--Sorry the reviews are out of order. I will get 8X11 up soon!
"Raskolnikov!" as Boris Badenov used to cry, and I second the sentiment. Brooklyn ‘Til I Die left me rather frustrated. A game where the “rich and powerful come to play with young and beautiful creatures of the under world” except not quite to so dramatic. My mom always said to be careful wielding a fake gun and a cartoon alias—wait, no that actually never came up in my life; ever. Note: The rich have way too much time and money on their hands.
I’ve said it before, but I always cringe when I see Written by Aaron Rashaan Thomas pop up on the screen. His episodes are usually pretty weak, and this one marginally exceeded expectations. Two characters, a man and a woman, laughing as they run from a “crime boss” and his cronies, killers show up, kill girl, take guy, try to get ransom money from rich, cold, unfeeling father, get caught, add some details in the interim—that’s the episode. Easy enough premise, but choppy execution, or rather I should say repeated execution. The show has become Kill, Solve, Repeat.
How many episodes have involved some kind of ridiculous scavenger hunt or game across the city? We’ve done this storyline…a lot! It’s not impressive or interesting any more; it’s just stale. No matter how they try to dress it up. Though I loved Gary Sinise’s expression when the “crime boss” actor, assuming Mac is part of the game, starts to go off about “his” establishment. Gary’s perplexed face sets me to giggling. And why does it always come down to some kind of specialty store—where thy keep a detailed list of the customers and what they bought. Is there really no other way to progress an investigation? A magic shop, a clown store, a joke shop, a murderer memorabilia shop, and the list goes on.
I will give acknowledgement where it is due. I enjoyed the idea of the son coming up with the ransom plan. That was an interesting way to incorporate the son’s understanding of his father, and the actual plan to use the security guards was equally effective. That was a nice touch, just not enough to save the episode, especially when we are stuck with stilted dialogue like “We find those kidnapers we find our killers.” No shi…um…crap, Sherlock (though you want to talk an awesome crime drama? Mmmm Benedict Cumberbatch!). A blatant lack of finesse in the writing; Mac says the motivation is greed, he’s talking about the kidnappers…or is he? The father is just as bad. It’s all about greed. Yadda yadda yadda. I get it, a moose and his squirrel would get it! And I know we are meant to feel for the son, which I do on some level, however, he gets all “Do you know why I played this expensive game, bought an expensive dress for a hot woman? To get away from my father.” Riiiiiiight, absolutely no hypocrisy in that.
Remember when CSI’s were just, you know, CSIs? Flack ran the take down of the drug lord in Snow Day, but now Mac is in charge of ransom drops? The occasional incidence of stepping outside the bounds is forgivable, but this kind of blatant reworking of the police force is unbelievable and frustrating. It was much more believable to have Danny freaking out over Lindsay going undercover in It’s Not What It Looks Like since, and I quote, "It’s not our job." Except now it is.
I really don’t understand Jo and Lindsay’s relationship. How many times last year did we hear about Jo and her children and how she wanted to keep them safe or how she would feel if her kids were in danger, etc.? Lindsay mentions Lucy, and Jo rolls her eyes. “As endearing as that sounds lets focus on one severed appendage at a time.” Shaddup your mouth! I would actually find this interesting if I thought it was going anywhere or was part of a bigger storyline, but I just think it is ultimately a result of poor writing. The Jo of the seventh season has left the building.
I’m always hesitant with Mac’s love life—here today, cast for another show tomorrow. So for what it’s worth it was nice to see Mac with a friend. Though they end the episode gazing at each other…ooh, some veiled reference to the happenings in Mac’s past. Luckily we’ve never had a storyline like that before…
Monday, February 20, 2012
Tuesday, January 10, 2012
B.Y.O.B. Bring Your Own Broom 8X10 Review (***out of 5)
What to say about this week’s episode of CSI:NY? Hmm…truthfully I don’t have a lot. Clean Sweep felt exactly that, like a bit of a chore, a bit of a bore and a bit of tidying up. This wasn’t a flashy episode, nor was it particularly inspiring or emotional (not really, despite the attempts to force it on the audience). And neither was it glaringly awful. It was just…meh…
The case was fine, the characters were fine—it was all fine. Like a type of movie where one would say, “Don’t waste money seeing it in a theater but spend a $1 and rent it from Red Box.” I just wish the show wasn’t so blindingly obvious sometimes. Argue what you want about the show but the fact that it adheres to a formula cannot be denied. The reason I say this is because I can predict nearly ever aspect of every case/episode. This isn’t because I have some Sherlockian ability to capture details; it is simply because the show never strays far from its own self erected narrative fences. For example, when Lisa Richards (Laura Breckenridge) reveals she is pregnant this tells the audience that Ryan Richards (Alex Nesic) is not dead. Because the show always places the out of the ordinary right under the nose this becomes a “tell.” Unless I’m playing for money I’d rather not know the opponents give away, it makes for a very laborious viewing process.
