt and Rachel wouldn’t know that Julliard doesn’t have a performance arts programme, and even less believable that they wouldn’t know that there’s a performance arts’ club in their districts. But, umm, positives… as trifling as Sue’s antics are, Lynch delivers especially in little bits like pairing Santana and Becky together or that fine Sue’s corner. And, sure, they’ve somewhat destroyed what was good about Emma she and Will manage to retain a modicum of their former charm. And, Lauren is out of the club which elicits a yay from me. What will become of Quinn and the Skanks? How will Santana not being the club affect us? How brilliant will Idina Menzel be when she pops up next week? We’ll see, I suppose. Fingers crossed.
[Writing: B/B+; Directing: B/B+]

The Hour: “Six”; Season Two, Episode Six [B/B+]
The final hour… I’ve said it before that my favourite tenets of the show were the personal battles which never seemed to really be at the crux of the show’s basic plot. When the final plot revelation came I was not quite surprised – it was something I’d previously considered, and then discarded, and with all the madness going on in the newsroom previously it felt a slight bit limp. It was the episode which depended most on its direction and – as such – the mood felt slightly forced at times. But, it didn’t prevent the arcs wrapping up – sort of – in a fashionable way. And, when that final shot of Bel and Freddie panned out as they left the studios I wondered if, perhaps, the show was really about the personal all along.
[Writing: B+; Directing: B+]

Revenge: “Pilot”; Season One, Episode One [B/B+]

So, at the behest of Ryan and Mark I checked out this – my lone new drama of the season, thus far, and it was a good entry. I’m curious, of course, as to how this revenge plot can last for multiple seasons and few series are able to use the flashback techniques with as much alacrity as Damages, but for all its literal deliberateness the show’s a success. Its soap-like tendencies are not a detractor, think of the goodness of Gossip Girl’s first season, and it’s well acted. Emily Van Camp’s is the least insufferable I’ve seen her, and older gals Madeleine Stowe and Amber Valette are serving up fine performances. Speaking of Gossip Girl, how brilliant is it seeing Connor Paolo (a.k.a. Serena’s gay brother) being all cool and worldly? I’m most interested in Gabriel Mann’s Nolan who gave my favourite performance of the pilot as someone who knows our protagonist’s secrets. It’s only a pilot, and there’s no telling how things well fall apart – but I’ll be back.

[Writing: B/B+; Directing: B/B+]

Modern Family: “Dude Ranch”; Season Three, Episode One [B/B+]

Just imagine how psyched I was to see Reid Ewing (an Emmy nominee for guest actor in my mind) show up in the season premiere. And, just imagine how less psyched I was when he decided to stay at the ranch. Hopefully he’ll pop up soonish. But, there’s more to discuss – of course. Cam and Mitchell are adopting a boy, and it’s nice how Mitchell is worried about doing those “manly” things with him. The simplicity of jokes like him wielding a gun, or getting ridiculously excited over blowing up a birdhouse were effective and it’s nice seeing the two – especially Jesse – involved in a great arc. I’m not too thrilled about Alex’s first kiss because her character continues to a bit annoying in how broadly drawn she is – or maybe it’s Winter. I don’t know.
[Writing: B/B+; Directing: B+]

Modern Family: “When Kids Go Bad”; Season Three Episode Two [B+/A-]

How, HOW, could an episode starting off with Ty rapping in a supermarket about how pastrami and Swiss being his only vices NOT be great? I’ve got to address the slight elephant in the room in terms of Claire being an annoying character. I was having an argument with a friend who found her insufferable, which I don’t. This episode is a perfect example of classic Claire – determined to a fault, and it’s that same determinedness which makes her so appealing to me. As she says, she’d like to be wrong sometimes – she just lives with the wrong people for that. There’s goodness in all the arcs, though. Cameron and Mitchell dealing with Lilly’s selfishness was a nice touch especially when it gives Jesse Tyler Ferguson to be absolutely awesome. And, Gloria/Manny and Phil/Manny bonding is when I love that family the best and everything on that end hit on all cylinders. Sure, the ending was just the slightest bit precise, but it brought the funny – and, what more could I ask for?
[Writing: B+/A-; Directing: B+/A-

Community: “Biology 101”; Season Three, Episode One [B/B+]

