Juno McGuff is a smart, off-beat 16 year old girl, who after a night of curiosity with her smitten best friend, discovers she is pregnant. Now there is nothing funny about teen pregnancy, but this movie is so refreshing and charming, you can't help but enjoy her journey through the trimesters.
Rarely has a movie been so perfectly cast, and it is a testament to Ellen Page that the lippy and quirky Juno is so endearing when she could easily be smart-arsed and annoying. She deserves an Oscar nod at the very least. She is nothing short of outstanding. Fans of recent US comedy, (the good stuff) can indulge in the performance of two Arrested Development alumni and even Dwight from The Office appears, albeit briefly. Allison Janney, my favourite West Wing actor, turns up as Juno's not-wicked-at-all stepmother, and Jennifer Garner doesn't suck in her best role since Alias, but that's not saying much.
Viewers may be put off initially by the quirky language of the script (foschizz). It's like Buffy -speak times Veronica Mars. But it falls quickly into place and it is vital to the charm of the movie. It's not cry-with-laughter hilarious like that other indie hit that it will inevitably be compared to, Little Miss Sunshine, but it is consistently funny and heart-warming. One of the most enjoyable movies I've seen in a while.
Showing posts with label Recommended. Show all posts
Showing posts with label Recommended. Show all posts
Monday, January 21
Movies: Atonement
A big contender for Oscar season, Atonement is beautiful film to watch. The cast, the setting, the cinematography, that dress, it's all quite sumptuous.
I never got around to reading the book, and although it's impossible to be objective, I think my ignorance of the story enhanced my appreciation of the film. A young girl in war-time England tells an untruth and sets into motion a nasty chain of events. Keira Knightly and James McAvoy are the main victims of her revelation and it's all achingly beautiful and poignant. It's a tale of love, lust, betrayal, war, the damage of a lie, (and silence), and finally, the strive for the titular amends.
Ms Knightly positively smolders and looks stunning throughout. In fact, I fancied her in the movie more so than Mr McAvoy, despite his having beefed up his physique since the last role I witnessed him in; Mr Tumnis in The Chronicles of Narnia. And of course, it's all frightfully, "teddibly" British. One character is offered a scotch and responds "Rather!!" and I'm sure another one mentioned a "Binky". These antiquated attempts at propriety only make the crime all the more damaging, but the movie never attempts to be overly emotional or sentimental. Even the unexpected final scenes, which I initially felt were jarring, evoke sympathy rather than tears. In less restrained or deft hands, it would have been a big old sob-fest, which would have detracted from the fundamental message of the movie, which is so perfectly stated in the title.
I never got around to reading the book, and although it's impossible to be objective, I think my ignorance of the story enhanced my appreciation of the film. A young girl in war-time England tells an untruth and sets into motion a nasty chain of events. Keira Knightly and James McAvoy are the main victims of her revelation and it's all achingly beautiful and poignant. It's a tale of love, lust, betrayal, war, the damage of a lie, (and silence), and finally, the strive for the titular amends.
Ms Knightly positively smolders and looks stunning throughout. In fact, I fancied her in the movie more so than Mr McAvoy, despite his having beefed up his physique since the last role I witnessed him in; Mr Tumnis in The Chronicles of Narnia. And of course, it's all frightfully, "teddibly" British. One character is offered a scotch and responds "Rather!!" and I'm sure another one mentioned a "Binky". These antiquated attempts at propriety only make the crime all the more damaging, but the movie never attempts to be overly emotional or sentimental. Even the unexpected final scenes, which I initially felt were jarring, evoke sympathy rather than tears. In less restrained or deft hands, it would have been a big old sob-fest, which would have detracted from the fundamental message of the movie, which is so perfectly stated in the title.
Wednesday, November 7
Movies - Gone Baby Gone
Ben Affleck has directed a movie. And it's quite good.
Gone Baby Gone is based on the book of the same name written by Denis Lehane. The film picks up Lehane's fourth novel concerning Boston private investigators Patrick Kenzie and Angela Gennaro. Kenzie (Casey Affleck) is asked by the aunt of a missing girl to investigate her disappearance. Her mother leads a less than exemplary life, and there is a suspicion that her seedy activities may have put the child in harm's way. The cops want him to butt out, even his partner is reluctant to take on such a potentially distressing case. But Kenzie is like a dog with a bone and wants to uncover the truth.
