Posts Tagged ‘reviews’
Once upon a time, Carmela Soprano walked into a psychiatrist’s office. Her mobster husband Tony was depressed, angry, unfaithful. Could their marriage be saved? Her therapist’s answer was not one she wanted to hear: To hell with the marriage — it’s her soul she should be worried about. Tony is a monster, and she’s morally responsible for helping him feed. “You’ll never be able to feel good about yourself,” this Dr. Krakower tells her, “never be able to quell the feelings of guilt and shame that you talk about as long as you’re accomplice.” Carmela equivocates, backtracks, rationalizes, wriggles away from the words, but with no more success than a worm on a hook. “What did I just say?” he says, not budging, not allowing her to budge either. “Leave him. Take the children—what’s left of them—and go.” She frets about child support, and he interrupts. “I’m not charging you because I won’t take blood money, and you can’t either.” Then comes his final line, the last one we ever hear from this character, who never appears again and whose advice ultimately goes unheeded. “One thing you can never say: that you haven’t been told.”
On “Do Mail Robots Dream of Electric Sheep?”, tonight’s grim episode of The Americans, Elizabeth Jennings met her Dr. Krakower, and killed her.
Better Call Saul: the feel-good hit of the season? It was tonight, anyway. This week’s episode, “Rico,” administered a mainline hit of happiness from the start. Hard work, brotherly love, sticking up for the downtrodden, sticking it to bullies in business suits — if you didn’t know better, you’d think you’d tuned in to Disney movie about an underdog sports team. But the cinematography, pacing, and performances kept this surprisingly sweet Saul from sliding into schmaltz. You get to watch characters you like do something good, and do it very well. If that doesn’t put a grin on your face the size of a James Morgan McGill Esq. billboard, your case is hopeless.
Though it helps humanize many current and former believers, Going Clear pulls no punches against Scientology’s biggest “celebrity megaphones” — especially its superstar public face, Tom Cruise. Both the book and film allege that Cruise, a close friend of Miscavige (who was the best man at the actor’s wedding), has benefited for years from a labor force of Sea Org clergy members. “I’m singling him out,” Wright says. “More people got interested in Scientology because of Tom Cruise than any other individual, and he knows what’s going on. He could effect change, and it’s on his shoulders that he should.”
Gibney is harsher still. “For [Cruise] not to denounce, or at least investigate, what’s going on seems appalling to me,” he says. “He gets a lot of money and a lot of privilege from a lot of fans, and the idea that allows the vulnerable to be preyed upon in his name seems reprehensible.” In fact, Going Clear claims that Cruise’s own ex-wife, Nicole Kidman, fell victim to Scientology’s excesses herself. According to high-ranking defector Marty Rathbun, the Church wiretapped Kidman as part of a multifaceted campaign to drive the couple apart when Miscavige felt she was pulling him away from his faith. Even to readers of Wright’s book, this is breaking news.
“That was something Marty told me in my interview,” Gibney says. “When he spoke to Larry for the book, emotionally, he still had one foot in the Church. [Rathbun] had been a key enforcer for them. To unravel those big lies takes years, and to undo the psychological damage that was done to him by the Church is a slow healing process. He was able to say things now about how aggressive the Church was, in terms of trying to get Cruise back, that he might not have been willing to say before.”
I interviewed Oscar and Emmy–winning director Alex Gibney, Pulitzer-winning journalist Lawrence Wright, and high-ranking Scientology defector Mike Rinder about thir upcoming HBO documentary Going Clear: Scientology and the Prison of Belief for Rolling Stone. I’ve been working on this for a long time, and I hope you enjoy reading it.
Philip and Elizabeth are not the only members of the Jennings clan capable of digging into the lives of others. When Elizabeth paints their daughter Paige a very selective portrait of their pasts in the civil rights movement, the kid does some digging of her own. Using the microfilm machine at the local library — a skill as lost to time now as telegraph operating or alchemy — she investigates her mom’s claims, discovering that their activist ally Gregory had a lucrative second career as a drug kingpin. When she confronts her mother with this information, Elizabeth insists “he never stopped fighting for what’s right.” “So was he a criminal or wasn’t he?” Paige asks. “Things aren’t that simple,” Elizabeth replies.
In “Divestment,” last night’s episode of The Americans, things rarely are. Right and wrong, justice and vengeance, loyalty and betrayal, love and blindness: The boundaries between these qualities are fluid, porous, rendering the states they separate not so much contrasts as complements. Those who straddle these crooked, dotted lines are right to believe that there’s at least as much overlap as opposition between them. But when they act to blur those lines themselves, they raise the question: Is their moral universe truly illuminated by these shades of gray, or is this merely a sophisticated pose they strike to hide their crimes in the murk?
