Continuing its trend of limiting the vision of various directors and producers, the MPAA is at it again, forcing several films–The Wolf of Wall Street and Charlie Countryman–to cut scenes of people doing things that everyone does at some point: having sex. Oh, the horror! Won’t you think about the kids?! I mean, sure, we can show a bunch of people getting their heads blown off, but show a nipple? Burn it all down!
This has been a persistent problem over the years, and sadly, we’re a culture that shies away from the apparent stigma that comes with being an adult; you know, I’d say most adults don’t encounter a triple-ax wielding monster in dark alleys at night, but DO have sex. Right now, we’re worried about shielding our kids’ eyes from naked bodies, and then we’re slapping a flimsy “I’m protecting them!” excuse on our blatant transgressions. Look, I’m not adopting a “They’re going to see it eventually” attitude; that’s the last thing I want. I just implore us to be realistic about these things.
Anyway, in the case of Scorsese’s new epic The Wolf of Wall Street, some of the film’s “abundant, explicit sex” had to be cut to receive an R rating, bringing the film’s running length down to 179 minutes from its original length of 654 minutes. At least 200 of those minutes featured Jonah Hill dancing naked on top of Leonardo DiCaprio’s facial hair while Kyle Chandler smirked off to the side.
In Charlie Countryman‘s case, Evan Rachel Wood took to Twitter to rant about the MPAA’s deletion of a scene in which Shia Labeouf performed oral sex on her; no word yet on Michael Bay’s interpretation of that scene, which probably involves big robots and explosions. As for Wood’s Twitter rant, even given the site’s 140-character limit, her epic diatribe against the MPAA spanned nearly ten tweets and didn’t lose its impact. Sincere kudos to her; head to https://twitter.com/evanrachelwood to see the whole thing.
Of course, sadly, our films will continue to acquiesce to the demands of the MPAA, and eventually, we’ll see NC-17 ratings on kids movies for depicting two cartoon dogs licking each other. Or something like that.
Credit to Red Granite Pictures and The Wolf of Wall Street for all pictures. I own nothing.
After last week’s thrilling premiere, I’m really excited for the follow up. Check back in at 9/8 Central for a live blog. All times central.
8:02-It’s nice to see the gang back together again.
8:04-Well, that whole doubles plot is a bit too easy, isn’t it? While I do love Melinda Clarke and the work she’s doing as Amanda, I can’t help but lament the fact that Roan was killed off way back when; his vendetta would feel more human (kind of ironic, isn’t it?) than Amanda’s. I just don’t feel very invested in the whole Nikita connection, as great as their dynamic is.
8:12-So it looks like we’re drawing the Owen/Sam-Alex parallels now: two people with trust issues, both with another identity that’s slowly fusing into what they want it to be as their confidence increases. I like the idea; hopefully it’ll help integrate Owen/Sam into the proceedings, much like Alex was last week.
8:13-Nice focus on the evil mouth there.
8:16-I get that this is the type of person Nikita is, but I can’t help but feel a bit annoyed at her whole “Who else is going to get hurt because of me?” attitude. This is something she should’ve come to terms with a while ago and put forth all of her being into saving them, not worrying about them. They’ve proved they can handle themselves.
8:19-HUGE gun there. Love it.
8:24-Nice to see Sonya out here in the field, too.
8:27-I hope this whole “It’s bigger than Nikita” plot doesn’t become too convoluted; the last thing a short season needs is some huge conspiracy. What this should be about is a deeply personal story about Nikita, NOT about the Shop.
8:32-And here lies Nikita’s flaw: she’s all talk when it comes to her friends; she’s an inherently individual person. She realizes that leaving will hurt her friends, so she puts up a facade, trying to make herself believe that doing everything herself IS better. That’s why her excuse to Michael is “You didn’t get hurt!”
8:40-Nice, some Amanda-Alex and Amanda-Nikita phone calls.
8:49-So it seems like they’re sending Nikita down some type of redemption storyline, which isn’t a bad idea. She’s had to sacrifice her morals myriad times over the years, and she’s now even more conflicted. It’s great that Michael understands the shit Nikita’s gone through and still does what needs to be done.
8:54-“I forgot how much I need you guys.” I think she’s still trying to convince herself that going off by herself was NOT a good idea, now that she’s back.