I physically cringed when Adam zoomed in on the photo and the image magically became clearer rather than dealing with that silly pixelation issue. Sorry, that’s just a pet peeve of mine. I hate it when any show or movie does that. Moving on.
I was interested in Jennifer Walsh (Vinessa Shaw) and her purpose; not as Mac’s love interested but what she was inquiring about: officer misconduct. I’m curious if that is going to be a potential storyline or if it was just a convenient way to work her character into Mac’s life. I did, however, laugh out loud at Flack’s prank on her. That was a nice character moment for Don and I appreciate the show giving it to us (though poor Mac, between Danny and Don he never gets to meet someone without their interference). I also thought it was very telling when Walsh made the comment about people believing Mac to not be so “strict” with the rules. Seems I’m not the only one who’s noticed his willingness to bend his code of ethics when the story needs it. Gary Sinise played the scene well and he and Shaw had some nice chemistry. It was fun to see Lindsay giving Mac a hard time—another nod to some character continuity.
Bits and pieces were interesting, but again nothing really grabbed my attention or piqued my interested. The pacing, directing, and dialogue were all adequate. The episode flowed nicely. I could have done without the Jo/Mac recap at the end but then Mac’s “Flack is dead line” was so hilarious I’m willing to forgive. I do disagree with Jo about doing anything for love, I felt the episode had more to do with the criminally under prosecuted issue of stalking in the USA, but I understand her sentiment. And good for Gary Sinise using his show as a platform for Veterans' issues. It can feel awkward in an episode but if he's got the power and he's willing to use it for good then I say go for it. Otherwise the episode just doesn’t garner much scrutiny, so I’ll leave it at that. (Am I drunk? I don’t think I’ve ever had a review this short before…wait a second, I don’t drink…what’s wrong with me?!)
What do you think? Wedding bells for Mac on the horizon?
Up Next: A couple’s “divorce-stand-off” even The Ref would have found challenging!
The case was fine, the characters were fine—it was all fine. Like a type of movie where one would say, “Don’t waste money seeing it in a theater but spend a $1 and rent it from Red Box.” I just wish the show wasn’t so blindingly obvious sometimes. Argue what you want about the show but the fact that it adheres to a formula cannot be denied. The reason I say this is because I can predict nearly ever aspect of every case/episode. This isn’t because I have some Sherlockian ability to capture details; it is simply because the show never strays far from its own self erected narrative fences. For example, when Lisa Richards (Laura Breckenridge) reveals she is pregnant this tells the audience that Ryan Richards (Alex Nesic) is not dead. Because the show always places the out of the ordinary right under the nose this becomes a “tell.” Unless I’m playing for money I’d rather not know the opponents give away, it makes for a very laborious viewing process.
I physically cringed when Adam zoomed in on the photo and the image magically became clearer rather than dealing with that silly pixelation issue. Sorry, that’s just a pet peeve of mine. I hate it when any show or movie does that. Moving on.
I was interested in Jennifer Walsh (Vinessa Shaw) and her purpose; not as Mac’s love interested but what she was inquiring about: officer misconduct. I’m curious if that is going to be a potential storyline or if it was just a convenient way to work her character into Mac’s life. I did, however, laugh out loud at Flack’s prank on her. That was a nice character moment for Don and I appreciate the show giving it to us (though poor Mac, between Danny and Don he never gets to meet someone without their interference). I also thought it was very telling when Walsh made the comment about people believing Mac to not be so “strict” with the rules. Seems I’m not the only one who’s noticed his willingness to bend his code of ethics when the story needs it. Gary Sinise played the scene well and he and Shaw had some nice chemistry. It was fun to see Lindsay giving Mac a hard time—another nod to some character continuity.
Bits and pieces were interesting, but again nothing really grabbed my attention or piqued my interested. The pacing, directing, and dialogue were all adequate. The episode flowed nicely. I could have done without the Jo/Mac recap at the end but then Mac’s “Flack is dead line” was so hilarious I’m willing to forgive. I do disagree with Jo about doing anything for love, I felt the episode had more to do with the criminally under prosecuted issue of stalking in the USA, but I understand her sentiment. And good for Gary Sinise using his show as a platform for Veterans' issues. It can feel awkward in an episode but if he's got the power and he's willing to use it for good then I say go for it. Otherwise the episode just doesn’t garner much scrutiny, so I’ll leave it at that. (Am I drunk? I don’t think I’ve ever had a review this short before…wait a second, I don’t drink…what’s wrong with me?!)
What do you think? Wedding bells for Mac on the horizon?
Up Next: A couple’s “divorce-stand-off” even The Ref would have found challenging!