The show embraced its silly antics to start off the season in fine form. Hopefully they’ll make me forgot, what for me, was a rocky first half of season two. Pierce’s reappearance doesn’t thrill me, because I’m not much a fan of his but it was funny – in part – seeing Jeff go to the “other side” of the table after being kicked out of biology. As a professed Cougar Town fan, though, it was obviously those moments directed at the show which made me laugh loudest. Cougar Town Abbey was just a bit of deliciousness. Goodman’s appearance, too, was well played. After his diabolical brilliance on Damages (an Emmy nod in the making, I should hope) he turns in a diabolically funny one here and the Dean, as is rare, is actually fun to watch this episode. It still doesn’t rank at the top tier shows on my care-o-meter but I’m game for continuing with the season if it keeps up the goodness.
[Writing: B/B+; Directing: B/B+]

The Office: “The List”; Season Eight, Episode One [B/B+]

I don’t read much TV reviews, but I heard vague inklings about how awful the opener was and I feel a bit badly for the show because even though Carell’s keenness is absent, the opening was quite good. Spader isn’t overused in the cast, so I’m curious as to how significant a role he’ll play in the season but the list was an interesting idea. The best moment from it no doubt being Jim, Pam and Erin at the desk wondering what to do with it and then Phyllis ruse to distract everyone. I’m not overly fond of Pam being pregnant again, but if it leads to more tender Jim/Pam moments I’m all for that (as on the nose as Pam’s final monologue was, it was sweet). I can’t believe with Michael gone I still have to be whining about minimum screen-time for Ryan. I’ve found, though, that Novak writes himself out of a number of the episodes he’s in – so hopefully we’ll get more of him ahead. My interest is piqued as to what’s to come.
[Writing: B+; Directing: B/B+]

Parks and Recreation: “I'm Leslie Knope”; Season Four, Episode One [A-]

And, yet another more than solid entry from those folks over at the Parks and Recreation department. The opener where Ron finds out that Tammy I is on her way and his ensuing departure was a brilliant start because lord knows we all can’t wait to see the Tammy’s showdown next week. But, this week has its own hurdles. Leslie and Ben are kaput because of her political aspirations and it’s great how the show manages to take such a simple concept and make it as funny and light, yet oddly stirring as it was. It’s buttressed by Tom and his new job, Andy trying to realise his dreams and a picture of a man’s schlong being sent to all the women in the city council – and Jerry, apparently. I continue to love those Ann/Leslie moments (probably a highlight in a very good episode) but it was a treat seeing her try to ward off added penises coming her way for “diagnosis”. Moreover, it’s great that Leslie’s epiphany comes in the form of Ron fucking Swanson.
[Writing: A-; Directing: A-]

Grey’s Anatomy: “Free Falling; She’s Gone”; Season Eight, Episode One and Two [B/B+] 
The two hour opening of Grey’s Anatomy was a solid opening for the show. As the show has evolved over the years it’s been at its best when it focuses on those core characters and even though there are three of the original interns left that pivotal scene with Alex, Meredith and Cristina was a nice touch. Of course, it really wasn’t smooth sailing throughout. The giant sinkhole felt over-exaggerated a bit, as far as season premieres (remember how moving the one with Bernadette Peters was?) but its point was felt and it’s good seeing how things are developing from last week. Derek’s general poor sportsmanship is expected, but it’s more surprising seeing Bailey’s frustration with Meredith and Chief Webber taking the fall is a surprising twist (even though it’ll be sad to see less of Pickens). Mark continues to be insufferable, and though I don’t love Teddy or Jackson they both served their purposes. I’m impressed that the show allowed Cristina to have her pregnancy and Meredith’s moment with Owen was especially profound. And that closing with her and Alex after Zola leaves was a nice close to the episodes. Hopefully more emotional resonance follows in the season.
[Writing: B/B+; Directing: B/B+]

Random Thoughts

• “Ann Perkins, you know your testes.” Enough said.
• So, The Hour is getting a season which makes me very happy.
• Overly random, but does anyone remember how good Jason Ritter was on Joan of Arcadia?
• Boardwalk Empire AND The Good Wife back next week folks. I AM SO EXCITED.
• Who else wants Dylan back from that Dude Ranch?
• Was I the only one who found it insane when the two opposing lists started attacking each other?

