Incoherent Oscar: Costume, Art Direction, Make-Up

Potentially illogical, occasionally inspired ramblings on the nominees for the imminent Oscar ceremony…               
Film lovers were abuzz yesterday with news of the winners of the NYFF and the Spirit Awards nominations, I’ll get to what they reveal about certain categories later but for now I’m interested in taking a look at those artistic categories which few care to muse on until later in the game. There’s usually much less drama in these categories and for some time that used to mean that there was a lack of excitement when it came to predicting them. If there’s anything to take away from the last Oscar ceremony, though, it’s the unpredictability of the artistic awards. You could easily make a case that the wins in each of these three categories was something of a surprise, and this year I suspect that it shall be just as uncertain…

MAKEUP
Next to the Original Song category, I’d say that this is the most exasperating category when it comes to straight predictions. Luckily, I’m almost always more interested in the act of predictions than getting it right (just see my Emmy musings with Ryan earlier this year). There’s nothing that immediately jumps out at me for a potential nomination except for J. Edgar which I’m almost certain won’t get a nomination. It’s really, for now, just speculative hunches, but sometimes AMPAS seems averse to the overuse of aging make-up (see The Reader) but then again there was The Curious Case of Benjamin Button. The thing is, without J. Edgar in the mix I’m even more uncertain about who will be nominated…so, my hands are tied.

MY GUESS: Harry Potter and the Deathly Hallows: Part 2; ★J. Edgar; Pirates of the Caribbean: On Stranger Tides

THEN AGAIN, PERHAPS: Captain America: The First Avenger; Albert Nobbs; The Artist; The Iron Lady; Green Lantern; X-Men: First Class;

MORE POSSIBILITIES: My Week with Marilyn; A Dangerous Method

And, I immediately want to swap out J. Edgar for Captain America because quite a few seemed to have love it and its artistic offerings, but then I’d have a trio of fantasy films, which would happen but then again, may not. I’m not certain if the The Artist has substantial makeup work, but I do think that if it ends up sweeping like a few are predicting then it could show up here by default. They don’t usually remember “pretty” makeup, but when they went crazy for Shakespeare in Love in ’98 that got in there .

COSTUME DESIGN
Jose is the resident clothes connoisseur, but I do love seeing what happens with the costume categories. The reigning Queens are currently Colleen Atwood and Sandy Powell, both of whom have three apiece. There aren’t as many straight up period films heading into the season that Oscar seems poised to remember, but you really do never know with them…

MY GUESS: The Artist; The Help ; ★Hugo; Jane Eyre; War Horse

THEN AGAIN, PERHAPS: A Dangerous Method; Sherlock Holmes: Game of Shadows; W.E.; Anonymous; Captain America: The First Avenger

MORE POSSIBILITIES: Immortals; My Week with Marilyn

I have this hunch that Sharren Davis will show up for her work in The Help. The costumes aren’t overcomplicated and loud as they like, but they are pretty and if overwhelming support earlier this year holds strong it should at least pick up some amount of consider for the smaller categories. I’m keeping my eye on Sandy Powell’s work in Hugo, though. Her work is amazing, and she gives good speech and if any fantasy film gets it it’d be that and not Captain America or Sherlock Holmes - even if I don’t want to rule either out. I’m less confident in the Jane Eyre citation, and then I think that even though it’s an early release it’s an obvious contender for the prize (I’m occasionally apathetic about the film, but the technical work is impeccable). The Artist and My Week with Marilyn are both recreating costumes for movies, but one is sure-fire contender. So, The Artist it is… 
        
ART DIRECTION

Of the three artistic awards, this is the one that most correlates with those big films in Picture category, and then there’s also the frequent correlations between it and the cinematography category. Sometimes, though, they end up going for the obvious loud choices (see Alice in Wonderland last year) whereas sometimes they go for the surprisingly softer ones (like Chicago over Gangs of New York).

MY GUESS: The Artist; Harry Potter and the Deathly Hallows: Part 2; ★Hugo; Sherlock Holmes: A Game of Shadows; War Horse

THEN AGAIN, PERHAPS: A Dangerous Method; Midnight in Paris; Jane Eyre; The Tree of Life; Captain America: The First Avenger

MORE POSSIBILITIES: Tinker, Tailor, Soldier, Spy 
      
On one hand, it’s a bit silly to put Sherlock Holmes there when there are so many strong contenders to consider. On the other hand, you never really know with the voters and the first instalment in the series did get a nomination over more interesting fare like Bright Star and Cheri. The thing about A Dangerous Method is that all of its technical work is understated, and unless the film does land with the Academy I’m worried that it will be ignored – which would be a shame. Last year the least arresting of the Harry Potter films (visually, at the very least) managed a nod here and though I don’t anticipate a Picture nomination I’d imagine they’d t least be sent off with a slew of nods here and there. And, I don’t want to have The Artist there, but I’m doubtful about how AMPAS will respond to it in categories like this. And, even though Hannah and her Sisters got an unlikely Art Direction nod I’m not sure Midnight in Paris could unseat it. We shall see… 



         
Coming Soon: Best Actor / Previously: Best Supporting Actor

So, what say you? These are not the categories everyone is clamouring to predict, but who are you rooting for?

“Did you lose your ball of yarn?”

Puss in Boots: directed Chris Miller; written by Tom Wheeler, David H. Steinberg and Brian Lynch

Even without taking the actual movie into consideration, there is something immediately annoying about Puss in Boots. Most would agree that somewhere around the third entry the appeal of the Shrek franchise dwindled as the writers tried – with little avail – to drag their thin premises out for an hour and a half. So, it is with trepidation that I approach Puss in the Boots, because regardless of how you look at it the idea of a spin-off on a money-spewing franchise which denigrated into a critically reviled one in its last few entries reeks of nothing BUT moneygrubbing entertainment. Then, there came rumblings of the film’s alleged geniality and I figured that, perhaps, I was prejudging its potential so I entered the film with less trepidation even if I was a wee bee doubtful of it nonetheless.

Like oh, so many, cinematic criminals Puss, currently parading as something of an outlaw parading with his sword and boots is really a misunderstood lover at heart. He was an outcast orphan who latched on to his surrogate mother and his first friend – Humpty Dumpty – a sketchy character who inadvertently leads him on to a criminal path in the quest to find a collection of magic beans which will leave the person helming them to the goose that lays the golden eggs. Amidst all this we must have, of course, heroine hiding in the guise of a femme fatale. Here, she is embodied by Kitty – a double-crossing, cross dressing purring thief (and flamenco dancer). This is all set against a fairytle world which looks less like something Hans Christen Andersen or the Brothers’ Grimm imagined, and more like a Western All’Italiana typified by an extensive cast of Spanish caricatures.

It’s strange; I have nothing in particular against anthropomorphism in cinema, but my patience is slowly eking out as I become less and less enthused about the blending of genres, but what’s become less and less clear is the reason for that merging. If I wanted to see a Spaghetti Western, I’d have seen one because having the machinations of this film paraded under the guise of one adds little to the way of actual innovation, and more in the form of needless banality. The first two films of the Shrek franchise had this tendency to overflow with the popular culture references, but what made them avoid any nauseating quality was that they were actual good films with a thesis to present other than an off-putting dissemination of facileness stemming from what seems like a group of writers intent only on offering the slightest bits of innovation. If that.

Thus, when those final two plot points are revealed and we are supposed to gasp and then smile I just stare blankly at the screen wondering when it’s all going to end. Not because it so abysmal, but because it is so ineffectual in its laziness, and a bit annoying in the presumptuous nature that it seems to think that it’s actual offering up a fine film. Towards the end of the film Puss in jail, and in attempt to break out of jail he tries to hypnotise the prison guard with his eyes. It’s the same sort of brazen attempt at hypnosis which Puss in the Boots is trying to oversaturating the film with conspicuous, but ultimately, gaudy artistic work and an overwhelming plethora of pop culture references and ironies (most of which rest on “wit” of the cuddly kitten being a dangerous thief). And, ultimately, it just doesn’t wash. They lose any grasp on a credible narrative…but then, it’s quite possible that they never had any grasp on it to begin with.