Monday, December 5, 2011
Get Back JoJo! 8X09 Review (1/2*out of 5)
It’s hard for me to not be insulted by this week’s episode Means to an End. The list of everything wrong with this episode is almost overwhelming, but what bothers me the most is the sacrifice of story integrity for the cheap thrill.
It’s hard to know where to start with an episode like this, so I’ll just go with the main factor: Jo. I like Jo—correction, I like Jo of the seventh season (hereafter MommyJo). MommyJo was laid back, respectful, considerate, fun, loving, and a family woman. MommyJo was quirky, unorganized but still competent. I understood—wasn’t a fan of, but understood—the show’s need to spend more time on her character last season. She was new and unknown, and I felt they did an adequate job of distinguishing her from Stella (a few lapses) and creating her own niche in the CSI:NY world. Season eight Jo (hereafter SuperJo) couldn’t be a bigger waste of screen time. She spent the last three episodes running around with a self-righteous stiff arm, while attempting to play the victim as well. Note as she tells Frank Waters that he gave her no choice, he made her confess his mistake. The phrase “gave me no choice” is as clichéd as it is untrue. Everything is a choice. I’m not arguing whether she made the right or wrong decision, but SuperJo is so quick to find blame with others. After Curtis is released on bail Mac finds her going through Lindsay’s evidence. Mac tells her she can’t do that it’s not her case (which is true for about 30 seconds, but I’ll get to that in a minute) and Jo replies she “can’t let this case fall apart.” So Lindsay following the evidence is letting the case fall apart? And I like how the writers, Zachary Reiter and Christopher Silber, conveniently ignored that rather blatant implication, and I guess just sat there with their fingers crossed hoping the audience would follow suit? (I don’t get paid nearly what the actors get paid…wait, I don’t get paid anything! So, no, I won’t ignore it! I was hugely uncomfortable with the fact that they brought in Lindsay’s husband to help Jo. A complete insult to Lindsay) MommyJo would have found a way to work with Lindsay. But if they had done that then SuperJo wouldn’t have found a way to be in such a contrived ending situation. My best guess is that the writers came up with that one line “people forget about the bullet in the chamber” and gave hearty high fives for their cleverness then manufactured a situation where they could use it. Cue SuperJo. It’s a bird. It’s a plane. It’s a character that has morphed into something so unrecognizable as to inspire images of a dark nothing consuming everything around it in Miyazaki proportions! Insult #1
Then we have the issue of Ali Rand’s murder at the hands of Senator Matthews. As soon as the validity of Rand’s accusations came under scrutiny it was clear what had happened. She had been hired to accuse Curtis of rape. The obvious answer would be that the Senator hired her; which turned out to be the case (though I was desperately hoping for something more surprising). When Rand gets spooked she tries to bail. Matthews freaks and kills her. Let’s back track a moment shall we? As Matthews, his daughter and Jo stood outside the courthouse following Curtis' bail hearing Matthews tells Jo that it’s because of “all the other daughters that had to suffer” that he is so upset. Yet, this guy is willing to bash a woman’s head in with a rock and his umbrella so readily. This woman that he’s been having a rather involved sexual relationship with (remember she’s been traveling around the world to be with him) and a woman who is someone’s daughter? No, you don’t paint someone as a cat lover and then show them beating a cat with a baseball bat. She wasn’t even threatening to expose him or blackmail him. She got scared so he brutally ended her life. And he killed her right by the river so please explain to me why he didn’t throw the rock he used to crush her skull into it? Insults #2 & #3.
Frank Waters (Michael Weston) appears for reasons beyond my understanding—except perhaps to continue the indignant looks from Jo. If he was supposed to be the “bait” we go for, it was an utter failure. Anyone paying attentions would know he was a distraction. There is no way he would be so obsessed with getting John Curtis that he would be stupid enough to dose Rand with the wrong amount of GHB, especially considering his FBI background. Hawkes even states as much. So what I (& Hawkes—thank you Doc!) knew in 30 seconds took the CSI team nearly 10 minutes of the episode to conclude. It’s like when a magician tries to perform magic but hasn’t quite pinned down the technique of slight of hand. But what I find most confusing is that Waters was so distraught by his actions he is willing to step in front of a bus, but not willing to give Jo the evidence he brought to the coffee shop. He storms out angrily and takes his evidence with him. Yeah, that makes sense. Insults #4 & #5.
And what is Mac’s role in all this? To let SuperJo do whatever she feels is necessary (oh, and to get the confession). He tells SuperJo she can’t work the case because it’s too personal, but when she explains to him it’s precisely because it is so personal that she should work the case he happily folds. (Umm…excuse me, but season 3 and season 5 Hawkes called, and he’d like to take the royal chewing out he got from Mac and tell him to shove it up his…sorry the message cuts off there.) Then Mac waltzes into the Senator’s hotel room and says tell me what I want to know or I’m going to have the press in here combing through your life! The Senator—now shaking in his wingtip loafers—them easily confesses. What the hell does he think is going to happen with the press after he confesses to murder?! Oh, well, he confessed so I guess we should just leave him alone. The press is always so reasonable, they’re really known for that. Insults #6 & #7.