Standout Performers
Amy Poehler in Parks and Recreation A-
Ben Whishaw in The Hour B+
Julie Bowen in Modern Family B+
Jesse Tyler Ferguson in Modern Family B+
Eric Stonestreet in Modern Family B+

Lisa Kudrow in Web Therapy B/B+
Sofia Vergara in Modern Family B/B+
Bryan Cranston in Breaking Bad B/B+
Monica Potter in Parenthood B/B+
Joel McHale in Community B/B+
Gabriel  in Revenge B/B+
Oliver Platt in The Big C B/B+
Anna Gunn in Breaking Bad B/B+
             
What did you watch this week?

When Just a Name is Enough...

          "So you're not a cop?"

      

          "No."

          "And you're not with campus police?"

          "No."

          "So... who are you?"

    

          "Kalinda."

              
You should be scared, her name is Kalinda Sharma and she will destroy.
          
All it takes is a name people...and she's coming back on Sunday. If you don't watch The Good Wife, it's time to start.

The more I think on it, the more I wonder if perhaps Kelly MacDonald won't sneak in and win the Emmy for Best Supporting Actress. I'm anxiously awaiting Boardwalk Empire's return next week and though in terms of favourites I'm rooting for The Good Wife and Dexter at tonight's show I have to bet on a horse that's going to win...or at least could win, and I wonder if - despite the love for Mad Men if Boardwalk Empire could sneak in and sweep. So, I'm going on the record and predicting Nucky for the win. The Emmy's are on in a few hours...I'll see how right I am.
             
Any last minute hopes?

TV Week in Review: 11th – 14th September

So, season finales abound. Let's get down to it.
   
True Blood: “And When I Die” Season Four, Episode Twelve (SEASON FINALE) [B]

It’s a bit difficult to weigh my slight disappointment with the show season finale against the more potent positive developments which ensued. Marnie’s diabolical return is whittled down to a single victim – Jesus – and the glorious fact of that arc, for me, was seeing Holly play a significant role in the dénouement. It was curious, though, how small a portion of the episode was meted out to that particular and how much, for example, was spent watching Jessica and Jason have sex. I fear I may never get on board with the double J train. More positive, though, was Sookie coming to a decision which featured that brilliant shot of Bill and Eric feeding on her. It’ll be interesting to see how some facets end up working out next season – the goodness, like Eric and Bill teaming up, the return of Russel and a now vampiric Boyd and Rutina staying on when Tara’s brains seem to be all over Sookie’s floor. I’m less enthused about the continued living of Alcide or the digging into Terry’s past. But, you know I’m already waiting for next summer.
[Writing: B; Directing: B/B+]

Entourage: “The End”; Season Eight, Episode Eight (SERIES FINALE) [B]

...and so it ends. I do wonder why the producers felt that the final season was only good for eight episodes. There were so many issues to be resolved that the final half hour feels decidedly rushed as loose ends are not only tied but bowed too. It’s unfortunate that we never actually Sophia and Vince together because I’m still uncertain as to the veracity of that relationship but it’s all road leading to Paris. It’s the wedding that adds as an impetus for the gang getting Eric and the now pregnant Sloan back together. Ari’s manic attempts at saving his marriage seemed vaguely out of focus for a significant portion of the episode so I was happy that after the credits had rolled we returned to the show’s fullest character for a few more minutes. It gives us a moment of uncertainty which becomes devastatingly realistic in the wake of all the happy endings.
[Writing: B/B-; Directing: B]

Breaking Bad: “Bug”; Season Four, Episode Nine [B]

This episode feels just the slightest bit like a practical joke. My favourite Breaking Bad character has long been Gunn’s Skyler and oftentimes there’s a sense that the writing team have no idea what to do with her. She put on a good show for the auditors this week, hopefully to successful results. Of course, though, the real drama was the odd revelations of Gus’ purported reasons for Jesse get so close to him whilst Walt got even more paranoid about Hank’s investigations – probably with good reason. Perhaps, it’s just me, but the middle of the episode felt a bit turgid and when Jesse invites Walt over for help I get the sense that he’s playacting to some degree which renders the subsequent beat down all the more plausible. Still, that ass-kicking was a long time coming. More significantly it will lead to some shifting loyalties as the season winds down.
[Writing: B/B+; Directing: B/B+]

The Closer: “Fresh Pursuit”; Season Seven, Episode Ten [B+]