D

Incoherent Oscar: The Supporting Actor Race

I’ve long been planning on writing something about the Oscar race for months now, to no fruition. Yesterday I was sitting down at work and realised that I was a week away from December and I realised that I am in the middle of Oscar season, as it were, and I haven’t even assessed the situation adequately. Not that I’m an Oscar prognosticator in any capacity. Just see the title of this post for the focus of this post.

Projected Nominees:
Kenneth Branagh in M Week with Marilyn
John Hawkes in Martha Marcy May Marlene
Philip Seymour Hoffman in The Ides of March
Nick Nolte in Warrior
Christopher Plummer in Beginners

Projected Alternates: Alfred Brooks in Drive; George Clooney in The Ides of March; Viggo Mortensen in A Dangerous Method; Max von Sydow in Extremely Loud and Incredibly Close

Interject if you feel otherwise, but I’m almost completely convinced that Albert Brooks is on the way to a second Oscar nomination for his work in Drive. Nonetheless, if there’s anything I’ve learned from fauxScar predictions it’s that what you think usually has no business in forecasts. In my own estimations, I’m pleased with the way my personal ballot is shaping up – but despite the wide scope of potential nominees I anticipate a very dry race this season for the Supporting Actor, something akin to the dreadful 2009 nominees which avoided gems like Alfred Molina, Paul Schneider and Anthony Mackie for the likes of Stanley Tucci and Matt Damon.
         
The only post I did that stood for actual predictions was a random list of speculation in July, and I had George Clooney poised to win the race. The thing is, I sort of think it might be silly to put Hoffman in in his stead, but with the recent surge of backlash (or something akin) for The Descendants I’m not really that certain of him getting lucky with a double nod. And, on the note of double nods – I don’t even have Pitt as an alternate for The Tree of Life because, unless there’s a voluminous surge of support for it at the, say, Golden Globes, I don’t see that becoming a major contender.

Points to Consider

• Beginners is a lovely film (reviewed here), but it’s endured this year not for any of its good attributes but for the sole fact that everyone seems to love Plummer in it.
• Nolte is a two time Oscar nominee and although he’s been vaguely off his mark recently this is the type of actor who gets honoured here (see Tim Robbins).
• Actors playing actors is wonderful, actors playing actors they’ve been compared to for decades is lightning in a bottle. Actors playing actors notoriously for being hams? If that doesn’t sound Oscar like, then I’m very wrong – otherwise, Kenneth is in.
• I feel as if Hawkes is poised to become the Jeremy Renner of this year. A sure-fire second consecutive nominee with no chance of a win.
• Hoffman has become something of a “default” nominee. It could hurt him, and then again it could not. He was nominated for Charlie Wilson’s War after all?

Coming Soon: Artistic Awards (Costume, Make-Up, Art Direction)

I’m not indomitably keen, but I’m fairly pleased with the quintet I’ve predicted. Who do you expect to rule the race?

TV Week in Review: 13th-17th November

It's rather easy doing a weekly TV recap when so many shows are off...on with the shows...
      
Boardwalk Empire: “Battle of the Century”; Season Two, Episode Nine [B+]

I don’t know if I’m alone in thinking it, but this episode seemed to have a striking tonal difference from most of its predecessors. I wager that much of that had to do with Nucky’s trip to Ireland. But, it didn’t stop there – with Emily struck with polio and Jimmy navigating new territory, there was a sort of sedateness to it all even as things were very active. I continue to be worried about Jimmy and what his movement up in life implies for him as a character. He seems to be losing which once made him a sympathetic character – and Richard seems to be picking up on that. Still, their “bonding” at the end was great. I’m not certain what Emily getting polio will add to the overall impact of the show. That is, unless she dies which will be something catastrophic. The return of Chalky's talkative cellmate, now working with Chalky signals some interesting things and that Prosecutor seems hell-bent on being as troublesome as possible. I wonder if Nucky was worried about not being fully in the loop or if he, like I, was surprised at the coldness with which Owen allowed his former boss to get assassinated. I always knew he was going to be a worrisome addition…
[Writing: B+; Directing: B+]

Dexter: “Sin of Omission”; Season Six, Episode Eight [B/B+]

There were quite a few things to like about this episode, but there were also some things which I found troubling. I’m wondering what the necessity of Drunk-Quinn is yet again, as the writers seem to not realise how valuable of an asset Quinn could be. Then, I think too that the entire concept of angel being protective is something that’s been established before and is unnecessary. The advavement of Dexter’s work on the case is a good things and it’s awful seeing that Travis’ sister ended up being a victim of it all. This, of course, makes the Professor that more dangerous – especially now that he’s seen Dexter. The episode’s finest moments, though, rested on delving into the relationship of Deb and Dexter. I have an inkling that perhaps this will be the season she finds out about him, but regardless it’s nice – even though I don’t particularly love seeing Deb reassess their relationship and realising that sometimes she’s too much in the dark. [Writing: B+; Directing: B/B+]

Homeland: “Achilles Heel”; Season One, Episode Eight [B+/A-]

So, the story was turned on its heels last week and things just keep getting more and more interesting. There was a curious feeling of this episode not giving us as much – on the ostensible level at least – for our actors to do, and then it’s probably because it’s the shortest of the episodes. Still, we get some significant development of relationships which always makes me happy. I still want more from Saul, but Patinkin is his usually awesome self and more turning my favourite episode of his yet. It was made even better by two brilliant scenes of his opposite Danes. The show really is doing such a fine job of miring the boundaries of what a pseudo-political thriller should be. The revelation of who our real turncoat is was great, and it was a nice touch having Walker’s family being his Achilles. But, then, we begin to wonder what’s going with that final scene which is only making things even more exciting. Even though I miss [ ], it’s nice seeing Jessica and Brody working on their relationship and I wonder if a position in office is what they’ll use to keep Brody on the show without making things stagnant.
[Writing: B+/A-; Directing: B+/A-]

The Good Wife: “Whiskey Tango Foxtrot”; Season Three, Episode Nine [B+]

On occasion, I tend to forget – only temporarily – that The Good Wife is a television drama, and not real life and an unbelievably apt quote at the film’s end about the necessity to hold people accountable has me thinking about all that’s to come in the sure-fire cataclysmic blow-up which will happen eventually on the show. The coldness looming over this season still seems a bit jarring, but it’s all for a cause and the plot developments this episode are as provocative as I’d hope. Really, I like Jackie Florrick for all her despicable deeds, and I’m just a bit dubious about Alicia lording it over her, her judgemental inclinations irk me. Still, this episode was a stellar one for Alicia (and, by extension, Julianna Margulies). Her proclivity to become overly attached to cases sometimes seems forced; but, the case this week is a clever one, and a return to military court is not something I’d play down. Elsewhere, the investigations into Will mounts and even as I’m annoyed at the absence of Peter (bring back Chris Noth) the appearance of Wendy Scott-Carr made me do a happy dance because Anika Noni Rose is divine. Honestly, Eli’s lobbying was turning into something vaguely like a caricature and having him lose and then share quiet a moment with Diane was a necessary moment of softness. Where shall we go from here? I can’t wait to find out.
[Writing: B+; Directing: B+]

Gossip Girl: “All the Pretty Sources”; Season Five, Episode Eight [B/B+]