And the list continues; Lindsay’s emotional involvement getting dropped like a hot potato caused all of her scenes to fall flat and unaffecting. John Curtis showing up at the apartment was utterly unbelievable. Curtis was about to walk free, but instead he tries to kill Jo? They have said over and over again that he is meticulous and careful but we’re supposed to believe he left so much evidence at that woman’s apartment? If he could get into her apartment so easily why wouldn’t he just take the stuff? Seriously I have many more examples of the failures of the resolution of this particular storyline. Last week’s episode was so strong, which may be why the contrast is so glaring to me.
As a fan who really thought Jo was a great addition to the cast, it is utterly disappointing to see her used in such a melodramatic, nonsensical and overpowering way—like a song one really likes until the radio plays it 15 million times. I try to find something good about each episode so I’m going to pull a Liz Lemon here: the lighting was really good. This episode truly was a means to an end for this fan, just probably not the end the show had in mind…I want my MommyJo.
Jo's survival skills got me thinking, if you were stranded on an island with a murderer which character from the show would you take with you for protection?
Over a month before the next new episode. A perfect time to pull out those DVDs and watch episodes passed!
It’s hard to know where to start with an episode like this, so I’ll just go with the main factor: Jo. I like Jo—correction, I like Jo of the seventh season (hereafter MommyJo). MommyJo was laid back, respectful, considerate, fun, loving, and a family woman. MommyJo was quirky, unorganized but still competent. I understood—wasn’t a fan of, but understood—the show’s need to spend more time on her character last season. She was new and unknown, and I felt they did an adequate job of distinguishing her from Stella (a few lapses) and creating her own niche in the CSI:NY world. Season eight Jo (hereafter SuperJo) couldn’t be a bigger waste of screen time. She spent the last three episodes running around with a self-righteous stiff arm, while attempting to play the victim as well. Note as she tells Frank Waters that he gave her no choice, he made her confess his mistake. The phrase “gave me no choice” is as clichéd as it is untrue. Everything is a choice. I’m not arguing whether she made the right or wrong decision, but SuperJo is so quick to find blame with others. After Curtis is released on bail Mac finds her going through Lindsay’s evidence. Mac tells her she can’t do that it’s not her case (which is true for about 30 seconds, but I’ll get to that in a minute) and Jo replies she “can’t let this case fall apart.” So Lindsay following the evidence is letting the case fall apart? And I like how the writers, Zachary Reiter and Christopher Silber, conveniently ignored that rather blatant implication, and I guess just sat there with their fingers crossed hoping the audience would follow suit? (I don’t get paid nearly what the actors get paid…wait, I don’t get paid anything! So, no, I won’t ignore it! I was hugely uncomfortable with the fact that they brought in Lindsay’s husband to help Jo. A complete insult to Lindsay) MommyJo would have found a way to work with Lindsay. But if they had done that then SuperJo wouldn’t have found a way to be in such a contrived ending situation. My best guess is that the writers came up with that one line “people forget about the bullet in the chamber” and gave hearty high fives for their cleverness then manufactured a situation where they could use it. Cue SuperJo. It’s a bird. It’s a plane. It’s a character that has morphed into something so unrecognizable as to inspire images of a dark nothing consuming everything around it in Miyazaki proportions! Insult #1
Then we have the issue of Ali Rand’s murder at the hands of Senator Matthews. As soon as the validity of Rand’s accusations came under scrutiny it was clear what had happened. She had been hired to accuse Curtis of rape. The obvious answer would be that the Senator hired her; which turned out to be the case (though I was desperately hoping for something more surprising). When Rand gets spooked she tries to bail. Matthews freaks and kills her. Let’s back track a moment shall we? As Matthews, his daughter and Jo stood outside the courthouse following Curtis' bail hearing Matthews tells Jo that it’s because of “all the other daughters that had to suffer” that he is so upset. Yet, this guy is willing to bash a woman’s head in with a rock and his umbrella so readily. This woman that he’s been having a rather involved sexual relationship with (remember she’s been traveling around the world to be with him) and a woman who is someone’s daughter? No, you don’t paint someone as a cat lover and then show them beating a cat with a baseball bat. She wasn’t even threatening to expose him or blackmail him. She got scared so he brutally ended her life. And he killed her right by the river so please explain to me why he didn’t throw the rock he used to crush her skull into it? Insults #2 & #3.