8:57-“I’m done fighting for us.” This is a very sensible decision by Michael, yet it’s heartbreaking to watch Nikita’s own personality and sense of righteousness bring about the downfall of the relationship. She just shouldn’t be going through all this, even though at the same time you could say she kind of deserves it. That’s the essential conflict of this whole series; it’s the whole duality motif of spy vs. person, much like the doppelgangers tonight.
9:00-Yeah, not too ecstatic about this Birkoff reveal. I hope the writers surprise me somehow, because this isn’t needed if it’ll lead to a bit of wheel-spinning.
GRADE: B
FINAL THOUGHTS: As expected, this is a step down from the premiere and its explosiveness. Still, there’s lots of stuff to like here: the Owen/Sam-Alex dynamic, the Nikita-Michael dynamic, and the Nikita-Amanda dynamic. The show’s really strengthened the characters here, and hopefully the next episodes deliver; it looks like Alex is being set up, which is an interesting storyline to take. As for Birkoff, time will tell. Four more.
Credit to The CW and Nikita for all pictures. I own nothing.
The fallout of a character’s death isn’t something easy to handle, but Person of Interest deals with Carter’s in a creative, moving, and flat out brilliant way that serves as a thrilling capper to a wonderful half season.
It would be fairly simple to descend into the overly melodramatic, but the show instead opts to use its stylistic flair and its intimate knowledge of each character to evoke an even stronger sense of loss. For example, the opening credits are missing here, instead having the fantastic, mood setting montage of Johnny Cash’s “Hurt” (fantastic song choice, by the way) cut to a black screen for a few seconds. Much like the lack of a “Stay tuned for scenes from our next episode” last week, the show is paying homage to its fallen character.
As for the intimate knowledge, the episode is structured around a series of flashbacks that delineate how exactly various characters used to deal with loss compared to how they do it now. They each strove for something greater, but they couldn’t shake the doubts burrowed in their minds. The flashbacks provide insight into the pasts of each person while drawing myriad parallels between them, unifying them under the presence of Carter. In fact, usually the person sitting across from them would be a Carter-type figure, helping set them straight and attempting to connect on a deeper level; the difference here is that Carter would actually succeed, and this is a very clever way of conveying that sense of loss.
That sense of loss permeates the present day as well; instead of focusing on Carter’s funeral, we get to see how each character is affected by it, none more so than Reese. It’s a striking change to see him so unhinged and raw, and he’s a very different man than he was in that flashback. Yet, it’s completely realistic; sometimes we forget that Reese is a human being with real feelings, and Caviezel does a marvelous job of portraying a man essentially killing himself over his partner’s death, willing to do anything it takes to serve cold, hard justice. I like that he slips up and ends up trying to shoot Quinn; although the gun doesn’t go off, it reminds us just how far Reese is willing to go, and it’s, quite frankly, an inherently human decision.
Of course, it isn’t just Reese that’s affected. Every other character wears some type of metaphorical mask, attempting to cover up the grief, guilt, and frustration that each is feeling. However, they’re still able to make sensible decisions; Shaw and Finch realize how useful Root is and the necessity to put aside their differences, so they do so. They’re not going to lose someone else.
Oh, and how awesome is Root in this episode? Really. Freaking. Awesome. Kinda hot, too, according to Shaw.
At the end, Fusco gets his moral victory by electing to arrest Simmons instead of killing him. It’s a thrilling moment because even now, he’s paying his respects to Carter by honoring her wishes. In fact, that fight scene draws parallels to Reese’s fistfight with Simmons, and both men had similar attitudes toward killing: some people deserve it. It’s a very interesting aspect to explore, and that’s only strengthened by Elias’s final lines. He respects Carter and he values civilized actions, and Simmons deserves what’s coming to him; Elias won’t get his hands dirty, but sometimes, justice needs to be swift and permanent. People are going to die, but that doesn’t mean it’s the end all be all for a person’s legacy; Carter’s character was all about how she affected others, and we continue to see her live on today. She’s not going away anytime soon.
GRADE: A
OTHER THOUGHTS:
-Fusco’s face when Root’s telling him everything she knows about him. Hilarious.
-“Tall, dark, and deranged.”
-“He lost a lot of blood. I’m gonna steal some more from Manhattan General.”