And, voila we may be on our way to the disappearance of that dastardly Prince. It’s only the slightest bit jarring watching how quickly Louis has moved from potentially charming prince to questionable villain, but I’m really quite all right with it – and his actions make for some rather interesting results. It’s been some time since I’ve felt any affinity for the machinations of the waifish Serena, but she works well in this episode and it’s nice that she and Blair are going so long without any turbulence in their friendship. Chuck and Dan will continue to be wrong, but still a lot of fun and their scenes end up being some of the best of the episode. I’m not sure what to make of Ivy and her boyfriend. I’m unwilling to believe that everyone who enters the realm is intent on some scheming machinations – but, then, this is New York. Nate and Victoria’s issues are the slightest bit trite, but I can’t help feeling a bit bad for her – especially with the way that Taylor keeps playing her and it’s going to be fun to see what happens when it all blows up in Nate’s grandfather’s face. And, really, we know that it must.
[Writing: B/B+; Directing: B/B+]

Parenthood: “Mr. Honesty”; Season Three, Episode Ten [A-]

And, this show delivers yet another fine episode examining the well-worn crannies of family life. I was a wee bit worried about that montage with Amber, because she has been a bit underused this season and sometimes I wonder if the creators are finding it difficult to work her into the fabric of the show. And, even though there is a sense that they’re trying a bit much to keep her around it’s an interesting development of events and I’m happy to see Mae Whitman get some solid scenes to work with. There are a whole lot bigger issues going down than Amber not making her rent, though. Naturally, because Adam is such a stand-up guy he has to tell Kristina about that kiss last week and of course it doesn’t end well. Honestly, I don’t like Kristina in this register because as understandable as her breakdown, it’s more than obvious that she’s overreacting – and that particular blowout was painful to watch. And that’s not the only thing going pear-shaped. Every Julia/Joel scene this episode was wonderful, and it was sad watching them move from the silly mundaties of their usual lives to realising that they might not get to adopt that baby. Meanwhile, it’s nice to see how Crosby has matured – and how good Dax Shepherd has become in the role. I think it was apt that this time he was the one advising Adam, and being right, and though I’m worried that Jasmine will greatly regret it, it was nice seeing the two of them bond over memories.
[Writing: A-; Directing: B+/A-]

Modern Family: “Punkin Chunkin”; Season Three, Episode Nine [B+/A-]

It was somewhere around the time that the first pumpkin launched that I realised that the episode was almost over, and I realised how quickly the episode flew. The thing is, I’m dubious that this is my favourite episode of the season but it definitely one of the better ones and it raises some issues that always make me think of the show without making it too ridiculous. Having the three Pritchett’s turn out to be sticklers didn’t end up being as awkward as I thought it would, and it’s interesting because two of the three are my favourite characters of the show. I’ve remarked before especially in this season that Claire’s practicality often makes her come off as a harridan and I think it’s essential for the writers to remember that she’s more than just a stick-in-the-mud (the same goes for Mitchell). The eventual ending though, for all its sentimentality turned out to be just the right amount of sweet.
[Writing: B+/A- ; Directing: B+/A-]

Revenge: “Suspicion”; Season One, Episode Nine [B+]

And, Fauxmanda strikes again. I saw that coming, and yet again I sort of didn’t and it only works at strengthening the drama and the absolute lusciousness of all this madness. I’m pleased to see Emily Vancamp severely stepping up her game (to think I once doubted her) and watching Emily navigate the strictures of her relationships with Daniel, Amanda, Jack, Victoria and Nolan sure is fun to watch even if the danger of everything is getting more and more pronounced. It’s nice having Jack be more than a moping simp. Elsewhere, Victoria going all “Who’s Afraid of Baby Jane” on Lydia and keeping her locked up is fun, and it’s too bad that Conrad has foiled her plans. It seems that she might have found a partner in Ashley, which is going to be interesting. I still don’t like Ashley, but I’m appreciating the role that she’s playing. Tyler and Nolan’s tug-of-war is still a bit puzzling, and I’m curious to see where that is going to end up.
[Writing: B+; Directing: B+]

American Horror Story: “Rubber Man”; Season One, Episode Eight [B-]

I’m not thrilled with the direction that the show is shaking. Will Falchuck and Murphy keep to their promise and expel the Harmon’s at the end of the season to move on to new prey? I wouldn’t mind because they’ve become a bit ridiculous lately. Structurally, it works having Tate turn out to be the Rubber Man because it makes it more than just a red-herring. But, putting logistics to the test (a dubious decision, considering what we’re talking about here) it wouldn’t make sense in terms of height and build, and if Vivien really had sex with a 16 year old teenager and thought it was her husband she deserves to be committed. It’s also worrying when I now consider how disturbing it is that Violet has allowed her mother to be committed. It almost makes me think of Stella allowing Stanley to lead Blanche away. As an aside, I sort of wish the Zachary Quinto was the lead – he’s much more fun that the Harmon’s.
[Writing: B/B-; Directing: B]
        

Standout Performers
Julianna Margulies in The Good Wife B+/A-
Damian Lewis in Homeland B+

Claire Danes in Homeland B+
Christine Baranski in The Good Wife B+
Dax Shepherd in Parenthood B+
Peter Krause in Parenthood B+

Mandy Patinkin in Homeland B+
Emily VanCamp in Revenge B+
Ty Burrell in Modern Family B+
Gabriel Mann in Revenge B+
Ed O’Neill in Modern Family B+
Archie Panjabi The Good Wife B+
Jesse Tyler Ferguson in Modern Family B+
Julie Bowen in Modern Family B+
Kelly MacDonald in Boardwalk Empire B+
Michael Pitt in Boardwalk Empire B+
Monica Potter in Parenthood B+
        

What did you watch this week?

“I just wish I could stay a bit longer, that’s all”

Like Crazy: directed by Drake Doremus; written by Ben York Jones, Drake Doremus
           
I suspect that it was my burgeoning appreciation for Anton Yelchin, which began with The Beaver earlier this year and then grew with Fright Night, was the reason for my anxiousness in regards to Like Crazy. This was despite the overly logical portion of my brain cognisant to the fact that it seemed poised to be one of those overly fluid, overly artsy, out-of-focus indies which wore its themes on its sleeves. Still, when I get interested in an actor I go all out and Doremus’ Like Crazy turned out to be just as I expected. Usually, I’m wary of people who use the word indie to describe a specific school of cinema - usually it’s not that cut-and-dry really, but all of its posturing and superficial thoughtfulness make Like Crazy seem like the theoretical concept of an “indie” film. It’s not an insult, but…

The term “like crazy” is one which has managed to seep into cultural consciousness meaning something that it suggests – lexically. Really, it just means “very much” when you would expect it to mean frantically, illogically and uncontrollably. And, for the first third of the film as Doremus meanders through the manoeuvrings of that tenuousness of a first real love, the easy lull which the film falls into is puzzling if, perhaps, deceptive. Why do these youngsters warrant a cinematic treatment? For all the things that it gets right (the awkwardness of that first romance, the sweetness which is awfully sweet, but sickeningly so), it gets half as many wrong because we never quite manage to understand the why of their relationship. What is it that makes Jacob so smitten or Anna so willing to disregard the strictures of her visa? They’re in like, maybe even love, but it’s not really crazy. Not yet. Or, not the crazy we’d expect.

Then the crux of the film’s conflict is established – after overstaying her visa Anna is stranded in London unable to see Jacob, who is stuck in Los Angeles. Well, really, Jacob’s not really stuck in LA. His visa is not the one revoked, but – according to the information the audience is given – this recently graduated budding architect has a thriving business which he is just unable to uproot himself from, even for a love that’s *like crazy*. And, right there, probably sounds as if I don’t like the film even though as much as it exasperates me I like its cadence. Content-wise Like Crazy is at times suspect, especially when I start to consider the silliness of their situation. If Jacob is unwilling to relocate, and Anna cannot then it seems like time to listen to that not quite old adage which urges the dawdling person to *ahem* have that bowel movement or vacate the premises. It becomes especially trying when each party begins a relationship with characters that are underdeveloped but sympathetically portrayed. We are never sure of the rules of this long-distance relationship so any dramatic tension to be unearthed there is nil when the audience is unsure whether or not either party is being cheated on or simply partaking in a mutual break. Content-wise, I wonder why these two personable people seem so devoid of friends, or general human contact.