Frank Waters (Michael Weston) appears for reasons beyond my understanding—except perhaps to continue the indignant looks from Jo. If he was supposed to be the “bait” we go for, it was an utter failure. Anyone paying attentions would know he was a distraction. There is no way he would be so obsessed with getting John Curtis that he would be stupid enough to dose Rand with the wrong amount of GHB, especially considering his FBI background. Hawkes even states as much. So what I (& Hawkes—thank you Doc!) knew in 30 seconds took the CSI team nearly 10 minutes of the episode to conclude. It’s like when a magician tries to perform magic but hasn’t quite pinned down the technique of slight of hand. But what I find most confusing is that Waters was so distraught by his actions he is willing to step in front of a bus, but not willing to give Jo the evidence he brought to the coffee shop. He storms out angrily and takes his evidence with him. Yeah, that makes sense. Insults #4 & #5.
And what is Mac’s role in all this? To let SuperJo do whatever she feels is necessary (oh, and to get the confession). He tells SuperJo she can’t work the case because it’s too personal, but when she explains to him it’s precisely because it is so personal that she should work the case he happily folds. (Umm…excuse me, but season 3 and season 5 Hawkes called, and he’d like to take the royal chewing out he got from Mac and tell him to shove it up his…sorry the message cuts off there.) Then Mac waltzes into the Senator’s hotel room and says tell me what I want to know or I’m going to have the press in here combing through your life! The Senator—now shaking in his wingtip loafers—them easily confesses. What the hell does he think is going to happen with the press after he confesses to murder?! Oh, well, he confessed so I guess we should just leave him alone. The press is always so reasonable, they’re really known for that. Insults #6 & #7.
And the list continues; Lindsay’s emotional involvement getting dropped like a hot potato caused all of her scenes to fall flat and unaffecting. John Curtis showing up at the apartment was utterly unbelievable. Curtis was about to walk free, but instead he tries to kill Jo? They have said over and over again that he is meticulous and careful but we’re supposed to believe he left so much evidence at that woman’s apartment? If he could get into her apartment so easily why wouldn’t he just take the stuff? Seriously I have many more examples of the failures of the resolution of this particular storyline. Last week’s episode was so strong, which may be why the contrast is so glaring to me.
As a fan who really thought Jo was a great addition to the cast, it is utterly disappointing to see her used in such a melodramatic, nonsensical and overpowering way—like a song one really likes until the radio plays it 15 million times. I try to find something good about each episode so I’m going to pull a Liz Lemon here: the lighting was really good. This episode truly was a means to an end for this fan, just probably not the end the show had in mind…I want my MommyJo.
Jo's survival skills got me thinking, if you were stranded on an island with a murderer which character from the show would you take with you for protection?
Over a month before the next new episode. A perfect time to pull out those DVDs and watch episodes passed!
Monday, November 21, 2011
Bikers, Russians, and Senators, Oh My! 8X08 Review (*****out of 5)
There’s real power in this week’s episode of CSI:NY as story met craftsmanship. Crossroads encapsulated true marriage between writer, director, and actor, and made this fan girl drool all over herself!
Writer John Dove is an established alum on the show and has a clear understanding of the characters, crime drama story telling, and the show itself. He weaves together a story with twists and turns that seem plausible and interesting. He broke from the typical format, and gave us an opening that was incredibly entertaining—showing us a different point of view as the supposed killer dashes out of his apartment. Even the setting of the murder was unique and outside the norm, introducing us to how a judge (complete with robes and cigar) and jury inspect a crime scene during a trial. The implication that the Russian mob is somehow involved is a pretty solid way to redirect the story and investigation, though further digging reveals a deep, dark, disturbing secret. Our murdered judge isn’t quite the “upholder of justice” he was believed to be. The case held my attention and maintained a bit of mystery until the very end. Of course the accursed “easy confession” made its dastardly appearance *grumble* Mac’s gaze is just too powerful *grumble* but I am always more willing to forgive the horrendous insult to viewers when there has been a bit of effort put into the majority of the story. I appreciated that there were consequences doled out, ultimately ending in the suicide of one perpetrator—a surprise ending since the show doesn’t normally push the envelope in that aspect, preferring to have the team magically talk every one down.
And I’m assuming Dove is the one responsible for this week’s portion of the John Curtis story arc, but whoever it is utilized the characters and the story itself in a much better, more powerful, and stronger way. Jo’s interaction with Curtis and Serena Matthews (Jenn Proske) was more believable (and effective) than the dribble that was dished out last week. She isn’t technically involved in the case, but she is clearly involved in the case. I don’t need trite dialogue telling me that. Dove instead allows the actors to communicate that—allowing Sela Ward the chance to show off her acting skills, and us a chance to connect with her. Likewise, Anna Belknap was allowed to demonstrate Lindsay’s emotional upheaval and uncertainty as she faced what has to be a nightmare for her personally (thank you John Dove for that sweet moment of support between husband and wife). It is impossible to not consider her own experience with wanting to see a man who haunts dreams put behind bars. Phenomenal acting and spot on writing.
