Tag: Review

Mad Men – Man With A Plan

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It’s somewhat fitting that an episode built around repetition would borrow so heavily from the thematics of the hour that preceded it, but it doesn’t make it any less of a pain to write this review. Man With A Plan was the kind of episode that showed the screenwriters in the room clearly have one, probably up on a big board somewhere that they would have returned to again and again during the writing of this hour; doing what Ted termed an old fashioned technique, research. To mirror the plots core premise, the overpopulation of the company’s post-merger offices and the repetition and redundancies that come with such, the episode weaved in a number of references to episodes past; scaling from the blunt to the subtle. It’s no coincidence then that this is the episode where Pete’s mother is first shown to have some form of Alzheimer’s; she forgets but the show never does. Matt Weiner is the man with a plan and we best trust in it.

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Nick Cave & the Bad Seeds – Push Away the Sky (First Impressions)

Push the Sky Away

It’s fair to say that I was exited for this album as its author, Nick Cave, is one of my favorite writers (regardless of medium) and his band the Bad Seeds some of the best players a director could ask for. It’s important to make mention of the later, because although it is common to see Cave’s name of a release (be it songs or film score) this is the first new Bad Seeds album in a very long while. Technically the last was Dig! Lazurus, Dig! but to my mind that was really a Grinderman release, sitting as it does chronologically and stylistically between that side-projects two progeny. This is an important distinction because of the philosophy that powered that project; Nick Cave hasn’t really mellowed with old age like most people do, in fact after a mild middle he and the Bad Seeds came back with some of the most caustic and cavalier releases of the bands oeuvre and Grinderman was the opportunity to take that second wind to its sharpest point and release songs that would have made The Birthday Party blush. Lazurus felt like another example of that energetic youthfulness, whereas this album is the first of the millennium’s releases to really sound like something from an aged and aging band.

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Life of Pi

I’ve made a huge mistake. Releasing my Top Ten list before seeing this film was probably pretty stupid, but thanks to the anachronistic nature of the Australian release schedule I saw little other choice in the matter. Though it is too early to say now, only hours after having seen it – declaring a best of so swiftly would be even stupider – I daresay that when it comes time to revise my Top Ten come February this film will be in the fighting for a position.

While this statement may come as no surprise to many, based solely on the movies critical reception elsewhere, for me it is a meaningful one. I didn’t much love the novel on which the film is based, the tone and tempo of the trailers turned me off the adaptation and I’m not a religious man; it was only the fact that I am such an Ang Lee fan that forced me into seeing the film. It’s fitting, somehow, to see this film a skeptic and leave a fanatic.

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The Avengers #1

I didn’t have very high expectations for this book -not being much of an Avengers fan nor liking much of Hickman’s other Marvel Now! Debut Uncanny Avengers (me being an idiot, that book was written by Remender) but it won me over almost instantly, in the space of a single page. The previously on that opens the book is a mist read for someone like me, who has little to now experience with the Marvel Universe, but i rarely enjoy reading them. Thankfully though the recap here focused more of the latter half of that phrase then the former, retelling the story of the Big Bang rather than that of the last brawl; it encapsulates the entire history of the physical universe from the first sun through to the first son of a godlike villain that has arisen on mars. This then begins as a book deserving of the same style logo that Hickman has used in his hard-science books like Manhattan Projects and FF and not a popcorn perversion of the same, but it doesn’t stay that way.

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The Indestructible Hulk #1

The oh so exuberantly titled Marvel NOW! movement, from which this book comes, is what we coiners of terms like to call a ‘soft reboot’; in short the character or concept is put in the hands of new creatives who craft from it a new narrative which will be entirely accessible to new readers without actually starting again from scratch ( without disregarding continuity and thus retreading those tired, old origin stories). Think of it like a sequel to a film that wasn’t planned as a franchise or the second season of a show whose studio gives it some leeway to adapt during the break; it is, in other words, a do over, a second chance and here it is the Hulk that is hoping for a hail mary.

Despite being one of the most iconic and widely known comic book characters around – on the level of Batman and Supes – Hulk hasn’t had the best luck with his actual literature. I haven’t read many, or honestly any, of his solo books and this is because none really have the reputation to require it. His on screen treatment has suffered too as despite having a whole host of films (and a television series) to his name Hulk has never been much of a critical or commercial success ( Ang Lee’s movie had some of the former and Louis’ some of the later but even combined they couldn’t match a Batman). Earlier in the year the character looked dry and the property done; the Hulk looked dead.  Though of course he can’t die can he? He’s indestructible, the perfect candidate for a resurrection, a reboot.