Jones and Yelchn are excellent at maneuvering the childishness that comes with such a romance without preventing from seeming overbearing and even as they're forced at times to play those clichéd moments of "love" on first dates, and mundane bedroom scenes which add nothing to the overall point of the exercise - whatever that is - they're affable together. Lawrence and Bewley both do well as their love-interests, the latter in particularly who is much more charming than the film wants him to be most of the time. The thing is, with two such personable leads I keep wondering why the only people rooting them on, or the only people whose sphere they coexist in are Anna's offbeat parents. Surely, such smart college graduates must have similarly smart college friends to exist with? And, surely this relationship is not really as based on whims as it is portrayed here. Doremus seems so focused on being quirky, and odd that he seems to forget that random little scenes at the beginning do not make a love for all time. And, I start to wonder just why this relationship is worth saving so terribly. I'm moved by what I see because it's beautifully presented, and the actors are lovely, but I don't really feel it. 

Then, that final shot appears with Yelchin’s overly expressive gaze (this guy is a keeper y’all) and I think that, perhaps, the point of it was *was* the sillinees of putting investing in something you’re not fully invested. Their embrace at the end should make us sigh in relief, but we’re still holding our breath waiting for something. And, I suspect, so are Anna and Jacob. They are unwilling to severe the ties of their relationship bullheadedly determined to hold on to that one true love unable to realise that it’s, like, crazy to do so. Maybe if Doremus had invested more times in building the importance of their relationship, and not the superficial posturing of it, it would have been more effective. And, then, I think I couldn't possibly be writing all these words on a film I don't care. And  maybe this is just the film Doremus wanted to make, but I can't be certain. Its craziness is lacking in intensity but high on irrationality. But, it really is a sweet, little thing, it just never really settles enough for me to love it.
         
B-

Randomness: Debbie Allen in West Side Story

Most of you TV fans would know Debbie Allen from her Emmy winning work on Fame and her work on So You Think You Can Dance she turns up quite regularly as one of the judges on the show, and I'm sure everyone knows that she was a great dancer back in her day. I spend an unwarranted amount of time memorising random trivia, so I knew that she had two Tony nominations for revivals of West Side Story and Sweet Charity but I'd never actually seen her perform until this weekend when I was wasting time on the Internet not doing my essay on Johnson and Shakespeare, and I came across this spectacular performance from the 1980 Tony Awards.

I was sort of blown away, how brilliant is she? There are so many little things I love in this performance, and I'm not even particularly into dancing but I've watched Karen Olivo of the recent Broadway Revival and she sings beautifully, but the dancing seems especially muted. Debbie, though, is just perfection. Isn't she?

TV Week in Review: 13th-17th November

I had a ridiculously busy, and I didn't watch most of these shows until Friday hence the lateness. So, here goes the weekly TV round-up....

Boardwalk Empire: “Two Boats and a Lifeguard”; Season Two, Episode Eight [B]
You’d think that the episode where Nucky ostensibly gives up on the battle for Atlantic City would be a little more cataclysmic. But, I suspect, because his surrender is so obviously a strategy it loses some of it effect. For me, it’s the weakest episode of the season thus far, offering up credible drama but not with as much weight because nothing much seems to be actually developing. I ended up spending so much of the time appreciating the brilliant art direction, and more time interested in that the machinations of the character at times. I’m becoming more and more worried for Jimmy as he becomes steeped in the dangerous things in the city, and that ending with his violent streak seems the slightest bit out of character. It’s nice that he had that heart-to-heart with Angela, but I get the feeling that it’s all for naught. I anticipated Nucky eventually breaking down at his father’s coffin, and I guess the shortness of life has made him hungry for children. Van Alden has returned to being poorly used, and I hope it’s just for this episode.
[Writing: B/B+; Directing: B/B+]

Dexter: “Nebraska”; Season Six, Episode Seven [B+]
As a rule of thumb, I read a minimum of television reviews but I couldn’t help but notice a particularly angry response to the last episode of Dexter and I became worried since even though the show is not at its peak, I still think it’s doing well. This episode didn’t reveal itself to be a bad one to me at all. It’s a sort of stand-a-lone episode like last season’s “Teenage Wasteland”, but it’s also one important for development of Dexter’s character and even though it’s position seems particularly arbitrary – I never was that convinced of the strength of Dexter and Sam’s friendship – it’s finely constructed. Sometimes Dexter’s vigilantism comes off as so purposeful we tend to forget that it’s still murder and this episode brings that point to the forefront. Obviously, the writers and Hall relished the concept of Dexter in a different register, but it worked. Back at home, I liked the idea of finding some resolution to the Quinn/Deb drama because I’ve come to like Quinn even though I’m a bit sad that their relationship seems definitively over. Hopefully he can help her improve her work as captain. Elsewhere, the professor and his student are at odds with each other and that’s so obviously going to lead to something terrible. Ultimately, I’m impressed with the episode.
[Writing: B+; Directing: B+]

Homeland: “The Weekend”; Season One, Episode Seven [B+]

 

Like I noted above, I don’t usually read reviews especially before I see the episode and this episode was hailed as the game-changer of the series, I even heard it referred to as the finest hour of television this season and I wasn’t as convinced. The thing is, I liked Homeland and I liked the episode, so it’s hardly all bad. I’m the slightest bit doubtful of the beginning and the end of the episode in relation to Carrie. I can’t imagine her leading Brody to her cabin, or making such a slip and eventually confessing all to him and it seems too much of a plot-point for the eventual revelation at the end. The thing, though, is that it gives Lewis and Danes a great chance to play opposite each other which is obviously the episode’s finest treasure. Speaking of fine, I’m still completely happy with the register Saul is being played in and I’m not sure if it’s Patinkin (doubtful) or the way the role is being written. He’s turning in a good performance, but there’s such an overwhelming reticence to it all. Still, his technique of soliciting information was excellent and worked out in the head. Back at Brody’s house, I’m feeling terrible for Jessica who’s clearly having it difficult with that daughter from hell of hers. Maybe, now, though she and Brody can actually move forward.
[Writing: B+; Directing: B+]


The Good Wife: “Death Row Trip”; Season Three, Episode Eight [B+]

Behold – the return of Saint Alicia. I used to hate how in season one Alicia would tie every case to her maternal instinct, and it used to get just a little bit trying. I understand why she does it here, but it still seems the slightest bit forced. But, I digress. It’s a fine episode, but the race against time for a death row victim’s execution that ends up being a bastard just seems a little bit lacking in innovation. And, with so much emphasis being put on the case it makes the episode just the slightest bit less than perfect. Obviously, my favourite facet of it all was the return of Kalinda in a significant role. The show has gotten so caught up in the large web of characters that she’s become a bit ignored and I’m even more pleased that we’re returning to longstanding issues like her tenuous relationship with Cary. Vulnerable Kalinda is always worrying, and I wonder what that ending will precipitate. The presence of Dana still seems to be something of a red herring, but she’s fun to watch – I shall admit. Eli’s issues seem obviously incidental, but they work in the overall scheme of things.
[Writing: B+; Directing: B+]

Once Upon a Time: “The Price of Gold”; Season One, Episode Four [C/C-]
Four episodes in and this show seems to be losing focus instead of gaining it. I am not even remotely a fan of the job that Robert Carlyle does as Rumplestilskin. It comes off as an awkwardly characterised presence which is just jarring to watch, and an episode hinging on his involvement in that Cinderella fiasco was just difficult to sit through. More than usual, everything seems so contrived and in such a ridiculously small town I keep on wondering how it is that Henry expects to evade his mother. And, that revelation that she’s boning the sheriff was not even a legitimate revelation – wasn’t that overwhelmingly obvious? I suspect that the show will employ a one-character-per-week scenario to drag things out but it’s honestly becoming difficult to enjoy. For me, at least.
[Writing: C/C+; Directing: C+]