What follows is a very solid, interesting thriller, climaxing in a powerhouse of an ending that will unfold into an ethical debate well after the credits role. It's rare that a movie packs such an emotional punch. The director, like Lehane, is a native of Boston, although the cities tourist board will not be celebrating this release . You will not see stereo-typical Boston scenes or Ally McBeal-alikes strolling wistfully down leafy streets, enveloped in a perky soundtrack. It's a crime drama, involving murderers, drug lords and paedophiles all against a backdrop of seedy bars and run down neighborhoods. Most of the extras and some of the speaking roles are performed by Bostonians that the director pulled of the street. One character is so hideous, she has to be for real. Casey Affleck, gives a credible performance, even if his accent is a little off putting. He has the right mix of strength and integrity that the character requires. Michelle Monaghan is less satisfying in the role of Gennaro, but it's not her fault. Angie has a much bigger part to play in the books but this script is all about Mc Kenzie, and Monaghan really has very little to do apart from voicing his moral conscience.
My one grumble is the inclusion of Morgan Freeman and Ed Harris in seemingly lesser roles. A director does not include this calibre of actor unless they ultimately have something do to. And unfortunately, in a cast of lesser-known actors, they are far too conspicuous.
This movie was pulled from theater release in the UK because of its similarity to the disappearance of Madeline McCann. In truth, the first 10 minutes may be reminiscent of the real-life case, but the comparison stops there. Movies need to stir thought, provoke debate and reflect the world at large. In an age of CGI over character and product placement over plot, it's a shame that this movie will not see a wider audience.
Gone Baby Gone is based on the book of the same name written by Denis Lehane. The film picks up Lehane's fourth novel concerning Boston private investigators Patrick Kenzie and Angela Gennaro. Kenzie (Casey Affleck) is asked by the aunt of a missing girl to investigate her disappearance. Her mother leads a less than exemplary life, and there is a suspicion that her seedy activities may have put the child in harm's way. The cops want him to butt out, even his partner is reluctant to take on such a potentially distressing case. But Kenzie is like a dog with a bone and wants to uncover the truth.
What follows is a very solid, interesting thriller, climaxing in a powerhouse of an ending that will unfold into an ethical debate well after the credits role. It's rare that a movie packs such an emotional punch. The director, like Lehane, is a native of Boston, although the cities tourist board will not be celebrating this release . You will not see stereo-typical Boston scenes or Ally McBeal-alikes strolling wistfully down leafy streets, enveloped in a perky soundtrack. It's a crime drama, involving murderers, drug lords and paedophiles all against a backdrop of seedy bars and run down neighborhoods. Most of the extras and some of the speaking roles are performed by Bostonians that the director pulled of the street. One character is so hideous, she has to be for real. Casey Affleck, gives a credible performance, even if his accent is a little off putting. He has the right mix of strength and integrity that the character requires. Michelle Monaghan is less satisfying in the role of Gennaro, but it's not her fault. Angie has a much bigger part to play in the books but this script is all about Mc Kenzie, and Monaghan really has very little to do apart from voicing his moral conscience.
My one grumble is the inclusion of Morgan Freeman and Ed Harris in seemingly lesser roles. A director does not include this calibre of actor unless they ultimately have something do to. And unfortunately, in a cast of lesser-known actors, they are far too conspicuous.
This movie was pulled from theater release in the UK because of its similarity to the disappearance of Madeline McCann. In truth, the first 10 minutes may be reminiscent of the real-life case, but the comparison stops there. Movies need to stir thought, provoke debate and reflect the world at large. In an age of CGI over character and product placement over plot, it's a shame that this movie will not see a wider audience.
Sunday, September 16
New TV - Californication
David Duchovny stars as Hank Moody, a novelist from New York who is struggling artistically since his move to LA. His beloved, acclaimed novel has been filmed, but transformed into a mediocre rom-com. Unable to write, he is pining for his ex-girlfriend and mother of his child, even though she's engaged to Mr Solid-but-Dull. Hank finds refuge in drinking, pontificating and fornicating
Hank shags a lot of women and they are all beautiful. Much like Vincent Chase in Entourage, Hank is the type of man LA women want to have sex with. They pull up next to him at a traffic light and throw their phone number into his car. They ask his opinion on wine in a supermarket and then drag him home to get naked and high. But Hank is no movie star, in fact he's not even famous so the idea that these promiscuous women experience lust at first sight is quite ridiculous. Duchovny/Hank is not a bad looking guy, but what is it about Hank that makes women, (from aged 16 upwards) behave so?
This show is nothing more than an approaching-middle-aged man's fantasy. Women are seen as nothing more than sexual conquests, either an easy to obtain or a challenge to be exploited. His ex-wife, the object of his affection, is a beautiful free-spirited, ex-wild child,who's seeking the stability that eluded her and Hank with the rich and mediocre Bill. Bill's daughter is a highly over-sexed 16 year old, who's blatant desire for Hank is causing him no end of problems. Hank's best friend and agent is rebuffing the advances of his randy wife, but engaging in a bit of slap and tickle with his young (of course) personal assistant. Even Hank's 12 year old daughter is swooning after her guitar teacher.