However, to me, the shining factor of this episode belongs to director Jeff T. Thomas. His experience with the show has been a grab bag of decent, boring, and interesting episodes, but he really took this story to the next level. He integrated his role in the story telling process without detracting but instead adding. The clever rolling of the cigar from one scene to the next was creative without being distracting. He used the directing of the episode to be part of the story rather just a vehicle. Consider for a moment the scene where we are first introduced to Senator Matthews (Jeffrey Nordling) and his daughter. Mac enters and Lindsay makes the introductions and a conversation about the case ensues. The camera moves around each character from outside Mac’s office—all except Lindsay, her shots are clear and straight on without the interference of the glass or blinds. Thomas brilliantly communicates Lindsay’s role in this case showing she is the one responsible—the one “seeing clearly.” While everyone else is running on emotion, their vision being blurred, she is the one who has to make the hard decisions. A fact that is later established when Lindsay’s testimony cast doubt on the victim and her accusations. That is subtle and beautiful storytelling at its finest (and the equivalent of a cinematic turn on! *fanning myself desperately*).
There were a lot of parts to this episode and it had the potential of being clunky and convoluted yet Thomas managed to weave together each part with a delicate and skillful touch. I felt like there was a respect and partnership between Dove and Thomas, and that bled into the actors and, as a result, to me the viewer. Were there flaws? Yes (I still think there are way too many people apologizing to Jo these days) but I can’t argue there wasn’t a great deal of talent put into this episode. In a three part story arc this was the Empire Strikes Back and I thoroughly enjoyed it (pause to picture Danny as Han Solo…).
Let the speculation begin! Now that we are left to believe there's something fishy going on with the victim Ali Rand where should the team be looking? The Senator? The Senator's daughter? Jo's old college who screwed up in the first place? or Ali Rand herself?
Next up: The exciting conclusion of Jo Vs the Volcano! (The volcano of course being John Curtis' grade school nickname...)
Writer John Dove is an established alum on the show and has a clear understanding of the characters, crime drama story telling, and the show itself. He weaves together a story with twists and turns that seem plausible and interesting. He broke from the typical format, and gave us an opening that was incredibly entertaining—showing us a different point of view as the supposed killer dashes out of his apartment. Even the setting of the murder was unique and outside the norm, introducing us to how a judge (complete with robes and cigar) and jury inspect a crime scene during a trial. The implication that the Russian mob is somehow involved is a pretty solid way to redirect the story and investigation, though further digging reveals a deep, dark, disturbing secret. Our murdered judge isn’t quite the “upholder of justice” he was believed to be. The case held my attention and maintained a bit of mystery until the very end. Of course the accursed “easy confession” made its dastardly appearance *grumble* Mac’s gaze is just too powerful *grumble* but I am always more willing to forgive the horrendous insult to viewers when there has been a bit of effort put into the majority of the story. I appreciated that there were consequences doled out, ultimately ending in the suicide of one perpetrator—a surprise ending since the show doesn’t normally push the envelope in that aspect, preferring to have the team magically talk every one down.
And I’m assuming Dove is the one responsible for this week’s portion of the John Curtis story arc, but whoever it is utilized the characters and the story itself in a much better, more powerful, and stronger way. Jo’s interaction with Curtis and Serena Matthews (Jenn Proske) was more believable (and effective) than the dribble that was dished out last week. She isn’t technically involved in the case, but she is clearly involved in the case. I don’t need trite dialogue telling me that. Dove instead allows the actors to communicate that—allowing Sela Ward the chance to show off her acting skills, and us a chance to connect with her. Likewise, Anna Belknap was allowed to demonstrate Lindsay’s emotional upheaval and uncertainty as she faced what has to be a nightmare for her personally (thank you John Dove for that sweet moment of support between husband and wife). It is impossible to not consider her own experience with wanting to see a man who haunts dreams put behind bars. Phenomenal acting and spot on writing.
However, to me, the shining factor of this episode belongs to director Jeff T. Thomas. His experience with the show has been a grab bag of decent, boring, and interesting episodes, but he really took this story to the next level. He integrated his role in the story telling process without detracting but instead adding. The clever rolling of the cigar from one scene to the next was creative without being distracting. He used the directing of the episode to be part of the story rather just a vehicle. Consider for a moment the scene where we are first introduced to Senator Matthews (Jeffrey Nordling) and his daughter. Mac enters and Lindsay makes the introductions and a conversation about the case ensues. The camera moves around each character from outside Mac’s office—all except Lindsay, her shots are clear and straight on without the interference of the glass or blinds. Thomas brilliantly communicates Lindsay’s role in this case showing she is the one responsible—the one “seeing clearly.” While everyone else is running on emotion, their vision being blurred, she is the one who has to make the hard decisions. A fact that is later established when Lindsay’s testimony cast doubt on the victim and her accusations. That is subtle and beautiful storytelling at its finest (and the equivalent of a cinematic turn on! *fanning myself desperately*).