-Powerful acting from everyone tonight. They conveyed so much through just their facial expressions.
-I have to say, I was at first inclined to write a review that went like this: HOLY SHIT THIS WAS AWESOME. I MEAN, YOU HAD REESE JUST ACTING BADASS AND DISPATCHING A BUNCH OF BAD GUYS, AND THEN ROOT WITH HER TWO GUNS JUST BLASTING IT UP, AND AN AWESOME FISTFIGHT, AND THEN OH MAN ELIAS THIS EPISODE IS PERFECT.
Credit to CBS and Person of Interest for all pictures. I own nothing.
Holiday episodes are outlets for full ensemble antics; they’re easy ways to get the whole gang together, celebrating a day and modeling around it. As for this particular episode, it’s a sweet, funny way to close out the 2013 year for New Girl (I have no idea why there isn’t a Christmas episode this year).
Several of the criticisms of this season have been valid; for example, the Nick-Jess relationship can become a bit too saccharine at times, and the Winston character is usually relegated to the C-plots. However, this episode strikes a nice balance between character and funny. I think the show’s certainly self-aware about the Winston stuff; there are a few more lines about him not getting a say in anything and the loss of the opportunity to make the craziest mugs, man. It’s good that the show is finally starting to remedy that; last week, Winston related with a stranger, and this week, he relates with someone he knows. He normally isn’t able to find much validation from others, and we’re hopefully moving in the right direction.
As for Nick and Jess, I’ve seen growth. There’s a part of Nick that is still surprised that he even has a relationship, so understandably, he overcompensates–catching a dead fish and having a “real” Thanksgiving–because he never wants it to end. The other part of him is more grounded–he tells Jess he doesn’t want her to patronize him, for example. This relationship hasn’t just turned him into a carbon copy of Jess; if it had, it wouldn’t have worked out.
However, I do feel like Coach is taking on a bit too many of Schmidt’s characteristics, one of them being his confidence. It’s nice to see Schmidt start to move on, but I don’t want a similar wooing plot in the future from Coach; still, I’m happy Cece’s getting more screen time.
All in all, it’s an entertaining episode that, while its plot is very meandering, is an effective way to celebrate Thanksgiving with the New Girl folk.
GRADE: B+
OTHER THOUGHTS:
-Delirious Jess is a delight. “I’m out of the office ’til Friday, for immediate assistance, please call Deb at extension A.C. Slater.”
-“Head first? Why?!”
-“My tolerance for alcohol has gotten really low. I drank 3 beers and I got all giggly and tired, and I didn’t want a fourth. I think I’m losing it; last night I had a dream I was brushing a horse.” So many gems from Jake Johnson tonight.
-“We walked all the way to Oregon?” “That explains the cramp…”
-Real men are on the bottom. Nothing purple grows in nature. George Washington hunted and milked his cats.
Credit to New Girl and FOX for all pictures. I own nothing.
Listen-I like creativity as much as the next guy, but when it’s nothing more than a gimmick, it really won’t fly. We’re halfway through the final season, and for the life of me I can’t find a reason, why do we need this episode, when it’s nothing more than bold?
I get that sometimes they need to just let loose and have fun, but the stories themselves do nothing to stun. They should sometimes break free from the confines of serialization, but not when all we get is broad characterization. We don’t need to see Barney or Robin or Ted acting like they used to act; especially after eight damn seasons, that’s a cold, hard fact.
Kudos to the writers, though, it wasn’t an easy task; on the surface, it was entertaining, and I guess that’s all you can really ask. I do like the fact that they poke fun at the theme itself; it helps it feel less gimmicky and not like dust on a shelf. Although really, Marshall? What the hell are you doing? The season may or may not be in decline, but when you decide to walk to Farhampton, it’s quite frankly, asinine. I hate the distance between Marshall and the gang; he needs to be there for the show to go out with a bang. Anyway, this episode is really hard to grade; I’ll just give it a question mark and finish the rhymes I made.
GRADE: ? (GRADE AS A CREATIVE PIECE OF WORK: B, GRADE FOR EFFORT: A, GRADE AS A PIECE OF TELEVISION: C)
OTHER THOUGHTS:
-James Van Der Beek guest stars.
-The actors’ rhyming techniques seem to be out of sync quite a bit, which both adds and detracts from the episode’s improv-esque feel and cohesiveness.