Californication is cliched, slapstick and arguably sexist. It's also hilarious, sharply written and surprisingly touching. The only way I could justify Hank Moody's character in my head was when I realised he is the male version of Samantha from Sex and the City. He's the tart with the heart; the smart, witty guy who likes to screw. But under the frat boy behaviour is someone looking to connect. He wants his family back, he wants to be a writer again, but all he is capable of achieving are short-term flings and blogging. Yet his exploits along the way are as charming as they are daft.
Duchovny is outstanding, giving Hank, who should be a contemptible dirtbag, a natural charm and wit that absolves him of all dubious acts. As a fondness for casual sex is thankfully not a hanging offence, it is honesty that is Hank's fundamental relationship flaw. He never tells a woman what they want to hear, but they are endeared to him anyway. He will stand up for his family, and family values, if they are being threatened. He is not an adulterer or home wrecker, in fact there are several scenes where he tries to put relationships back together. He is outspoken about what's lacking in culture and in self-esteem (yes, even a woman's). He is clever man who is sleeping and drinking his way back to his identity. It all seems like a massive ego trip for Duchovny-also a producer of the show - yet he pulls it off. His performance saves this show from being a male's indulgent sexual delusion
The cast are spot on, particularly Natascha McElhone as his ex, an actress who brings to the performance a dignified beauty with a dash of mischief. It's easy to see why Hank wants her back. His daughter is a quirky, wickedly smart pre-teen with a fondness for rock music. His best friend/agent varies from being a solid-as-a-rock advisor to a man in danger of emulating Hank's ways for all the wrong reasons. But Californication is by no means unique or high-brow, but it makes a great guilty pleasure. You'll never believe you could be so fond of a fornicating boozy blogger.
http://www.sho.com/site/californication/home.do
Hank shags a lot of women and they are all beautiful. Much like Vincent Chase in Entourage, Hank is the type of man LA women want to have sex with. They pull up next to him at a traffic light and throw their phone number into his car. They ask his opinion on wine in a supermarket and then drag him home to get naked and high. But Hank is no movie star, in fact he's not even famous so the idea that these promiscuous women experience lust at first sight is quite ridiculous. Duchovny/Hank is not a bad looking guy, but what is it about Hank that makes women, (from aged 16 upwards) behave so?
This show is nothing more than an approaching-middle-aged man's fantasy. Women are seen as nothing more than sexual conquests, either an easy to obtain or a challenge to be exploited. His ex-wife, the object of his affection, is a beautiful free-spirited, ex-wild child,who's seeking the stability that eluded her and Hank with the rich and mediocre Bill. Bill's daughter is a highly over-sexed 16 year old, who's blatant desire for Hank is causing him no end of problems. Hank's best friend and agent is rebuffing the advances of his randy wife, but engaging in a bit of slap and tickle with his young (of course) personal assistant. Even Hank's 12 year old daughter is swooning after her guitar teacher.
Californication is cliched, slapstick and arguably sexist. It's also hilarious, sharply written and surprisingly touching. The only way I could justify Hank Moody's character in my head was when I realised he is the male version of Samantha from Sex and the City. He's the tart with the heart; the smart, witty guy who likes to screw. But under the frat boy behaviour is someone looking to connect. He wants his family back, he wants to be a writer again, but all he is capable of achieving are short-term flings and blogging. Yet his exploits along the way are as charming as they are daft.
Duchovny is outstanding, giving Hank, who should be a contemptible dirtbag, a natural charm and wit that absolves him of all dubious acts. As a fondness for casual sex is thankfully not a hanging offence, it is honesty that is Hank's fundamental relationship flaw. He never tells a woman what they want to hear, but they are endeared to him anyway. He will stand up for his family, and family values, if they are being threatened. He is not an adulterer or home wrecker, in fact there are several scenes where he tries to put relationships back together. He is outspoken about what's lacking in culture and in self-esteem (yes, even a woman's). He is clever man who is sleeping and drinking his way back to his identity. It all seems like a massive ego trip for Duchovny-also a producer of the show - yet he pulls it off. His performance saves this show from being a male's indulgent sexual delusion
The cast are spot on, particularly Natascha McElhone as his ex, an actress who brings to the performance a dignified beauty with a dash of mischief. It's easy to see why Hank wants her back. His daughter is a quirky, wickedly smart pre-teen with a fondness for rock music. His best friend/agent varies from being a solid-as-a-rock advisor to a man in danger of emulating Hank's ways for all the wrong reasons. But Californication is by no means unique or high-brow, but it makes a great guilty pleasure. You'll never believe you could be so fond of a fornicating boozy blogger.