The phrase out of the frying pan and into the fire is a perfect description of the hijinks that Brenda has gotten into. Just as she gets out of the Baylor incident she gets into another lawsuit questioning her entire case history. It’s a resounding close to the midseason finale and makes the show just a bit more interesting especially as its augmented by a crazy week of investigation. She almost gets killed when a witness pulls a gun out in the murder room, eventually committing suicide, and as all these things go wrong it’s really setting up the department for a whole lot of red tape.
[Writing: B+; Directing: B/B+]

The Big C: “Fight or Flight”; Season Two, Episode Eleven [B/B+]
I feel like for all the attempts the writers make they haven’t been able to establish the why of Paul and Mick’s thievery and it’s one of the few reasons why the past couple of episodes haven’t been as excellent as the first two thirds of the season. Having Alda back as Cathy’s doctor and Laura Benanti as his wife was a nice touch and more of Lee anc Cathy is always a good thing. Their final scene was especially good, and much as I see Cathy’s point I have to side with Lee even with the selfishness of his intentions. I’m still not sure what to make of Mick and Andrea, and where that relationship is headed and now with the Jamieson’s planning a vacation I wonder where this season is headed. It’s just adding to the discordance which is part of what makes it interesting.
[Writing: B/B+; Directing: B/B+]

Web Therapy: “Whistle While You Work”; Season Two; Episode Nine [B/B+]
Fiona returns to her usual outlandish behaviour, once again having an alteraction with the “cuter” Lachman. It’s an episode of insanity and Fiona is in particularly good form behaving in her usual unethical way. It’s fun watching her and her new administrative assistant and watching us learn more about her history was brilliant – toner as lubricant, extortion from the company, apparently this lady has done it all and Kudrow just has the finest facial reactions. She knows how to use her face to supplement the performance making for a particular well played performance this episode. Still, I must say that I’m definitely sad to see Kip gone.
[Writing: B/B+; Directing: B/B+]

Damages: “Failure is Lonely”; Season Four Episode Ten (SEASON FINALE) [A-]
The writers came out firing on all cylinders to turn this finale into something brilliant. Even though a certain bearded man ended up not dying (thankfully) the episode had enough casualties – physically and emotionally – for it to satisfying. I have to begin at the end, though, and note how brilliant it is that next season is being set up so well. It was like a premonition coming through as Ellen’s name showed up as a witness for Patty’s son. The revelation of what went on in Iraq with Gerald was well established and John Goodman was in especially diabolical form this episode. The parting of ways between Patty and Ellen (yet again) was well established and it’s going to be interesting to see what happens. I hope we haven’t seen the last of Messina.
[Writing: A-; Directing: A-

The Hour: “Episode Five” [B+]
Apparently Bel doesn’t get the chance to sleep around as this week her liaison with Hector becomes a bone of contention with her voice. Garai takes the MVP position this episode and it’s moments like these were I remember how much more interesting the simple dynamics of the show are when compared to the big mystery. Even innocuous things like the triangle with Freddie and Hector takeson sophistication when Morgan does her writing. With only one more episode to go we’ve got a number of things to resolve and things are definitely heating up. I can’t wait.
[Writing: B+; Directing: B+]

Parenthood: "I Don't Want to Do This Without You"; Season Three, Episode One [B+]

I forgot how much I missed Parenthood until it came back. It’s a really subtle show that doesn’t go in for the big moments but it’s thoroughly enjoyable and I, for one, am glad to see the Braverman’s back. We get a time jump of what seems to be about six months and it’s Sarah’s birthday and Amber is moving out. The two are still circling each other like wounded lionesses but their bond, when up, is lovely. Haddie and her boyfriend’s issues are the least seismic of the arcs, but it’s still an interesting one to watch. The episode was shamefully low on Joel, but I loved Julia and Sarah talking about her plans to “buy” the latte lady’s baby and the return of Jason Ritter (YAY) was more than welcome. I can’t wait until Kristina pops out her baby.
[Writing: B+; Directing: B/B+
     
Standout Performers
Glenn Close in Damages B+/A-
Romola Garai in The Hour B+/A-
Kyra Sedgwick in The Closer B+/A-
Lauren Graham in Parenthood B+
Laura Linney in The Big C B+
Lisa Kudrow in Web Therapy B+

Anna Gunn in Breaking Bad B+
Bryan Cranston in Breaking Bad B+
Ben Whishaw in The Hour B+
Anna Chancellor in The Hour B+
John Goodman in Damages B+
         
What did you think of the finales? What did you watch this week?