There were a lot of parts to this episode and it had the potential of being clunky and convoluted yet Thomas managed to weave together each part with a delicate and skillful touch. I felt like there was a respect and partnership between Dove and Thomas, and that bled into the actors and, as a result, to me the viewer. Were there flaws? Yes (I still think there are way too many people apologizing to Jo these days) but I can’t argue there wasn’t a great deal of talent put into this episode. In a three part story arc this was the Empire Strikes Back and I thoroughly enjoyed it (pause to picture Danny as Han Solo…).
Let the speculation begin! Now that we are left to believe there's something fishy going on with the victim Ali Rand where should the team be looking? The Senator? The Senator's daughter? Jo's old college who screwed up in the first place? or Ali Rand herself?
Next up: The exciting conclusion of Jo Vs the Volcano! (The volcano of course being John Curtis' grade school nickname...)
Tuesday, November 15, 2011
It's Just a Little Crush 8X07 Review (***out of 5)
It’s about murder, manipulation, and mayhem as nothing is sacred in this week’s episode of CSI:NY, aptly named, Crushed. Logic, reason and true characterization fold under the weight of “drama” and convenience, leaving me to wonder if the writers are actually a group of unmedicated A.D.D. preschoolers pulling out every toy they see before they are even done playing with the toy they have.
The most obvious reference to the title is the opening scene. Writer Kim Clements has created a situation where a party of youngsters goes viral—in a sequence very reminiscent of last season’s Do or Die cell phones are whipped out and the messages sent (we get it, this generation uses social media and cell phones in ways inconceivable to those who were impressed by DOS). As over “700” show up things go Animal House pretty quickly and soon a balcony couples under the weight and crashes to the ground, supposedly resulting in the death of a young girl, Libby Drake (Valentina De Angelis).
Of course all is not as it seems, and it is revealed that Libby does more than throw and insane party. The second reference to the episode’s name comes as it is revealed that young virgin girls are being manipulated into changing their clothes to meet the “popular girl’s” standard and then to take off said clothes to meet the “popular boy’s” standard. It’s She’s All That without the happy ending. Libby Drake is the driving force behind this disgusting game. This is truly one of the most interesting cases I’ve seen on the show in a while, but Clements mediocre writing and apparent lukewarm understanding of crime drama keeps it from reaching its full potential.
I despise obvious character placement and as soon as Danny spoke to the young girl at the hospital—where she revealed for no particular reason that she was going to run in a marathon, therefore giving the audience a big heads up—I knew she was guilty. It made the entire “bait and switch” scene involving Paul Blart Mall Cop—while entertaining since I thoroughly enjoy and well used Danny/Don scene—superfluous. I would assume one would need more finesse and subtly when writing for a big name like CSI, but that doesn’t seem to be the case. The cascade of conveniences continues, as let’s face it, they had practically zero evidence pointing to Rachel Webber (Shanley Caswell) as the killer. It seemed to boil down to her DNA being on the necklace and some sort of mustard on a window. Where was this girl’s lawyer? Are you seriously telling me that out of a group of 700 people this was the only girl who is a hardcore athlete? And she just willingly gave up a DNA sample? Then Mac’s “Don’t” as she tries to talk her way out of it, was completely unbelievable. We are meant to understand this is a generation that can create and exploit social media, taking over the world one text message at a time, but this girl doesn’t know to keep her mouth shut? That is not only lazy writing, but it is incompetent as well. Clements can’t stay focused on one story long enough to see it through to the end. Again, we have the magical confession at the end.
However, when the easily begotten confession doesn’t work for their story suddenly a guy is calling for a lawyer. The secondary story of the episode was equally as flawed. The final reference to crushing has to come from Jo. The reappearance of the case that drove her from the FBI was a real opportunity to add depth to Jo’s character. However, they went the typical, stale, and rehashed route. Jo is pissed so she gets to act like a total bit..uh…jerk. I don’t understand why they keep writing Jo like she is someone else. She has been well established as a laid back, easy going gal who is patient, understanding, and even compassionate. Yet she tears into a well-meaning Lindsay as if she was scraping poop off the bottom of her shoe. I’ve seen her be kinder to a murderer than she was to her co-worker. That was totally and completely out of character and utterly unnecessary. If the writers wished to show how truly effected Jo is by the case then why not show her at the end of the day crawling into bed with a sleeping Ellie, or putting her energy in helping and encouraging Lindsay? Why stick to a stereotype of a “woman scorned” and turn her into a walking cat fight? Been there, hated it when they done that (with both Stella and Lindsay—though it should be noted that Lindsay is the only one to ever go back and apologize). Now, not only do I feel like I’ve lost what little insight I had into her character, but I’ve lost a bit of my desire to know more about her as well.