http://www.sho.com/site/californication/home.do
Sunday, August 26
New TV - Damages
There's no doubt that Glenn Close is up there with Meryl Streep and Helen Mirren for credibility and sheer talent, and if Ms Close commits to a television series, one would hope it would be something special. Her previous venture into TV was the 4th season of The Shield. Her performance was perfect and proved that the weight of her star power did not overwhelm the gritty realism of this powerhouse of a series. Obviously the experience was considered to be an all-round success, as FX, the network that produces The Shield, has created an entire series for this remarkable actress.
Patty Hewes is an uber-successful and highly intimidating litigator, who runs her own law firm. Doesn't sound so exciting, does it! Based on this description alone, Damages could be a close relative of Canterbury's Law, the new Julianna Margulies vehicle, which I've seen and will review when I think of something interesting to say about it. But there many aspects of this show that raise it above the average legal fare. For starters, it defies genres. It's not a court-room drama, it's not a procedural. Although it concerns law suits and litigators, it's not even a legal drama. There is murder, intrigue, psychological game play; nobody is innocent and every one is duplicitous. Villains are proved to be victims and vice versa. Patty Hewes herself is the most complex of protagonists, After watching two episodes of this show, my opinion for her has gone from impressed to appalled, and I look forward to the writers switching back my loyalty to her as the series proceeds. There is nothing familiar or predictable about this show.
The pacing also gives it an edge. This is not a case-of-the-week structure. It has a single story to tell over the season but with many, many dimensions to the narrative. It is slow-building, but still compelling. It starts with a woman, dazed and bloody, running through the streets and eventually into the hands of the police. The rest of the episode is told six months earlier, when we are introduced to the woman, a young lawyer who is being wooed by a number of law firms, including Hewes. The story builds from here with occasional flash forwards to the present, as the truth about her gruesome circumstances gradually unravels.
Visually, it has the feel of a movie rather than a TV series. partly because of the pacing but also because of the settings. Although set in Manhattan, it has a European feel. There are no shots of modern skyscrapers, instead, you will see neo-classical courthouse exteriors, tree lined residential streets and sidewalk cafes.
As you would expect, Glenn Close is outstanding in the role. She gives a multi-faceted performance that never overshadows the plot, the suspense or the rest of the cast. Ted Danson is a revelation as the billionaire defendant in Hewes high-profile law-suit, who may or may not be a murderous, deceitful swindler. It's a successful change of pace from his previous work.
I'm totally hooked on this and look forward to more red herrings and u-turns, as I try to decipher what the hell is going on.
http://www.fxnetworks.com/shows/originals/damages/main.html#home
Patty Hewes is an uber-successful and highly intimidating litigator, who runs her own law firm. Doesn't sound so exciting, does it! Based on this description alone, Damages could be a close relative of Canterbury's Law, the new Julianna Margulies vehicle, which I've seen and will review when I think of something interesting to say about it. But there many aspects of this show that raise it above the average legal fare. For starters, it defies genres. It's not a court-room drama, it's not a procedural. Although it concerns law suits and litigators, it's not even a legal drama. There is murder, intrigue, psychological game play; nobody is innocent and every one is duplicitous. Villains are proved to be victims and vice versa. Patty Hewes herself is the most complex of protagonists, After watching two episodes of this show, my opinion for her has gone from impressed to appalled, and I look forward to the writers switching back my loyalty to her as the series proceeds. There is nothing familiar or predictable about this show.
The pacing also gives it an edge. This is not a case-of-the-week structure. It has a single story to tell over the season but with many, many dimensions to the narrative. It is slow-building, but still compelling. It starts with a woman, dazed and bloody, running through the streets and eventually into the hands of the police. The rest of the episode is told six months earlier, when we are introduced to the woman, a young lawyer who is being wooed by a number of law firms, including Hewes. The story builds from here with occasional flash forwards to the present, as the truth about her gruesome circumstances gradually unravels.
Visually, it has the feel of a movie rather than a TV series. partly because of the pacing but also because of the settings. Although set in Manhattan, it has a European feel. There are no shots of modern skyscrapers, instead, you will see neo-classical courthouse exteriors, tree lined residential streets and sidewalk cafes.
As you would expect, Glenn Close is outstanding in the role. She gives a multi-faceted performance that never overshadows the plot, the suspense or the rest of the cast. Ted Danson is a revelation as the billionaire defendant in Hewes high-profile law-suit, who may or may not be a murderous, deceitful swindler. It's a successful change of pace from his previous work.