I reviewed last night’s typically excellent The Americans for the New York Observer. As I wrote it I thought “this is one of the best things I’ve written in a long, long time,” and that does not happen very often. I dunno if it’s true, but there you have it.
I appeared on HuffPost Live’s Spoiler Alert tv talk show today to discuss the finale of The Jinx, the return of Community, the trajectory of Better Call Saul, and the tangled web of spoiler culture. It was a lively and informative discussion, I think. Check it out, but be warned if you’ve never watched The Wire, as our host Ricky Camilleri blew like four major plot points just to prove he could, bless his trollish heart.
Once again, Jimmy’s done the right thing at his own expense, robbing clients to save their bacon and then ordering them to re-hire Kim to save hers. But this unexpected career rebound makes her less likely than ever to leave the firm and partner with him, legally or otherwise. So he walks into the corner office he’d hoped she would one day occupy, closes the door, and flips out. Yelling, crying, punching the wall, venting years of personal and professional disappointment — who is this man, and what has he done with James Morgan McGill?
On Breaking Bad, Saul had three settings: greed, fear, and entertaining bullshit. The larval form we’ve come to know in BCS is a good deal more nuanced, yet he’s still been driven by a limited number of factors: frustration, finances, fraternal affection for his sick brother Chuck. But while we’ve seen him get bent over plenty of times, we’d never seen him break. Beneath the bluster is a human being in enough pain to make him literally lash out at the world. That’s the kind of hurt a person will radically remake their own life to avoid. It takes way more than a new name or a fancy new office, however, to leave yourself behind.
I reviewed last night’s Better Call Saul for Rolling Stone. The verdict: beautifully shot, way too much Kettleman.
I wrote a lengthy, pretty much unexcerptable piece on The Jinx for the New York Observer in light of last night’s finale and the surrounding news stories. It touches on Serial, Capturing the Friedmans, Mea Maxima Culpa, Going Clear, Gimme Shelter, The Thin Blue Line, America’s Most Wanted, True Detective, Goofus & Gallant, spoiler alerts, hubris, justice, and art. I’m proud of it and I hope you enjoy it.
Fleetwood Mac’s 1977 album Rumours is a crystalline collection of immaculately produced pop-rock that has sold in the neighborhood of 40 million copies. That’s approximately 8 million copies per each of the five members of the band whose romantic partnership ended during the album’s recording. Given that there were only five people in Fleetwood Mac, including a pair of couples, that’s one hellacious track record. Count ‘em: Guitarist Lindsey Buckingham and his longtime partner Stevie Nicks, two of the band’s three main songwriters, broke up acrimoniously. The third songwriter, Christine McVie, left her husband, bassist John McVie — for the group’s lighting director. Finally, drummer Mick Fleetwood got a divorce from his wife Jenny Boyd. (PS: Boyd had conducted a lengthy affair with the band’s ex-guitarist Bob Weston; Fleetwood would go on to have a secret relationship with Nicks, which ended when he broke up the marriage of Nicks’s best friend by having an affair with her. BuzzFeed’s Matthew Perpetua has the best summary of the turmoil if you’re searching for a scorecard.) Lindsay, Stevie, and Christine all chronicled their changing fortunes with savage honesty and/or dizzying romanticism in the songs that formed the album. And in the only instance of the entire group collaborating as songwriters, all five band members co-wrote the record’s centerpiece, classic rock’s most vicious anthem of romantic recrimination: As they all fell apart, “The Chain” quite literally kept them together.
It’s well worth thinking about Fleetwood Mac in the context of The Americans. In a sense, the two are inseparable, and not just becauseMatthew Rhys is Lindsey Buckingham’s spitting image: The show’s pilot began with an eight-minute espionage sequence set to an extended remix of“Tusk,” Buckingham’s bizarro paean to sexual paranoia. And tonight’s climactic use of “The Chain” will, yes, keep them together as well. But the songs are on the soundtrack for a reason. Long before Mick’s opening stomp emerged from your speakers tonight, this was a show obsessed with the ways in which couples in varying degrees of estrangement could nevertheless come together to achieve something greater than they ever could individually. “Walter Taffet,” this week’s episode, contained enough examples to make the Mac’s Behind the Music blush.