Gossip Girl: “The Big Sleep No More”; Season Five, Episode Seven [B]
There’s something glorious about seeing Blair draw up a Venn Diagram trying to prove that Chuck hasn’t change even if I must balk at how ridiculous she is in forcing his hand. At last, I can lay down my worries since it seems obvious that she still has feelings for Chuck, which would be the only reason to explain her nervousness. And, an episode free of Louis was a welcome change. We’ve had so many masked balls on the show, but I shall allow them their madness. Diana reveals herself to be more and more dangerous, and I’m waiting for Chuck and Blair to catch up with her evil schemes so that they can take her down. It’s funny how now is when I finally start feeling badly for Charlie, but I do hope her “boyfriend” sticks around. Fireworks are always welcome. Elsewhere, Dan continues his streak of insufferableness. He’s so looking forward to everything he can’t appreciate the little that he’s got. And, even though I don’t like him much, considering how pragmatic he usually is it’s something of a shame.
[Writing: B; Directing: B]

Glee: “Mash Off”; Season Three, Episode Six [B/B+]
For the record, I love Santana and I occasionally loathe Finn. Nonetheless, I don’t get how it’s okay for her to tease Finn mercilessly about his weight and it’s not okay for Finn to call her out (not very cruelly) on her lesbian issue. So, if this blows up in his face to make him look like a homophobic jerk, that’ll be a supremely wrong move on the show. Santana’s something of a bitch, one I adore, but facts are facts. Still, it’s nice seeing her worked up she is about this because more Naya Rivera is always appreciated. What is not appreciated is more Mercedes, who continues to grate on my nerves. Still, with all the vitriol being spewed in the words, the episode felt the slightest bit limp musically. This is probably the first Puck solo that I didn’t care at all for. And, even though I hope the Shelby/Puck drama goes away if only for propriety I’m not completely against it. I just wonder if the show is smart enough to handle it tastefully. Elsewhere, Kurt has returned to the land of whiney, and even if Rachel is a steamroller I resent the fact that she gives up the race for Kurt and the fact that that seemed to be his endgame seems to emphasise how selfish heis. But, whatever, that’s Glee.
[Writing: B/B+; Directing: B/B+]

Parenthood: “Sore Loser”; Season Three, Episode Nine [B+]
Sam Jaegar lives! He lives! Remember Joel? He’s notoriously the best husband on the show, and when given the chance the best male actor? Well, he gets actual lines this week folks. I find Sidney adorable, and the same goes for J2 (i.e. Julia and Joel) so even with all her bratty ways I loved their arc this week. Everything about it was just so sweet, and even if she learned too easily to play fair I couldn’t help but smile at the outcome – and despite his occasionally wrong-footing it’s nice when Zeek is right about his family. It’s weird, though, I don’t LOVE the other arcs but the episode is still a solid one. I’m worried about that conversation Camille and Sarah have because we’re seeing so little of the lovely Bonnie Bedelia, so I’m not happy having her angry for most of her screen time. Having Sarah learn some parenting tips from her boyfriend, and that lovely scene with Drew at the end was lovely, though. Kristina and her issues with bullying were difficult to navigate through, because that’s school for you but I was impressed with the way she handled it. The awkwardness of that kiss with Adam and his employee was palpable, and I think it’s better forgotten and never spoken of again. If Kristina finds out…yikes.
[Writing: B+; Directing: B+]

Modern Family: “After the Fire”; Season Three, Episode Eight [B+/A-]

It’s nice to see the show back with a supremely solid episode full of those requisite great moments. True, I still feel as if Burrell is not getting the right arcs to showcase his talent but everyone else is stepping up. I was worried that they were yet again making Claire out to be a harridan and then half way through she gets her epiphany and it turns into a tender moment between her and Mitchell, and an admittedly astute observation from Gloria. I’d forgotten that the show had the ability to touch on significant family issues, and I was glad to see that they hadn’t forgotten. Manny and Luke teaming up was a nice bit, they’re always fun playing opposite each other. It was just as much fun seeing Cam yet again descending into his worth as a farmhand and his truck driving abilities. His excursion with the girls worked excellently. The Jay/Phil bit was feeling a bit forced up until the very end and that everything about those two final scenes was excellent.
[Writing: B+/A-; Directing: B+/A-]

Revenge: “Trachery”; Season One, Episode Eight [B+]

Reveeeeeeeeeeeeenge. Yup, that’ll be my opening hook for every episode. It’s Vancaamp’s strongest episode yet, as the appearance of her alter ego brings up some old wounds. Clearly, the presence of the real Emily Thorne is a worrying presence, but I’ve never been as interested in Jack before – so clearly, her presence is not all bad. And, even though it’s not the least bit sexual I love her chemistry with Nolan. Speaking of which, despite his few scenes Nolan was a roll this episode. Now, isn’t it obvious that Lydia is faking amnesia? And the fact that she probably is only makes the drama more exciting. Now that Ashley and Tyler are in cahoots to take down the rich, the show has just managed to grow to even more dastardly level and I’m all for it. It’s a shame for Emily, though. She’s obviously getting closer to Daniel and with his imminent death, I wonder how that’s going to play out for all parties involved.
[Writing: B+; Directing: B+]

American Horror Story: “Open House”; Season One, Episode Seven [B/B-]
Oh, Tami Taylor you wanton woman. Okay, maybe not, but that was on bizarre sex dream with a brief return of Rubber Man. We knew that the house would not be sold or torn down, so the open house felt just the slightest bit like a red herring. And, though, in theory it’s nice seeing how much Constance is tied to the house, and it’s great seeing O’Hare doing something significant like interacting with Lange it doesn’t seem as fluid as I’d hope. The dichotomy of the old maid and the young maid will never not be freakish, and with all the sex this episode it sure was peculiar. Tate and Violet’s issues seem a bit confusing this episode, and it seems like something of a waste having him play opposite his mother for only those few moment which seem to accomplish nothing at all.
[Writing: B; Directing: B/B+]

Community; “Documentary Filmmaking: Redux”; Season Three, Episode Eight [B]
The original Documentary episode last season was one of my favourite Community episode. Thus, I suppose that this one would not have been able to live up to it. It is a good episode, just not a great. The Dean is hardly my favourite character on the show so having the episode focus on him doesn’t particularly thrill me. It’s works out okay for the most part, because with the absence of the show from NBC’s midseason schedule something schmaltzy like this is what the most steadfast of fans might need to remind them why Greendale is so “good”. And, the episode does have some lovely moments like Britta and Troy and their issues, and Shirley being fun for one. Otherwise, it’s a somewhat filler-like episode. Fun to watch and jokes immersed but nothing particularly excellent.
[Writing: B; Directing: B]

The Office: “Gettysburg”; Season Eight, Episode Eight [C/C-]
This episode doesn’t work well. There is that fine opening with Pam going into pretend-labour, but almost everything else falls flat. We get it, Andy is overly devoted to his job and wants to be brilliant, and we get it that everyone else is just trying to get through the day, and we get it that Robert California makes everyone nervous and they all want to impress him – but the same old trends can only last for so long. The most significant contribution of the episode was Jim explaining to Andy how everyone feels about him but otherwise the episode just ends up feeling like a particularly painful entry in the annals of the show.
[Writing: C/C-; Directing: C/C-]

Parks and Recreation: “Smallest Park”; Season Four, Episode Eight [B+]

The best part of the episode, for me, wasn’t Ben and Leslie deciding to go for it but two great scenes. The first was Ron “waxing sentimental” about how much he likes Andy and then Ann explaining the situation of steamroller-Leslie to Ben. The show, like so many excellent sitcoms, is great because of the friendship of the main characters. Andy enrolling to college with the help of April and Ron was great, and even though his entrance into Women’s Studies seems like a forced idea it ends up being a nice addition because Andy is such a genuinely nice guy. Having Jerry in inadvertently helping Tom launch into a workable project was a nice touch and ultimately the Ben/Leslie romance will only be an asset to the show. I’m anxious to see how it works out.
[Writing: B+; Directing: B+]
            

Standout Performers
Michael C. Hall in Dexter B+/A-
Archie Panjabi in The Good Wife B+
Damian Lewis in Homeland B+
Claire Danes in Homeland B+
Jesse Tyler Ferguson in Modern Family B+
Amy Poehler in Parks and Recreation B+
Sam Jaegar in Parenthood B+
Emily Vancamp in Revenge B+

Naya Rivera in Glee B+
Julie Bowen in Modern Family B+
Julianna Margulies in The Good Wife B+
Gabriel Mann in Revenge B+
Chris Pratt in Parks and Recreation B+
Jessica Lange in American Horror Story B+
Steve Buscemi in Boardwalk Empire B+
Mandy Patinkin in Homeland B+
Eric Stonestreet in Modern Family B+
Jim Rash in Community B+
Michael Pitt in Boardwalk Empire B+
Nick Offerman in Parks and Recreation B+
Rashida Jones in Parks and Recreation B+
      
What did you watch this week?