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Killing Them Softly

The Assassination of Jesse James by the Coward Robert Ford is one of my all time favorite films in part because it is one of the most beautiful that I ave ever seen, but this, Aussie Andrew Dominik’s follow up, this is one of the ugliest. The opening sequence conveys this instantly to all the relevant senses; inter-cutting screeches from speeches with shots from a stuttering steadi-cam as it exits a tunnel into a tornado of trash; it’s like childbirth, but messier.

The film is set in New Orleans, arguably the most beautiful and the ugliest of all America’s cities and the way that Andrew uses it lends his film a post-apocalyptic feel; it is after all a city that all but went through one (and sadly I have seen in person many of the sights at which the film was shot, still as shattered as they are here). It’s not a natural disaster that he is depicting with this movie though, it’s a thoroughly man made one, the result of our species selfishness and sadly this is just as real as Katrina.

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The Fall Season’s New Shows – Week Two

I wrote fairly extensively about a lot of the pilots that premiered last week (though a lot of my reviews went up well in advance to that) and honestly I don’t have the time or energy to bother trying to squeeze a full review out of each of the show’s follow-up episodes, but I do have some thoughts about  each and so I’ve decided to clump them here in a scorecard of sorts or a series of post-scripts. The shows that I stuck with (Revolution may have gotten picked up by NBC but it’s been dumped by me) were The Mindy Project, Ben & Kate, Last Resort, Elementary and Vegas. Thoughts on each to follow and feel free to throw your own in afterwards, I’d love to hear what people are thinking about this batch of shows.

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Homeland – The Smile

In direct contrast to that other Showtime show that premiered this Sunday night, Dexter, Homeland was a program that I expected to be good, perhaps to the point of problem. The first season came out of nowhere, hitting fast and hard, establishing itself as one of the year’s best dramas only weeks after people started hearing that it existed. This strength though set-up expectations for the show’s second season and it set them high and its extreme success at last weekend’s Emmy’s only exacerbated the issue further.

People aren’t going into this premiere expecting a sub-par season of Dexter spinning wheels, they aren’t peeking in on the program out of curiosity, they are coming to see a main event, a masterpiece in motion, they want to be blown away and despite its topic Homeland simply isn’t a show that does that. This lack is exactly what earned it that standing among – or above, if you’re an Emmy voter – the best drama’s currently on TV; a set of show’s also known for suffering from something similar. See, like those other series Homeland is styled towards the slow burn and that’s why it is deserving of its ‘Best Drama’ Emmy (despite not being my personal preference)
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Dexter – Are You…?

I reviewed the last season of Dexter, season six, on this blog out of morbid curiosity. I had all but given up on watching the show for its merits, for enjoying it in a straight and simple manner and needed the extra layer of interest and interaction to get me through the episode’s each week. There is a new term that many would apply to this activity and it is ‘hate watching’ but personally I don’t think it applies because I honestly don’t have a lot of time for TV shows that I don’t like; if they’re no good I simply stop watching them and so it must have been something else that was bringing me back.

I think it was love. Dexter at its best is an amazing show: it doesn’t happen often but its action can be as ballisticly suspenseful as Breaking Bad, its stories as thematically potent as Mad Men and its wit as wryly funny as Parks & Rec. So even though it was none of those things in Season Five I stuck with the show the only way I could, by criticizing those errors that had become comical in the wrong way. It was tough love but love nonetheless and it is because of that love that I am so glad to have enjoyed this episode sincerely and to be able to  say that based only on this premiere – the potential for future flaws and F-ups is still there – this season seems to be the shows return to form. Sometimes even a dead body can get back up it seems.

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Looper

“That doesn’t matter!” screams Bruce Willis across a barren rural diner, “If we’re gonna get into the technicals of this time-travel shit then we’ll be here all day, making diagrams out of straws. None of that matters”*! He’s right and I agree with Rian completely, the man obviously feeding him the very meta-line. The logic and logistics of a movie’s technology aren’t as important as the tale that they are being used to tell and yet what let me down about Looper was that it put its focus firmly on the latter when the former is what it was best at. The picture plays out like one of its altered timelines; starting in one place and playing out straight before shifting on a sudden to somewhere completely different, making a drastic change and losing a lot of its impact in the translation.

*Paraphrasing from memory; real script better written.
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