Credit to CBS and How I Met Your Mother for all pictures. I own nothing.
Let’s get this out of the way first; much of what goes on in this episode plot-wise is absolutely ludicrous; Saul’s Iran master plan, for one, as well as everything involving Brody’s ridiculously quick recovery, Alain Bernard, and the like. Of course, like I mentioned before, sometimes you just have to put that aside for a bit.
Character-wise, this is a fantastic episode. The acting, as always, is impeccable, and Danes and Lewis convey the tension and desperation of two people clinging to each other out of necessity. Lewis in particular goes through a wide range of emotions in a short amount of time, but we’re still allowed to see the detrimental effects the heroin has caused. In addition, his first scene with Carrie is a highlight.
Although I’m still frustrated with Carrie’s continual playing of the victim card and her penchant for not giving a damn about orders, it still paves the way for a great Dana-Brody scene that is miles better than any other Dana offerings in a while. It reminds me of those fantastic season 1 scenes in which her character isn’t bogged down with extraneous storylines and idiotic boyfriends. Here, when she asks Brody to write down what he wants her to say, you can see the conflict in his eyes; he obviously knows she’s not serious about it, but she’s one of two people that he sees as truly understanding, and he wishes everything were as easy as writing a script. It explains in part why he doesn’t ask to see Jess and Chris–although seriously, Brody? Not even one mention?
Elsewhere, we’re at least seeing Saul’s plan come fully into focus, as implausible as it is. Patinkin’s always greatest when bouncing off of Danes, and this week does a nice job of tying Saul, Brody, and Carrie together while propelling the endgame even farther forward. Saul has a similar control over Brody as he does Carrie; he can always get them to do something “one last time”, and we’ll see how Brody’s turns out. Here’s hoping the last fourth of the season ends the season on a good note.
GRADE: B+
OTHER THOUGHTS
-Not much Quinn this week. Hopefully he doesn’t get pushed aside in favor of Brody’s increased presence; in fact, the show should play off that dynamic a bit more.
-I like to think Dana’s friend just abandoned her there.
-I’m just grateful the show gave some scenes a chance to breathe here. So far this season, it’s either been mind-numbingly slow or way too quick, and I’m happy for the change of pace amidst the forward momentum; an example of this is Carrie and Brody’s first scene.
-Will Brody survive this? Knowing the Showtime executives, they’ll probably have him accidentally kill Javadi, go through a foot chase through the streets of Iran, then blow up an embassy or something before jumping into a river and seeing Chris at the bottom of the water.
-I said last week I wouldn’t get this up until much later, but it turns out that’s not the case! Still, next week looks to be crowded yet again, what with The Walking Dead’s midseason finale, Homeland, Masters of Sex, and Treme’s premiere.
Credit to Showtime and Homeland for all pictures. I own nothing.
Boardwalk Empire is a show about corruption and crime. When corruption and crime are present, there’s only one way out: death. And so it goes for Richard Harrow.
Still, let’s start with Nucky. He’s the kind of guy that will, at one point, manipulate Valentin Narcisse with feigned, over the top racism, identifying and latching onto that weakness and twisting the master manipulator to benefit himself. At another point, he’ll attempt to use that same type of manipulation on his family; the thing is, it won’t work. He keeps insisting that he’s doing the right thing, but for him, like for all businessmen, doing the right thing requires something in exchange. Of course, Eli can see through the bullshit; he knows he’s the one that truly cares about the family, and Nucky’s trying to manipulate that weakness. Nucky’s like the parent that buys his kid a bunch of presents to make up for a bunch of bad decisions and help him feel better about himself. He doesn’t like getting his hands dirty, and, unlike in previous seasons, he isn’t as successful at the end as he wants to be.
In fact, not really anyone ends up better off after this episode, save for maybe Al Capone. Chalky and Narcisse are the two criminal masterminds clashing over a pot of revenge, lust, and anger, and they both wind up worse off; you’d expect one of them to come out on top, but at the end of it all, they’re both beaten into the ground in their respective ways. Narcisse is forced to submit to the “white man”, the epitome of all his hatred and the very weakness Nucky exploited, and Chalky loses his daughter, forcing him to hide out and live his life in constant fear.