The alchemists of Europe had a saying that’s still popular among mystics and spiritual seekers: “As above, so below.” The idea is that the macrocosm and microcosm are mirror images; by understanding the forces that animate mind and body, we can unravel the mysteries of the universe. It’s a concept not without its uses, art-wise: Style and substance are indivisible. Writers, musicians, and filmmakers make both large and small choices that are reflective of one another. Major themes can be glimpsed through minor details, visuals can echo dialogue, and the point of view of a character might hold the key to an entire TV show.
It’s this process that powers “Five-O,” tonight’s stunning episode of Better Call Saul. In shifting its focus almost entirely from hard-luck lawyer Jimmy McGill to aged ex-cop Mike Ehrmantraut, the show also alters its look, its sound and its feel — all of this a mere six episodes into its first season. Characters are bathed in darkness and immersed in long stretches of silence, while the editing fades from one scene to the next like a dream…or a nightmare. And we see a side of Mike himself — multiple sides, even — that we’d never come close to discovering before.
I reviewed tonight’s absolutely wondrous episode of Better Call Saul for Rolling Stone. I cannot overstate the power of Jonathan Banks’s performance.
Getting outsmarted by a TV show: It’s a high I chase like Ahab chased the white whale. It’s not that I’m some supergenius drama savant, or conversely that every series, even in the New Golden Age of Television, is #actually dopey. Rather, it’s that even the best, smartest, most surprising shows pull their shocks and showstoppers from a painstakingly assembled deck of dramaturgical cards. When you get past that initial jaw-on-the-floor reaction to a particularly impressive or unpredictable scene, you almost invariably follow that feeling up with “Ohhhhh, of course.” Whether transcendent moment or twist, it was retrospectively inevitable. That’s exactly what makes for a good show, usually! So when a show completely laps your ability to click its pieces into place, when it does something you know you could have sat in its writers’ room for months and still never have come up with, hoo boy, chills. That’s something special.
With a lede graf like that, it has to be good, right? I reviewed this week’s brilliant episode of The Americans for the New York Observer.
But it’s the Mike material that sees the episode really come alive, though it does so with barely a whisper. After some 40 minutes of funny old folks, space blankets, and poop jokes, things suddenly get somber. Mike sits a lonely vigil in his toll booth, an illuminated island in a sea of parking-lot darkness. He eats alone, rubbing his furrowed brow. He parks outside a woman’s home (his daughter’s?), exchanging a drawn-out glance with her as she drives away. He returns to his own house, watching old movies and drinking a cold one by his lonesome. The stately pace, steady camera work, and lack of dialogue throughout the sequence create an atmosphere of tension and menace; when a shadow moves past Mike’s window, you half expect a cartel assassin to burst in, guns blazing.
The Scarecrow. The Joker, maybe. Fish Mooney carving her own eye out with a spoon. Gotham has really been cooking lately, and the madness and mayhem of its villians are what’s kept the fire burning. In that light, the prospect of an episode about bad apples in the GCPD is about as welcome as a VIP pass to a nightclub performance by the Penguin’s mom. But on the mean streets of Gotham City, miracles, like full-body transplants, can happen. And tonight’s cop-centric installment “Everyone Has a Cobblepot” was the latest in a long line of beautifully berserk hours of pseudo-superhero TV.
I’ve made no secret of my ongoing enjoyment and appreciation of Downton Abbey. It’s a show that mines subtle yet deep and rich rewards from exploring the emotional nooks and crannies of fundamentally stable long-term relationships. It’s sumptuously costumed, beautifully shot (think of the strong, stark imagery of the slate-gray prison that opened tonight’s episode), and performed by a cast with some of the most striking faces and voices on TV. Yes, it’s a soap, but we’re all adults here, capable of understanding that when it comes to “guilty pleasures,” the pleasure ought to overpower the guilt. It’s a fine show.
Yet by the end of this giant-sized 90-minute episode, I found myself wondering what, exactly, I’d spent the past two months watching. Season One introduced us to the setting and depicted on the culture class between middle-class Matthew Crawley and the aristocrats to whom he’d suddenly become the heir. Season Two showed us the Great War’s effect on the household and resolved the abortive romance between Matthew and Mary at last. Season Three gave us their wedding, forced Lord Robert to face the modern world, and of course produced two of the most shocking deaths in television history, Sybil’s and Matthew’s. Season Four focused on how Mary, Tom and Isobel slowly overcame their grief. Season Five…had some awkward dinner parties?
Symbolically speaking, secret rooms are always full of treasure. Whether the door opens to reveal C.S. Lewis’s Narnia, Willy Wonka’s chocolate forest, or Bluebeard’s slain wives, the hidden chamber is the heart of the story, the source of its power, the place where it all really begins. The effort to suppress the secret only reinforces its importance.