I'm totally hooked on this and look forward to more red herrings and u-turns, as I try to decipher what the hell is going on.
http://www.fxnetworks.com/shows/originals/damages/main.html#home
Tuesday, August 21
Good TV You May Have Missed.....Friday Night Lights
Some shows are successes from the start, some build slowly and rely on word-of-mouth to push them to success. Some are outstanding yet never pull in the audience. Part of the fun (and irritation) of the new TV season is trying to pick out the Hits from the Misses. For me, the shows that have appeal can fall into both categories and more often then not, the latter.
I saw an advance pilot of Friday Night Lights this time last year and decided it wasn't for me. I liked it, particularly the cinematography, and I felt it had potential, but when I weighed up the pros and cons of this show, I omitted it from my viewing repertoire. Set in Texas, about high school football, I believed this to be a show that had no relevance to me. I was also reluctant to get involved in another drama featuring characters half my age.
Throughout the broadcast season, the critics had high praise for FNL, but at that stage it was too late for me. Previous episodes were not available for download or streaming and I wouldn't join a drama half way through. But the accolades were growing and coming from the unlikeliest of sources, ie: females, and they weren't just watching it for the teen athletes. Despite less than stellar ratings, it was renewed for a second season. It was time to correct my mistake.
Thankfully, there were summer reruns and I picked up from the start. Last Saturday morning I watched the final 6 episodes concurrently through tears and laughter. It is one of the most beguiling shows I have seen. It has many fine qualities and great performances, but for me, it is Coach Eric Taylor and his wife Tammy, played by Kyle Chandler (from Early Edition and King Kong) and Connie Britton, who raise this show to a superior level. Their performances are outstanding. Not in a melodramatic, shouty, chew-the-scenery way, but subtle, heart-wrenching in a manner I've never thought possible on the small screen; the polite restraint on the coach's face when a car sales man is trying to tell him how to run the team; the quiver in Tammi's voice when she realises her 15 year old daughter is going to sleep with her boyfriend. Fantastic, gut busting, understated performances without being over scripted or played for Emmys. (Are you watching Grey's writers? Less is more!)
The common thread in the show is the obsession the town of Dillon has with football, and everyone has some vested interest in the success of the team. The sport is without a doubt, the backbone of this show. Initially, you'll watch it in spite of the football. There are plenty of scandals, heartbreaks and humour outside of the field to sustain this small town drama. If you're lucky enough to see it through to the season finale, you'll watch it because of the football. I know nothing about American football, and am little wiser from 22 episodes of FNL, but the climb of the Dillon Panthers, from being the underdogs to the team to beat in Texas, was exhilarating, heart-warming and ultimately very satisfying. Who knew that there was still a heart beating in the cut-throat world of network TV, and that it was in Texas!
http://www.nbc.com/Friday_Night_Lights/
I saw an advance pilot of Friday Night Lights this time last year and decided it wasn't for me. I liked it, particularly the cinematography, and I felt it had potential, but when I weighed up the pros and cons of this show, I omitted it from my viewing repertoire. Set in Texas, about high school football, I believed this to be a show that had no relevance to me. I was also reluctant to get involved in another drama featuring characters half my age.
Throughout the broadcast season, the critics had high praise for FNL, but at that stage it was too late for me. Previous episodes were not available for download or streaming and I wouldn't join a drama half way through. But the accolades were growing and coming from the unlikeliest of sources, ie: females, and they weren't just watching it for the teen athletes. Despite less than stellar ratings, it was renewed for a second season. It was time to correct my mistake.
Thankfully, there were summer reruns and I picked up from the start. Last Saturday morning I watched the final 6 episodes concurrently through tears and laughter. It is one of the most beguiling shows I have seen. It has many fine qualities and great performances, but for me, it is Coach Eric Taylor and his wife Tammy, played by Kyle Chandler (from Early Edition and King Kong) and Connie Britton, who raise this show to a superior level. Their performances are outstanding. Not in a melodramatic, shouty, chew-the-scenery way, but subtle, heart-wrenching in a manner I've never thought possible on the small screen; the polite restraint on the coach's face when a car sales man is trying to tell him how to run the team; the quiver in Tammi's voice when she realises her 15 year old daughter is going to sleep with her boyfriend. Fantastic, gut busting, understated performances without being over scripted or played for Emmys. (Are you watching Grey's writers? Less is more!)