It’s not a very happy ending, and it’s made all the worse by Richard Harrow’s death–kudos to Jack Huston for portraying such a brilliant character over the course of the series. He’ll be missed. Harrow’s a guy that came back from the war and had nothing waiting for him; all he had was the skills he learned, and all he wanted was to somehow fit in with and function in society. He was actually able to come to terms with who he was without becoming someone like Nucky, and that just make his death hurt all the more. The worst thing is that he died having accidentally killed an innocent woman; it’s something I’m sure some of these other characters wouldn’t give a second thought to, but for Richard, he has to die with that guilt. On the surface, he may not seem much better than the rest, but he is. The problem is that it doesn’t matter in this world.
Nevertheless, that ending is in line with the themes of the show, and my, what a fantastic ending it is. In a sequence similar to the one in “Occurrence at Owl Creek Bridge”, Harrow dreams about the life he never had and the face he never had, but when reality kicks in, we realize he’s now waiting for the waves to roll in.
GRADE: A-
SEASON GRADE: B
OTHER THOUGHTS:
-Kudos to Jeffrey Wright and Michael Kenneth Williams for creating one of the most riveting television dynamics I’ve seen.
-Eli killing Knox is extremely satisfying; in fact, the similar “gun to the head” scenes draw parallels between Knox and Nucky; they’re both seemingly powerful people getting caught in this web of crime, and you realize how little they actually possess.
-Torrio got shot like, 50 times, and still lived.
-I know it wouldn’t really fall in line with his character at that point in his arc, but part of me really wanted to see him going on another shooting rampage…and then Van Alden pulling up in the getaway car with Richard’s family in the back, and then a tearful reunion while Van Alden glowered in the background, and then all of them driving off into the sunset while everyone else cried.
-I’m looking forward to the Van Alden-Eli dynamic, as well as more Margaret-Rothstein.
-Thanks for reading, guys. See you next year for Season 5.
Credit to HBO and Boardwalk Empire for all pictures. I own nothing.
The Hunger Games: Catching Fire may be trying to provide sociopolitical commentary; it may be trying to delineate the oppressive nature of an institution hungry for power; it may be trying to send the same message that the mockingjay sends to the people of Panem. It may be attempting to convey all of that, but at heart, it’s a sci fi film, and a ridiculously entertaining one at that.
The visuals are stunning here; whereas the first film sometimes tumbled into the CGI trap, Lawrence (the director Francis Lawrence, that is) and the rest of the crew have a knack for reveling in the sights and sounds without depending on it to propel the movie forward. It’s also a virtue that he abandons the shaky-cam style of Gary Ross, instead electing to linger on peoples’ faces and the action that occurs; in fact, I’d venture to say that this type of shooting helps throw me into the film more so than the shaky-cam.
Of course, those visuals are–surprising for this day and age in teenage film spectacles–secondary to the characters. Anchoring the cast is the gorgeous, talented Jennifer Lawrence (this girl is going places), conveying realistic, heart-wrenching emotions and giving life to sometimes shaky dialogue. She brilliantly portrays the internal struggle over her feelings about Peeta, and she keeps it from descending into the bowels of cliche. Some eye roll-worthy moments still exist, but the main, simple message still stands: this is a woman that may not want to lead a rebellion, but she’ll do anything to save her family.
It isn’t just her, though! The rest of the cast is stellar, starting with Donald Sutherland and Philip Seymour Hoffman, two well respected actors that I love watching, exchanging menacing one-liners without coming across as cliche. On the other side of things, the film does a great job reflecting the scope of dissent; it extends not only to the poor District 12, but throughout the land and even to the poster children of the Capitol. More depth is given to characters like Stanley Tucci’s bombastic Caesar Flickerman, Lenny Kravitz’s steady Cinna, and Elizabeth Banks’s glamorous Effie Trinket; we start to see the effects of the Quarter Quell decision written into their faces, and it’s great work all around. Woody Harrelson’s great as Haymitch, as always. As for the newcomers, they also convey those signs of rebellion very nicely; Beetee (Jeffrey Wright), Finnick (Sam Claflin), and Johanna (Jena Malone) are all integrated smoothly and quickly, and it’s a joy to watch them work.