In “Salang Pass,” this week’s episode of The Americans, we get a glimpse into Phillip Jennings’s secret room, and inside we find sex. This is not uncommon. But it’s sex endured rather than enjoyed, sex performed rather than participated in, sex made to “feel real” rather than be real. In subsuming his sexuality into a series of KGB-mandated liaisons with partners of all ages, appearances, body types, even genders, Philip, we learn, honed the techniques of seduction that have helped make him such a formidable deep-cover agent. But this means that he entered the secret room not to find something, but to lose something instead: the core part of himself that can assert, with certainty, that yes, these is his want, his need, his desire, his identity. While a necessary loss, perhaps, for the purposes of his protean career, it is nonetheless a grievous one. As a spy, he is well served by an ability to shape-shift to the needs of the moment, both sexually and ethically. But as a husband, a father, a human attempting to draw moral distinctions? Where do the chameleonic contents of his secret room leave him then? This is the central dilemma of The Americans. And as even Philip’s avuncular handler Gabriel points out, its resolution has rarely been of such immediate importance.
If you say a show is “firing on all cylinders,” you conjure an image of a vehicle moving at maximum speed, all its component parts working together for optimum effect. Gotham, on the other hand, may be more like the Wonkamobile. But its tonally disconnected bangs and clangs and explosions are, at this point, no less formidable than the proverbial well-oiled machine. The past few weeks have shown that if the show jerry-rigs enough weird, wild, occasionally emotional parts together, the whole can be a real whiz-bang contraption. And tonight’s episode — “Red Hood” — had plenty of pop to go around.
For starters, Jada Pinkett Smith carved her own eyeball out with a spoon.
Lord Sinderby, Atticus’s father, is an antagonist from the Magneto school, a commanding figure with the silhouette of a bullet and the hard-earned pride of a man who knows his accomplishments stand surrounded by an ocean of opposition. Actor James Faulkner gives him a glare that could melt steel; there’s honestly no better way for the show to finally sell Lily James’s Lady Rose as the rightful youthful-idealist heir to the departed Lady Sybil than by showing her failing to wither in its face. And his voice joins Downton’s dulcet pantheon of greats, a sepulchural croak that’s the stuff of Disney villains. (Don’t underestimate the aural dimension of good TV: many of the New Golden Age’s best shows, fromDownton to Deadwood to The Wire to Boardwalk Empire, are as much fun to listen to as they are to look at.)
Just four episodes out of the gate, Better Call Saul is proving to be one of the most visually striking and well-acted shows currently on television. When Saul and his patsy drunkenly discuss wolf howls outside their town’s shut-down bars, or when Jimmy stands inside the Day Nail & Spa salon at night, the shots are like something out of an Edward Hopper painting. Michael McKean continues to impress as Jimmy’s mentally ill older brother Chuck, selling both the man’s pride in his baby bro’s supposed accomplishments and his crushing disappointment after risking (he thinks) his life to find out whether they’re true. As Kim, actor Rhea Seehorn has an easy rapport with Bob Odenkirk, playfully slapping his hands away from the controls of her massage chair when she comes to visit him. (She wants to go see The Thing on the big screen? She’s a keeper.) And there’s Odenkirk himself, playing an orange shirt/magenta tie man in a Haml-indigo Blue world. It’s going be a thrill to watch him suit up for real.
[Showrunner Bruno] Heller has been cagey about Jerome, the gibbering ginger played by Shameless star Cameron Monaghan, refusing to outright label him the Caped Crusader’s future archnemesis. On the one hand, that’s good mythos management: The Joker has no official origin, a fact Heath Ledger’s interpretation of the character got a lot of murderous mileage out of in Christopher Nolan’s The Dark Knight. (“You wanna know how I got these scars?”) He could be anyone and no one — a big part of his terrifying allure.
On the other hand, Gotham’s reluctance to call Jerome the J-word could just be another example of genre television’s post-Lost fixation on mystery over meaning. Raise a bunch of questions, promise “the answers,” throw the audience a bunch of red herrings (or in this case a redhead), rinse, repeat. And if the series is teasing their Joker-to-be only to eventually reveal otherwise, it’d hardly be the first time a superhero show faked out its audience.