The common thread in the show is the obsession the town of Dillon has with football, and everyone has some vested interest in the success of the team. The sport is without a doubt, the backbone of this show. Initially, you'll watch it in spite of the football. There are plenty of scandals, heartbreaks and humour outside of the field to sustain this small town drama. If you're lucky enough to see it through to the season finale, you'll watch it because of the football. I know nothing about American football, and am little wiser from 22 episodes of FNL, but the climb of the Dillon Panthers, from being the underdogs to the team to beat in Texas, was exhilarating, heart-warming and ultimately very satisfying. Who knew that there was still a heart beating in the cut-throat world of network TV, and that it was in Texas!
http://www.nbc.com/Friday_Night_Lights/
Sunday, August 19
New TV - Life
This one seems to have slipped under the radar in terms of advance press for the new Fall season, which is a shame because I quite liked it. A cop is sentenced to life in prison for murder, and, after serving 12 years, is released when new evidence clears him. Rather than taking his massive financial settlement and rebuilding his life, he takes his millions and rejoins the police force.
British actor Damian Lewis channels his inner Bruce Willis, playing a character who approaches his new freedom with a zen-like optimism much to the surprise and discomfort of his former colleagues and friends. He's partnered with a discredited female cop, who is doubtful of his ability to reintegrate himself into the force, but is more concerned as to how he will impact on her already shaky record. The show has the procedural element - he is now an outside-the-box thinker whose unorthodox detecting methods raise eyebrows but ultimately get the job done. Lewis sets a nice balance of an odd character whose personality has adapted to betrayal and subsequent exoneration, without overdosing on quirky charm. He is bright yet stunted, socially awkward but offering great insights into human behaviour. He's not quite likable, but definitely sympathetic. It's therefore all the more impactful when it is revealed, that far from moving on, he is doggedly investigating who is responsible for framing him. And everyone, past and present, colleague, friend, superior and relative is a suspect.
This could be a good show, a solid procedural drama setting the framework for a far more interesting background mystery. But I fear that it will be lost in the plethora of new shows and the online previews don't do it justice. This one is almost invisible in the critics' Fall previews and I unfortunately predict that it will be one of the first shows to be dropped. Time will tell.
http://www.nbc.com/Life/
British actor Damian Lewis channels his inner Bruce Willis, playing a character who approaches his new freedom with a zen-like optimism much to the surprise and discomfort of his former colleagues and friends. He's partnered with a discredited female cop, who is doubtful of his ability to reintegrate himself into the force, but is more concerned as to how he will impact on her already shaky record. The show has the procedural element - he is now an outside-the-box thinker whose unorthodox detecting methods raise eyebrows but ultimately get the job done. Lewis sets a nice balance of an odd character whose personality has adapted to betrayal and subsequent exoneration, without overdosing on quirky charm. He is bright yet stunted, socially awkward but offering great insights into human behaviour. He's not quite likable, but definitely sympathetic. It's therefore all the more impactful when it is revealed, that far from moving on, he is doggedly investigating who is responsible for framing him. And everyone, past and present, colleague, friend, superior and relative is a suspect.
This could be a good show, a solid procedural drama setting the framework for a far more interesting background mystery. But I fear that it will be lost in the plethora of new shows and the online previews don't do it justice. This one is almost invisible in the critics' Fall previews and I unfortunately predict that it will be one of the first shows to be dropped. Time will tell.
http://www.nbc.com/Life/
Wednesday, August 1
New TV - Mad Men
Mad Men is the first commissioned show for AMC - American Movie Classics, a channel that shows movies, much in the lines of TCM. Following from the success and quality of cable shows on Showcase and HBO, it's nice to see this departure from them, and if the experiment works, AMC says they will produce more drama.
Right out of the gate, this has one of the the most gorgeous title sequences I can remember and I already want one of the shots hanging on my wall. The title refers to Madison Avenue, New York, the birth place of the modern advertising agency, and this show is set in the late fifties at the start of that boom. If any of you ever watched Bewitched as a kid, and remember Darren's job as an ad man, you'll get a sense of the environment we're talking about: men in slicked-back hair and suits, and women in pill-box hats and nipped-waist dresses to the knee. But apart from the office furniture that's where the similarity ends. These guys are arrogant, adulterous and, boy, do they smoke a lot! It's actually quite distracting. They smoke in bed, in restaurants, in the office, whilst driving. If this show gains in viewership, it's only a matter of time before the anti-smoking lobby call for its censorship. But in fact there are lots of health hazards to be observed in this interesting retro drama, and strangely, it's part of the appeal! In one scene, a mother chastises her daughter for wearing a plastic bag over here head whilst playing with her brother. Rather than point out the risks of suffocation, this concerned parent was troubled by the location of the dry cleaning from whence it came. At least with today's kids, we just have to worry about obesity.