One of the virtues of a mid-series film (although “Mockingjay” will be split into two parts, as required by the Hollywood Organization of I Love Money) is the ability to forgo backstory and lead into a final chapter. As merely a film of this classification, Catching Fire already succeeds; yet, it transcends simple Hollywood fodder and, in its stellar first half, allows us to see into the mind of Katniss Everdeen–the grade is brought down a few notches because the Games itself is a bit repetitive, although the new concept is very cool. Still, what sets this apart from, say, the Twilight series is the fact this it isn’t afraid to simultaneously convey true despair and true motivation. While the aforementioned series elects to hide behind unreality, this film is honest in its portrayal; it manages to entertain with unreality, but also continually closes its walls in on our characters so that the ending doesn’t feel very hopeful. It’s rushed, but it’s true to the book. Anyway, that’s the point; when your world is crashing down around your shoulders and all hope is seemingly lost, fortunes can change pretty damn fast. It’s all an odds game.
GRADE: B+
Credit to Lionsgate Entertainment and The Hunger Games: Catching Fire for all pictures. I own nothing.
GEORGE ZIMMERMAN COLD OPEN: This is a fairly tame cold open, with a flimsy premise and some average interactions; everything seems like it was quickly shoved together without much thought going into the jokes. It’s not a very good sketch, even with the visual of Zimmerman’s tracker and “I’m a sucker for bad boys…and I like when a man’s features are being sucked into the middle of his face.” GRADE: C+
MONOLOGUE: So the blatant Hunger Games stuff is actually not bad; Cecily Strong is absolutely brilliant here (“It’s New York, baby. It’s a jungle out there.”), and Hutcherson isn’t bad; his “It’s a book?” is legitimately funny. GRADE: B
GIRLFRIENDS TALK SHOW: I’m not a big fan of these sketches, although I have to say; this is the best one yet. Aidy Bryant kills it here, and the fact that half the time it looks like she’s about to lose it makes it even better. Great lines: “I love you. Oh, no what have I done?” and “I feel like I’m entering womanhood right now.” GRADE: B-
MR. PATTERSON’S OFFICE: Beck Bennett is really good at playing a baby. There’s not much to this sketch, but I laughed a lot just at the visual of it; I guess that’s the point. Anyway, it looks like Hutcherson’s just going to be standing around all night. GRADE: B
MATCHBOX 3: So here’s a sketch with a fantastic premise that went on a little too long. I’m a fan of the pre-recorded segments, and I do like this one; the thing is, the concept can’t really sustain a four-minute long sketch. Still, that’s my only complaint; I thought the dance moves were hilarious–stirring the espresso was a highlight–and there were some great lines in there: “I will be holding up a flag for your reference!” GRADE: B+
WEEKEND UPDATE: Aidy Bryant’s “Worst Lady On An Airplane” drops by, and it isn’t that great; there are some great lines in there–“I don’t know. Can you make Monsters University any less hilarious?” and “There’s nothing greater than the sound of unexplained human laughter.”–but this amounts to nothing. The update jokes are solid here, though. GRADE: B-
JOSIE-I’m not entirely sure what happened here, although it’s a simple-ish premise. Still, it’s a really fun sketch that allows the cast to just let loose and have a good time, even with the lack of jokes or a general cohesiveness. GRADE: B-
BEST BUY: I hated this before and I hate it now. There’s nothing funny about this sketch, save for Thompson’s red afro and Killam’s evil serial killer grin. You know what would be great? If this tied in somehow to that digital short from a few weeks back…because Best Buy, you know? GRADE: C-
DANCING: I was excited for this sketch going in, but it really didn’t amount to much; it felt way too awkward in a bad way; it felt really thrown together, which is surprising considering it’s a pre-recorded one. I like the concept of the dancer’s career; the execution’s shaky, though. Props for the Stefon reference! “It has the hottest nightclub in town….DJ’s.” GRADE: B-
HAIM: I’d never heard of them before, but I guess I like them, although I do think the vocals are a hell of a lot more interesting than the songs themselves. Still, this is a group that knows its style and is good at doing what it does. GRADE: B
ANIMAL HOSPITAL: Okay, so the animals all died. They really ran that joke straight into the ground, and this sketch is at least 3 minutes too long. Still, I admit it got a bunch of smiles out of me, and the energy of everyone here is fantastic. I feel bad about liking it, but it’s so weird, and I just do. GRADE: B
BUGS: This is strangely good in that “New Digital Short”-esque sense. It’s a childish premise, but that’s the point; those tuba sounds were fantastic, and yet again, it’s another sketch that takes a turn at the end. I really liked “I’m going to the supermarket!” GRADE: B
THANKSGIVING DINNER: I’m not sure what was going on this sketch, but I know I’m not that fond of it. It just feels like an obligatory Thanksgiving sketch tacked on the end that doesn’t say anything whatsoever. GRADE: C-
OVERALL: B-
FINAL THOUGHTS: Not bad. I wasn’t too excited about Hutcherson hosting, but he didn’t do a bad job. The thing is, he was pushed to the background while the main cast took center stage, and I’m fine with that. There were several digital shorts, which really shows the increased presence of the new guys in the cast; still, they were a bit shaky tonight. All in all, it was a solid show with few duds. In two weeks, Paul Rudd, who’s awesome.