“I could have damaged you far worse than I did; I chose not to.”

A Dangerous Method: directed by David Cronenberg; written by Christopher Hampton

I could not help but chuckle when I realised that A Dangerous Method was an adaptation of Hampton’s play The Talking Cure. Had Cronenberg and company kept the title for the cinematic adaptation I imagine that critics would have gone wild with the chances to create a pun on title because what immediately stands out about A Dangerous Method is how devoted to telling and not showing it is. Its opening suggests otherwise. A screaming woman on the brink of something akin to lunacy, it would seem, is the first image we are presented with. This woman is Sabina Spielrein, one of the first female psychoanalysts and someone to whom everyone with an S&M complex probably owes something to. This is not a film about S&M, though (le sigh) but a story about Carl Jung, Sabina’s psychiatrist and his eventual lover and the way – at least, according the film – she severed the relationship Jung had with Freud, his teacher.

This is as good a time as any to say that I’m actually a “talk-y” person. I feel no necessity in films depending particularly much on the physical and even though film is a visual medium sometimes telling is more effective than showing (see: Who’s Afraid of Virginia Woolf?). The word psychoanalyst is something of a portmanteau – it necessitates the psychosis as well as the analysis and A Dangerous Method reveals itself to be sparse on the former and heavy on the latter; and, perhaps, not even that for the film is most notable as a dissertation on Jung’s relationship with those around him – particular Sabina. Since that relationship is rooted in the illicit sexual liaison of doctor and patient, the film takes on the appearance of a love story of some sort. Hampton’s screenplay, as is typical of him, is an intelligent. Still, even though it never enters the realm of stream-of-consciousness it does bear some resemblance to a psychiatrist session with constant words seeming to move nowhere. Do not mistake me, Hampton is crafty and he avoids the trappings of the standard biopic. But, following the line of the development there is an almost jarring lack of conflict in and of itself. He is not a slave to the film’s historical context, but he’s overly involved in the machinations.

Even with these issues there is the suggestion that the script could have resulted in a very good film instead of just a good one, and it is Cronenberg’s direction which is most perplexing. Hampton’s screenplay lacks his usual bite, yet Cronenberg who shows his diversity in style here presents a film beautiful to look at but curiously antiseptic in its staging. There is nothing inherently bad about the lush presentation of the film, but there seems to be a palpable indication of Cronenberg being overly restrained which imbues the film with a sedateness that comes off as unnaturally placid, especially when considering the scope of its subject. The pieces fit together too easily, and without fracas, for the development to be completely natural.

With such placidity emanating from the writer and director, A Dangerous Method becomes, perhaps by default, an actors’ film. I would have loved to see Jung as played by Ralph Fiennes as it was on the stage(following his work in Jane Eyre Fassbender seems inclined to take on as many Fiennes-like roles as possible) but Fassbender does a more than credible job. It’s an overwhelmingly reticent role to play, and reticence is difficult to establish without turgidity. And, admittedly, this reticence keeps the audience at arm’s length as to his inclinations as a protagonist. Ultimately it works, when with a protracted shot of him brooding functions as the film’s final shot. And, he doesn’t have half as difficult a job as Keira who is forced to move from histrionic to infatuated then scholastic in an hour and a half. She’s always been – to me – an overly criticised performer and she eschews any hint of affectation turning in a performance that is as brave as it is effective. The result is an uncomfortable performance, which I realised halfway was not a fault of Keira’s interpretation but evidence of how effective. It functions expressly as a performance to be observed, and I don’t doubt that the masses will be split down the middle as to its success.

Structurally, every outside of the central love story causes the film to lag just a little. In reality, it is a bit different especially when Vincent Cassell and Viggo Mortensen offer up such fine performances. Cassell’s Otto Gross enters the film for a short period in the middle and delivers excellently, and even as his presence reveals itself to be something superfluous the performance is anything but. The presence of Freud is less incidental, but Hampton does not fare well in tying all the strands of his drama together sometimes rendering Freud’s presence as just a bit too much of happenstance. Mortensen, unusually stoic here, is exceptional. It is not my favourite performance of the film, but it is does reveal itself as the most organic even as the narrative forgets him for too long and sometimes seems unable to use him to the best effect.

It’s all indicative of the slight tendency the film has to scratch the surface, dig deeper momentarily, but ultimately fail to completely excavate. With such a subject at hand the audience cannot help but anticipate something which exhumes more than the drama does. Even the two sex scenes seem to pervade with much too much refinement to completely succeed. What we have, then, is a good film which is beautiful to look at but teases us with damage when it only gives us vignettes. And, ultimately, it is not an inherent flaw for with such a wide scope I could imagine a gamut of situation where an adaptation could have been terrible. And, I imagine that Hampton and Cronenberg aim to make the issues as urbane as possible and although I do appreciate the machinations of the posh on cinema it does not completely succeed here. Almost, but not quite

B-
upgraded to B upon reviewing

Whose woods lips are these? I think I know.

Can you guess who?

 

This is soooooooooooo random, but it's Sunday - and they're nuns.

“This is what people look like…”

Beginners: directed and written by Mike Mills

In a film overflowing with moments unique in their eccentric nature one of my favourite random scenes in Beginners is on where young Oliver’s mother takes him to his bedroom and tells him that he can come in here, lock the door and scream whenever things get too much and he feels the urge to let it all out. He emerges a few moments later. “I don’t feel like screaming,” he tells her. She responds, “You will.” And, in all her maternal wisdom you’d expect that she’d be right. She’s not. The curiously (but not inappropriately) titled Beginners is the tale of Oliver Fields. He is a charming, if stoic graphic artist who in theory makes for a problematic protagonist. McGregor, memorably at his best when using his hoards of charm must project a man with deep scars unable to achieve true human contact, but still worthy of our time. Opening the film with Oliver emptying his dead father’s pills sets us up for two divergent, but similarly dubious, films. Either we’re making our way into a farcical piece, or an overwrought melodrama. It’s a great achievement on Mills’ part that what we get is neither.

I’ve previously lamented, in this very space, the especially thin line between films aiming for realism and films succeeding in being mundane. Mills, though, achieves what few films in recent memory have been able to with a playing field that’s so slight. Acutely aware of the way that life exists less a prolonged narrative, and more a series of arbitrary vignettes Beginners achieves the naturalistic nature of real life with a charming cadence that never slips into oversentimentality. The narrative, and the use of the word is arbitrary since narrative suggest something much more linear, unfolds on three planes – Oliver as a child sharing random moments with his mother, Oliver as an adult caring for his dying father, and Oliver a few moments later falling in love with a French actress. It all sounds very precise and deliberate, but it in actuality it’s all rather free and unmeasured. This is no bildungsroman, and yet it’s an account of Oliver’s journey to repression and then through it. Perhaps.