The characters on first introduction seem quite stereotypical of what we've come to expect from movies of that era. The men are rugged and misogynistic and the women are pretty, perfectly groomed and are valued for either their typing or their housekeeping. There are issues of adultery, depression and sexual discrimination, but the heart of the story is Don Draper, a brilliant Creative Director with a perfect family and a past he wants to keep hidden. There is no soap-opera pacing to this show. Much like The Sopranos, Mad Men is a whole package and if you chase a closure to a storyline, you'll miss the nuances and social commentary that enhance viewing . It's also entertaining to see how agencies and campaigns worked back then and also to observe the massive social and technological differences to today's lifestyles. The performances are solid and the absence of recognisable actors assists in transposing the viewer into the past. There are a number of shows in the works set in past eras and this one evokes the retro-ambiance most effectively.
http://media.amctv.com/originals/madmen/
Right out of the gate, this has one of the the most gorgeous title sequences I can remember and I already want one of the shots hanging on my wall. The title refers to Madison Avenue, New York, the birth place of the modern advertising agency, and this show is set in the late fifties at the start of that boom. If any of you ever watched Bewitched as a kid, and remember Darren's job as an ad man, you'll get a sense of the environment we're talking about: men in slicked-back hair and suits, and women in pill-box hats and nipped-waist dresses to the knee. But apart from the office furniture that's where the similarity ends. These guys are arrogant, adulterous and, boy, do they smoke a lot! It's actually quite distracting. They smoke in bed, in restaurants, in the office, whilst driving. If this show gains in viewership, it's only a matter of time before the anti-smoking lobby call for its censorship. But in fact there are lots of health hazards to be observed in this interesting retro drama, and strangely, it's part of the appeal! In one scene, a mother chastises her daughter for wearing a plastic bag over here head whilst playing with her brother. Rather than point out the risks of suffocation, this concerned parent was troubled by the location of the dry cleaning from whence it came. At least with today's kids, we just have to worry about obesity.
The characters on first introduction seem quite stereotypical of what we've come to expect from movies of that era. The men are rugged and misogynistic and the women are pretty, perfectly groomed and are valued for either their typing or their housekeeping. There are issues of adultery, depression and sexual discrimination, but the heart of the story is Don Draper, a brilliant Creative Director with a perfect family and a past he wants to keep hidden. There is no soap-opera pacing to this show. Much like The Sopranos, Mad Men is a whole package and if you chase a closure to a storyline, you'll miss the nuances and social commentary that enhance viewing . It's also entertaining to see how agencies and campaigns worked back then and also to observe the massive social and technological differences to today's lifestyles. The performances are solid and the absence of recognisable actors assists in transposing the viewer into the past. There are a number of shows in the works set in past eras and this one evokes the retro-ambiance most effectively.
http://media.amctv.com/originals/madmen/
Friday, July 13
New TV - Dirty Sexy Money
I wasn't expecting much from this ABC drama. The clip on the ABC website is somewhat incoherent. Also the title puts me off. This, alongside Lipstick Jungle and Cashmere Mafia, have resulted in some of the worst show titles in recent memory. But cheesy title aside, this has the makings of a smart, fun drama.
Peter Krause, from Six Feet Under, is Nick, an idealistic lawyer trying not to follow in his father's footsteps. But when he dies, the stinking rich family that his father has been legally representing for most of his career, wants Nick to replace him. For some notable caveats, a hefty salary and sizable annual contributions to charitable causes, he cautiously agrees to give it a try.
Donald Sutherland is the patriarch of this wealthy dysfunctional family and he brings a wonderful ambiguity to the role. He's a character you want to believe in but occasional menace flashes through his eyes and you don't quite know whether it's intentional or not. It's a role that Sutherland plays with aplomb. The rest of the family are successful, immoral, attractive, unfaithful, vindictive, naive, stupid, spoiled and bitter, to varying degrees. Nick struggles to balance his life with his wife and child, whilst dealing with the persistent demands of a family who have so much money, they have never had to be responsible for any of their actions. The youngest son is a misguided playboy with a knack for getting arrested, the eldest son has high hopes for The White House, if only he can break up with his clingy transvestite boyfriend. One daughter is passionate about acting but the only parts she can get are those which her daddy finances. The other daughter has an unrequited crush on our protagonist, to the annoyance of her third husband to-be and Nick's wife. A third son is a church Reverend, despite his distaste for everything around him including the son he had through an extra-marital affair. All of this makes for plenty of old-fashioned soapy drama. And to add extra intrigue, there is an arc story, investigating the mysterious circumstances of Nick's father's death.