So what’s the best strategy for enjoying the character, in all his villainous potential? Ignore Jack Nicholson’s advice and don’t think about the future. Just appreciate Jerome for what he is: a little jolt of Joker-esque mirth and mayhem. He’s surrounded by the Cirque du Insanity trappings that have come with the character ever since creators Jerry Robinson, Bill Finger, and Bob Kane thought him up. Does Monaghan lay it on a little thick? You bet. So what? This is (maybe) the most famously gleeful, gloriously over-the-top supervillain we’re talking about here. Restraint is not his strong suit. If you can’t camp it up as the Clown Prince of Crime, what has this society come to?
Ever danced with the devil in the pale moonlight? I reviewed this week’s Gotham for Rolling Stone.
The Americans is TV’s tensest show — that’s a given. It can make life-and-death cat-and-mouse suspense out of something as banal as big clunky cars moving at the speed limit through suburban streets, or couples snooping around a divorcé’s home office during an open house. (And that’s just last week.) But to keep an audience on the edge of its (toilet) seat in a scene where nothing happens because nothing can happen? Because someone’s desperately searching for something that doesn’t exist? That takes skill bordering on virtuosity. And it takes really, really good synthpop.
No disrespect to Matthew Rhys and Keri Russell, but this was Vince Clark and Alison Moyet’s episode. As Yaz, the duo’s combination of Clark’s chilly electronic melodies and Moyet’s heartwrenching marvel of a voice was one of the early ‘80s most influential sounds. (Their album Upstairs at Eric’s probably should have been issued by the City as an educational measure for anyone attending a concert in New York during the early to mid ‘00s.) Here, it gave Agent Stan Beeman’s search for evidence that the Russian defector Zinaida is in fact a double agent a lunatic urgency. The thwap of the drum machine, the stabbing synth hook, Moyet singing her goddamn guts out — it transformed a slightly (if justifiably) paranoid man’s ransacking of a women’s restroom into an action setpiece. As uses of music on TV this year go, it’ll be tough to top.
But damn if the show didn’t try before the episode was even out. In his new guise as Jim, a dashing beer-industry lobbyist and fake-ID expert (quite a skill set), Philip is creepily, unhappily wooing Kimmy, the rebellious teenage daughter of a high-ranking CIA Afghan Group agent. The soundtrack of seduction: Yaz, Upstairs at Eric’s, the very album he’d given to his own teenage daughter Paige as a present after learning about it from Kimmy. As the almost impossibly sweet and romantic “Only You” plays, Kimmy dances for “Jim,” doing her best Audrey Horne, before snuggling into him for comfort. Watching Philip try to split the difference between giving himself over to the honeytrap like he’s done so many times before and pulling back due to the impossible-to-miss immorality of the act, you can’t help but wonder how he’s hearing this song, who he imagines singing it to.
Sorry for the illness-induced delay in posting this, but I reviewed this week’s typically fine episode of The Americans for the New York Observer.
Historically, The Americans’ biggest flaw has been portraying the crimes of Elizabeth and Philip Jennings primarily through their emotional impact on the perpetrators, leaving the suffering of the victims as an afterthought. But if you emphasize the role of vulnerability in that violence, the equation changes dramatically. Strip a victim naked, break their bones, pull their teeth, and you’ve placed them in situations that exist on a continuum with experiences all of us have had, experiences that leave us exposed and at the mercy of others we’re forced to trust. Our empathy is triggered, our innate reluctance to see ourselves in the victims shattered, when the violence is treated as a violation first and foremost.
In this week’s episode, of course, the victimhood is voluntary. Plagued by debilitating toothaches ever since her rumble with Agents Gaad and Aderholt a couple weeks back, Elizabeth submits — there’s no better way to put it — to an ad hoc tooth extraction by Philip. Maybe this is a fucked-up thing to say about an episode in which actor Keri Russell spent the better part of a scene bareassed, but to hell with it, we’re a 50 Shadesnation now: This was the sexiest scene of the series.
For one thing, the exchange of trust is total, and that’s vital to truly good sex, especially when power dynamics come into play. And it is an exchange, not just a one-way street: Elizabeth must have faith that Philip won’t hurt her any worse than he has to, yes, but Philip also must have faith that Elizabeth won’t hate him for hurting her in the first place. What’s more, it’s as suggestively staged as any of their spy-game seductions: Elizabeth leaning back, eyes wide, mouth open; Philip looming above, inserting his instrument into her open body. We’re all adults here, presumably — this is genuinely adult entertainment, not just because of the TV-MA rating, but because of the complicated and specific ideas about relationships the scene works through. You have to level up to play along.
I reviewed last week’s The Americans, and possible revealed a bit too much of what I’m into, for the New York Observer. I should add that at this point I think the show really is as good as people have long said it is.