The diffident manner in which the scenes unfold is not indicative of Mills’ uncertainty as a director, but rather is understanding of the tale, for it is something of a semi-autobiography. Ebb and Kander have a song that when “it” all comes through it’s a quiet thing. I like to think that that elusive “it” is more than just love, but a fuller appreciation for life and all that it’s worth and both Oliver and his father find “it” late. Appreciate of the life he’s forged, but tired of living in theory and a widower at 75, after a 40 year marriage he comes out to his son. It’s not incidental that in all the moments of Oliver as a child we never meet his father, but instead spend them with his eccentric and subtly sad mother (beautifully brought to life by Mary Page Keller). He’s grown up learning to keep people at a distance, an existence he’s stuck and one which the sprite-like Anna threatens. The love story at the heart of the film, then, is less of one specifically between Anna and Oliver and one between humans and life.

Beginners, then, stands out oddly when considered among the oeuvre of contemporary dramas. The wave of melancholy permeating the sweetness is mystifying at times as Mills encourages us to smile through our tears. One of the most inexplicable things you’d notice about art is that it is at its most universal when it takes great pains to be as personal as possible. Oliver’s voiceover narration, cannily interspersed with some excellent editing achieves the expansiveness of the human life, with the miscroscope still specifically focused on Oliver. It makes me think of Beginners as a polar opposite – yet, nonetheless, a fine companion piece – the issues of The Tree of Life. The father/son relationship of Plummer and McGregor doesn’t overshadow the story, though. Mills’ concern isn’t specifically man to man, but person to person.

Each time Oliver would tell us that this is what X looked like in a specific time, I’d begin thinking just how little there was to discern in people from then to now and I began to realise that it was this lack of obvious discernment which the film might have been suggesting in the first place. There is only one real end in life – death, which means that everything else, every new day, ever new experience is beginning and every day we are all beginners. This is what beginning look likes, difficult to explicitly discern, perhaps just as difficult to tangibly feel until it’s far gone and you just know. There is little about Beginners which screams excellence, it just is.

A-

TV Week in Review: 6th-10th November

Looking back at the week on the small screen, and it was a good one.

Boardwalk Empire: “Peg of Old”; Season Two, Episode Seven [B+/A-]

This episode is teeming with the erraticism, but the thing with the show is that it doesn’t make for a poor episode. It’s strange that in an episode where Nucky gets shot, he still features so little in it – but that’s the thing with Atlantic City. With so many characters to navigate through, someone is always on the losing end. The younger crew that Jimmy is now running with pressure him to assassinate Jimmy, and Pitt does an excellent job of showing how much emotion runs through his face in a matter of seconds. Eli suggesting Nucky’s death is chilling, and it’s unclear what Jimmy expected that very late warning to do. He’s not featured prominently, as with Nucky, but it’s an important episode for him too. It seems he’s coming to realise that strangeness in his relationship with Jimmy, and none too soon since she still seems to be dallying with Lucky. Van Alden dealing with the new DA and meeting with Nucky as Lucy apparently leaving puts Shannon in a position to return to the goodness of season one. Margaret’s return home was deliberately played, but for all the obviousness I loved it and even though the narrative seems the slightest bit judgemental towards her, it’s so great seeing her letting her hair down – literally – and enjoying the physical excitement we’ve never seen her attain with Nucky.
[Writing: B+/A-; Directing: B+]

Homeland: “The Good Soldier”; Season One, Episode Six [B+]

Just when I think I know what type of show this series is trying to be, something like Brody and Carrie’s tryst happens and changes everything. There are bit portions of the episode that fall the slightest bit flat, but the good parts are superlative. The lie detector tests provide a nice backdrop to some nice character building, and even though I wish we’d seen more of Jessica Brody finally surrendering to her infidelity while he was away was excellently staged. We keep getting more aspects of Saul at home, and I’m appreciative. Carrie continues to be a difficult character to read, and that entire drunken scene with her and Brody was so strange. Has she really allowed things to get that out of control? The infidelity question was just poor form, and I’d expect that both Brody and Saul would suspect that something is up. Learning of how wrong we were about the “terrorists” was a nice plot twist, but hot damn – that ending. It’s going to be something explosive watching everything play out.
[Writing: B+/A-; Directing: B+]

Dexter: “Just Let Go”; Season Six, Episode Six [B+]

This episode is something of a turning point for Dexter for me. Okay, maybe I’m overreaching but I can’t recall an episode where Michael C. Hall didn’t submit the best performance of the episode (even with Stiles or Lithgow) and I suspect that Deb’s significance in this episode is only an indication of how well the show is learning to handle its supporting characters. I was just as, perhaps more, interested in Deb’s issues and Quinn’s insecurities than I was in watching Dexter trying to deal with finding Sam’s killer. The ultimate revelation of Sam’s death, and the way it arose, was a nice capper to the episode though and watching Dexter being so out of control with a murder was something chilling. Meanwhile, the Doomsday murderers are becoming more and more alarming, and the repercussions for Hanks letting the “Whore of Babylon” go will be catastrophic, I’m sure. And the return of Dexter’s brother? Well, even more so.
[Writing: B+; Directing: B+]

Once Upon a Time: “Snow Falls”; Season One, Episode Three [B/B-]

The show still hasn’t found an especially strong footing for me, but it’s doing fairly well. Watching the story of Snow White and her Prince Charming begin was a nice parallel as we saw the comatose patient finally wake up in the real world. I still think that the concept of the Evil Queen is just a bit underdeveloped, and though she sneers excellently I don’t think that Parilla is doing as good a job of delving into the character as I’d hope her to. What’s off with the show, is that the tone still comes off as being especially sporadic and I’m never wholeheartedly buy the fantastical nature, never truly charmed by what they want me to be charmed by, never completely invested in the drama or amused by the funny. Yet, it’s not going badly; it’s enjoyable and sweet in its flawed way. And, I will say that thus far the strongest arc of the show seems to be that between Goodwin and Dallas. The two are lovely together.
[Writing: B; Directing: B]

The Good Wife: “Executive Order 13224”; Season Three, Episode Seven [A-]

 Before I get to the episode in detail, goodness gracious did Kalinda have – what – two lines in this episode? What the hell? Onwards, this is the first brilliant episode of the season, and what’s so weird is that all along I’ve been somewhat reticent about how cold the stakes seem to be and this episode plays up that coldness but it’s working. Is Peter really out to destroy Will and Alicia, by proxy, for revenge? I like Peter and I’m going to say that I think he’s honest. And I really do find Will annoying and a bit despicable, so in that showdown between the two I’m firmly in the Peter camp. The opening was so tautly done, especially in that portion where Diane (and Kalinda) might just have realised that Will and Alicia might be too close for comfort. I’m sure that the blowout will me more than a seminar on sexual harassment in the work place. I figured that it would be strange to introduce the feisty Dana just as she was leaving the State’s Attorney office, and I don’t really mind it spelling trouble for Will – but that entire situation is problematic. And, I didn’t even get to the best part of the episode – the absolutely delightful Carrie Preston turning in a flawless guest performance. With Kalinda gone, I feel bad admitting it, but this episode was just fantastic.
[Writing: B+/A-; Directing: B+]

Gossip Girl: “I Am Number Nine”; Season Five, Episode Six [B/B-]

Taking into consideration what Louis found out, it would seem that he really is the father of Blair’s foetus, which is so disgusting I can’t put it into words. Even if Blair/Chuck is the not the endgame of the show, I still find the entire union of Blair and Louis to be especially bizarre. And, I’m beginning to think – hope – that maybe she’s realising it too. Louis’ plots to destroy Chuck just reek of childishness. On the note of childishness, the entire scenario with Dan and Serena is just unfortunate but I have to say I actually felt bad for Humphrey now that his fame seems to have catapulted so soon – even if I find it hilarious that Harvey Weinstein would even care enough to read “Inside”, and if he was interested wouldn’t that mean people would like it and put it on the bestseller list? Whatever. Charlie seems to have gotten a little bit more interesting, and though he’s not as boring as he was for the last two seasons, Nate seems to be sleeping through this episode a bit. And, what oh what, is Chuck Bass going to do now that’s “reformed”?
[Writing: B; Directing: B/B-]