Credit to NBC and Saturday Night Live for all pictures. I own nothing.
Here we go! It’s the final season of Nikita, and I’m excited to cover these final six episodes for you guys. This is a very under the radar, surprisingly fantastic show that, while I’ll be sad to see leave us, should go out with a bang. Check back in at 9/8 Central. All times for this live blog are central.
8:03-So this is a pretty creepy opening. It’s a nice reflection of what Nikita’s deepest fears are and what keeps her away from her friends.
8:06-I must say, this is an incredibly well-paced opening five minutes. It’s great seeing all the characters again, and one of the virtues of a short season is absolutely no filler at all. The show sets the context for all their situations and even provides a pretty cool action scene; we should be in for a ride.
8:15-Hey, it’s Birkoff and Ryan! I really like Birkoff’s “She had five allies and she left” line. As much as they love Nikita, it’s understandable that they’d harbor a bit of resentment over her leaving them. Nikita’s always been a solitary presence that grows to become attached to those she needs to survive, and she’d much rather sacrifice herself than allow those she cares about to perish.
8:21-Melinda Clarke’s doing some fantastic work with this character; at first, it seemed as if she would pale in comparison to Percy, but she’s really come into her own and transcended the cliche her character could easily fall into.
8:28-Nice to see the team working together again, as well as another one of Nikita’s “nerd”s.
8:31-“I’m on a rooftop, you idiot. What do you think I want?”
8:33-“Turn off the spinning wheels of decapitation.”
8:35-This Birkoff-Nikita conversation is very telling; it really conveys how attached these people are and how dependent they are on each other. It’s an inherently beneficial, yet dangerous, situation, but ultimately, it’s necessary. Nikita trapped in front of a fan is a pretty nice metaphor for the situation; she’s alone, but only her friends can help her avoid death.
8:37-Ugh, Aimee Teegarden deserves better than that show.
8:39-I enjoyed Birkoff’s line about Nikita deciding to shoot her way out of the building.
8:41-Pretty cool action scene, yet again. Although I feel like Alex was saddled with some meandering storylines earlier, I’m glad she’s becoming more integrated with Nikita’s storyline again.
8:44-There’s some great acting from Q and West here; the strained, yet loving, looks in their faces are expertly played by both, and I’m looking forward to see where this goes next.
8:51-Now Q does some great work with her looks of regret during this car scene. In fact, those thoughts running through her mind distracts her from the guy sneaking the gun out and leads to her getting shot. She barely gets out here; she may not be so lucky next time.
8:55-It’s Owen! No, Sam!
8:58-And now an explosion. How much better can this get?
GRADE: A-
FINAL THOUGHTS: What a fantastic premiere. If the rest of the series is this good, I’ll be ecstatic. This episode does a nice job of setting the scene and throwing us into the fray, moving the pieces at the speed of light while still staying true to the characters. We get some perfect action sequences and Alex’s storyline is surprisingly good; it nicely complements the awesomeness going on in the forefront. We’re definitely in for a ride.
Credit to The CW and Nikita for all pictures. I own nothing.
Continuing its trend of limiting the vision of various directors and producers, the MPAA is at it again, forcing several films–The Wolf of Wall Street and Charlie Countryman–to cut scenes of people doing things that everyone does at some point: having sex. Oh, the horror! Won’t you think about the kids?! I mean, sure, we can show a bunch of people getting their heads blown off, but show a nipple? Burn it all down!
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