Highly recommended.
http://abc.go.com/fallpreview/dirtysexymoney/index
Peter Krause, from Six Feet Under, is Nick, an idealistic lawyer trying not to follow in his father's footsteps. But when he dies, the stinking rich family that his father has been legally representing for most of his career, wants Nick to replace him. For some notable caveats, a hefty salary and sizable annual contributions to charitable causes, he cautiously agrees to give it a try.
Donald Sutherland is the patriarch of this wealthy dysfunctional family and he brings a wonderful ambiguity to the role. He's a character you want to believe in but occasional menace flashes through his eyes and you don't quite know whether it's intentional or not. It's a role that Sutherland plays with aplomb. The rest of the family are successful, immoral, attractive, unfaithful, vindictive, naive, stupid, spoiled and bitter, to varying degrees. Nick struggles to balance his life with his wife and child, whilst dealing with the persistent demands of a family who have so much money, they have never had to be responsible for any of their actions. The youngest son is a misguided playboy with a knack for getting arrested, the eldest son has high hopes for The White House, if only he can break up with his clingy transvestite boyfriend. One daughter is passionate about acting but the only parts she can get are those which her daddy finances. The other daughter has an unrequited crush on our protagonist, to the annoyance of her third husband to-be and Nick's wife. A third son is a church Reverend, despite his distaste for everything around him including the son he had through an extra-marital affair. All of this makes for plenty of old-fashioned soapy drama. And to add extra intrigue, there is an arc story, investigating the mysterious circumstances of Nick's father's death.
Highly recommended.
http://abc.go.com/fallpreview/dirtysexymoney/index
Monday, July 9
New TV - Pushing Daisies
Pushing Daisies was the show I was most interested in seeing from the buzz I'd read by critics on the internet, so when a batch of DVD's arrived on J's desk of some of the new seasons shows, I watched this one first.
The scenario is this: Ned discovers at a young age that he has the power to bring back the dead with just one touch. The downside is, if he touches them again, they go back to being dead, and if they survive longer than 60 seconds, someone else in proximity takes their place on the other side. As an adult, his power is discovered by a opportunistic PI, and they work together solving seemingly unsolvable murders by bringing back the dead momentarily, and asking them who did it.
Rather than being a cheesy, supernatural detective show, this is in fact a charming and quirky love story. Anna Friel, who is destined on the east side of the Atlantic to be forever known as Beth Jordache of Brookside, is a delight as Chuck, Ned's childhood crush, who resurfaces (literally), as a murder victim. Ned brings her back from the dead to find her killer, but cannot bring himself to send her back to the afterlife. Together, they attempt to solve her murder whilst falling in love but keeping their hands of each other. The voice-over narrative and bright colour palate enables a fairytale feel, reminiscent of Tim Burton or Lemony Snickett and we have producer Barry Sonnenfeld (Men in Black, The Addams Family) to thank for that. The casting is spot-on including the wonderful Kristen Chenowith as a Ned's smitten co-worker, and there are some very cute details to the characters - Ned owns his own pie-shop, Chuck's aunts are way passed-their-prime synchronised swimmers. What does the future hold in store for these would-be lovers if they can never touch? We'll have to trust the writers to keep that issue evolving.
Highly recommended.
http://abc.go.com/fallpreview/pushingdaisies/
The scenario is this: Ned discovers at a young age that he has the power to bring back the dead with just one touch. The downside is, if he touches them again, they go back to being dead, and if they survive longer than 60 seconds, someone else in proximity takes their place on the other side. As an adult, his power is discovered by a opportunistic PI, and they work together solving seemingly unsolvable murders by bringing back the dead momentarily, and asking them who did it.
Rather than being a cheesy, supernatural detective show, this is in fact a charming and quirky love story. Anna Friel, who is destined on the east side of the Atlantic to be forever known as Beth Jordache of Brookside, is a delight as Chuck, Ned's childhood crush, who resurfaces (literally), as a murder victim. Ned brings her back from the dead to find her killer, but cannot bring himself to send her back to the afterlife. Together, they attempt to solve her murder whilst falling in love but keeping their hands of each other. The voice-over narrative and bright colour palate enables a fairytale feel, reminiscent of Tim Burton or Lemony Snickett and we have producer Barry Sonnenfeld (Men in Black, The Addams Family) to thank for that. The casting is spot-on including the wonderful Kristen Chenowith as a Ned's smitten co-worker, and there are some very cute details to the characters - Ned owns his own pie-shop, Chuck's aunts are way passed-their-prime synchronised swimmers. What does the future hold in store for these would-be lovers if they can never touch? We'll have to trust the writers to keep that issue evolving.
Highly recommended.
http://abc.go.com/fallpreview/pushingdaisies/
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