Parenthood: “In-Between”; Season Three, Episode Eight [A-]

It’s only the eighth episode and I already sort of felt as if Seth had been back on the show forever, and I was becoming worried about what that would signify for the Sarah in the long run. The rapid development from him out of rehab, to moving into Ambers to their kiss and then his departure, though, were handled excellently. Mae Whitman is one of the show’s finest actors, and she hasn’t been given much to do this season so it was wonderful having her play such a significant role in this episode. I’ve been here and there on John Corbett’s work on the show, but in this final episode he just wrecks me. Parenthood is all about the very simple things, and sometimes those simple things become devastating which the episode delivers on. It’s the same with Kristina trying to deal with the aftermath of pregnancy. It’s an embarrassingly simple and perhaps even clichéd arc but it works so excellently and both Krause and Potter navigate the well-known so excellently. The Crosby arc does pale a little in comparison, but it serves its purposes and the added sweetness of the Zeek and Camille storyline was well appreciated even if wish Bonnie Bedelia gets a chance to “act” – she’s fantastic, after all.
[Writing: B+/A-; Directing: B+/A- ]

Glee: “The First Time”; Season Three, Episode Five [B+/A-]

In episode of nice moments to hold on to, I have to admit that I smiled all the way through Rachel’s meeting with her “girls”. Perhaps it’s because I’ll always consider Lea Michele to be the best actor on the show but there’s something ridiculous yet charming about Rachel at her silliest and over-analytical and it was sort of a nice paradigm for how the entire episode managed to succeed with weaving the general mundaneness of life and romance into a one hour that was sweet, a little bit of cheesy but a whole lot of fun. I’ve managed to, ultimately, surrender to the Finn issue – he keeps annoying me, but I’ll deal. And, I must give props to the show managing to make that final moment between him and Rachel work with a sensitivity I might not have expected, at least not recently – perhaps, not ever. On that note, it’s been such a long time since Kurt was anything but overbearing for me, I was surprised at how despite the same harshness in his character Colfer came off seeming sincere this time around. More importantly, though, Criss actually comes off looking like a real character and not a glorified “perfect-boyfriend” type. It’s a nice movement forward for the show, and I won’t praise the way the songs are interwoven too much because it won’t work to have every episode supplemented by an on-going play. But I’m hopeful to see where things go from here.
[Writing: B+; Directing: B+/A-]

American Horror Story: “Piggy Piggy”; Season One, Episode Six [B+]

As far as development of plot arcs go, this was probably the show’s most cohesive episodes and considering how much the show thrives on the bizarre it was a bit of strange considering how toned down everything was. It works, though. The opening sequence of Tate’s murderous rampage was chilling to watch, but not as chilling as the closing with his tearful confession to Violet. Murderer or no, I feel bad for him especially with the proof that he too is a ghost – or at least something more, or less, than human. It’s gotten to a point where the machinations of our married couple have become so annoying I want to just kill them or at least Tami Taylor because she just keeps annoying. And, I wonder, is Morris Chestnut showing up simply for her to get someone to hump on? That would be…strange. At least Dylan McDermott actually gets put to some good use, bringing us to Eric Stonestreet’s delightful patient. The PiggyMan scenario was frightful and though the resolution was ridiculous I found it fitting for the craziness of the show. And, the absence of Denis O’Hare made the episode all the better.
[Writing: B+; Directing: B+/A-]

The Office: “Pam’s Replacement”; Season Eight, Episode Seven [B/B+]

It was all worth it just for that prolonged scenario of Dwight’s pseudo-sexual harassment of Jim’s penis. Because, only Dwight would think that that is appropriate in a quest for the truth. The thing is the main arc of Pam worried about her looks and Jim lying to her works so excellently that the return of Kevin, Daryl and Andy’s band just fails to inject any significant energy into the episode. It’s just a bit too obvious and expected and brings fewer chuckles, and more squirms. Otherwise, though, the episode is a winner. It’s filled with great random moments like talking about a pregnant Helen Mirren or Kelly and Ryan both having their ridiculous quips and Jim being awesome. And, yes, Jim continues to be my favourite character on the show, so an episode almost devoted to Krasinski’s dry deliver of lines was good. I just wish it focused even more on him. But, I’m selfish.
[Writing: B+; Directing: B]

Community: “Studies in Modern Movement”; Season Three, Episode Seven [B/B+]

This episode was really sweet, and a bit strange, but most sweet. I remember in season one when I loved Yvette Nicole Brown’s performance, and I’ve never managed to reach back that level of appreciation since she’s turned into this ridiculous creature. Still, the car ride with her and Britta works a bit especially because Jacobs seems so game throughout the episode. Putting Pierce by himself allows him not to annoy people, and leads to a ridiculous dream sequence that makes little to no sense but one which doesn’t spoil the episode either. And Jeff and the Dean, though silly is silly in the sense of Greendale’s usual silliness and I’d take that any day over Professor Chang turning up which means that I’m satisfied. And, how lovely was the group singing “Kiss from a Rose”? The shadow play was a bit weird for me though, sorry.
[Writing: B/B+; Directing: B/B+]

Parks and Recreation: “The Treaty”; Season Four, Episode Seven [B+/A-]

Classic Leslie Knope silliness. I forgot that the reason these two work so well together is because they’re both nerds, and the UN summit ended up being a great way to remind me of that. It’s becoming awkward for them both trying to navigate through things without feeling some romantic entanglements. The ensuing childishness is typical of them both and their attempts to solve them were as sweet as expected. It was even nicer that they were surrounded by April and Andy who both deliver great moments. The Chris issues was silly, but having Ann and Donna there made it worth it and then Ron ensuring that Tom returned made it all the more fun even if it's weird seeing Ron so scaled down in the past few weeks. And, of course, Jerry will always be loathed so I loved that closing bit.
[Writing: B+/A-; Directing: B+/A-]

Grey’s Anatomy: “Dark was the Night”; Season Eight, Episode Nine [B+/A-]

 Oh, Grey’s. I was so ready for an episode to capture all the things I love most about the show, and this episode just delivered in a way – without being overblown – that just made me so appreciative. It wasn’t until well into it the episode that I realised that Henry actually was going to die, and I was happy with the way that it all went down. It’s probably because the episode spanned the activities in and out of the hospital for only a few hours, so there was a tightness to everything which serves the episode well. Hopefully Meredith and Derek haven’t lost their chance to keep Zola and the concept of the truck blowing up with them and the baby seemed ridiculous, but that ending which showed just how close they were to death ended up succeeding much better than I’ve expected. Cristina’s lack of knowledge about the patient she was working on moved from vaguely humorous to chilling as everything went down and though it was a fine artistic decision and I sort of wish that we’d have been able to hear her reaction as well as see it. I sincerely hope the follow-up episode lives up to this one.
[Writing: B+; Directing: B+]

Standout Performers
Claire Danes in Homeland B+/A-
Kelly MacDonald in Boardwalk Empire B+/A-
Mae Whitman in Parenthood B+
Lea Michele in Glee B+
Michael Shannon in Boardwalk Empire B+
Christine Baranski in The Good Wife B+
Amy Poehler in Parks and Recreation B+

Damian Lewis in Homeland B+
Monica Potter in Parenthood B+
Adam Scott in Parks and Recreation B+
Julianne Margulies in The Good Wife B+
Jennifer Carpenter in Dexter B+
John Krasinski in The Office B+
Michael C. Hall in Dexter B+
Sandra Oh in Grey’s Anatomy B+
Darren Criss in Glee B+


What did you watch this week?