They have a victim who is willing and able to identify her attacker, Mac even brings up the hotel staff, and bar tender to collaborate her statement, yet we have Jo calling foul when just moments ago based on a mustard smear they are getting an easy breezy confession from a killer and calling it good? And now the D.C. rapist John Curtis (Jason Wiles) is demanding a lawyer. It is so frustrating when they first make the rules and then break them.
The shining portions of this episode were Duane Clarks’ directing, as he maintains a decent pace and easy flow, Lindsay and Don Flack’s handling of rape victim Ali Rand (well portrayed by Beau Garrett), as well as Lindsay’s attempt to be the better person and apologize to someone who clearly doesn’t deserve it or, apparently from her lack of any true response, want it. Also included in the highlights of the episode is the potential of the case and again, at least they are attempting to tell emotional stories which is much better than last year, as well as the continued use of each cast member. I am glad they are finally giving Lindsay something decent to work with, but roll my eyes at the fact that they aren’t creative enough to do a better job of it.
This was an uneven episode that did as much as entertain as it did infuriate. That is an odd combination, and Clements really needs to iron out some of the kinks in her storytelling or go back to school and learn what it means to be responsible for an entire story.
Agree? Disagree? with my assessment of Jo and Lindsay? Could you think of a better way to demonstrate Jo's emotional upheaval or did the show hit the right note for you?
Next Week: Watch out Judge Judy because it's Judgement Day...yeah...sorry I went there...
The most obvious reference to the title is the opening scene. Writer Kim Clements has created a situation where a party of youngsters goes viral—in a sequence very reminiscent of last season’s Do or Die cell phones are whipped out and the messages sent (we get it, this generation uses social media and cell phones in ways inconceivable to those who were impressed by DOS). As over “700” show up things go Animal House pretty quickly and soon a balcony couples under the weight and crashes to the ground, supposedly resulting in the death of a young girl, Libby Drake (Valentina De Angelis).
Of course all is not as it seems, and it is revealed that Libby does more than throw and insane party. The second reference to the episode’s name comes as it is revealed that young virgin girls are being manipulated into changing their clothes to meet the “popular girl’s” standard and then to take off said clothes to meet the “popular boy’s” standard. It’s She’s All That without the happy ending. Libby Drake is the driving force behind this disgusting game. This is truly one of the most interesting cases I’ve seen on the show in a while, but Clements mediocre writing and apparent lukewarm understanding of crime drama keeps it from reaching its full potential.
I despise obvious character placement and as soon as Danny spoke to the young girl at the hospital—where she revealed for no particular reason that she was going to run in a marathon, therefore giving the audience a big heads up—I knew she was guilty. It made the entire “bait and switch” scene involving Paul Blart Mall Cop—while entertaining since I thoroughly enjoy and well used Danny/Don scene—superfluous. I would assume one would need more finesse and subtly when writing for a big name like CSI, but that doesn’t seem to be the case. The cascade of conveniences continues, as let’s face it, they had practically zero evidence pointing to Rachel Webber (Shanley Caswell) as the killer. It seemed to boil down to her DNA being on the necklace and some sort of mustard on a window. Where was this girl’s lawyer? Are you seriously telling me that out of a group of 700 people this was the only girl who is a hardcore athlete? And she just willingly gave up a DNA sample? Then Mac’s “Don’t” as she tries to talk her way out of it, was completely unbelievable. We are meant to understand this is a generation that can create and exploit social media, taking over the world one text message at a time, but this girl doesn’t know to keep her mouth shut? That is not only lazy writing, but it is incompetent as well. Clements can’t stay focused on one story long enough to see it through to the end. Again, we have the magical confession at the end.
However, when the easily begotten confession doesn’t work for their story suddenly a guy is calling for a lawyer. The secondary story of the episode was equally as flawed. The final reference to crushing has to come from Jo. The reappearance of the case that drove her from the FBI was a real opportunity to add depth to Jo’s character. However, they went the typical, stale, and rehashed route. Jo is pissed so she gets to act like a total bit..uh…jerk. I don’t understand why they keep writing Jo like she is someone else. She has been well established as a laid back, easy going gal who is patient, understanding, and even compassionate. Yet she tears into a well-meaning Lindsay as if she was scraping poop off the bottom of her shoe. I’ve seen her be kinder to a murderer than she was to her co-worker. That was totally and completely out of character and utterly unnecessary. If the writers wished to show how truly effected Jo is by the case then why not show her at the end of the day crawling into bed with a sleeping Ellie, or putting her energy in helping and encouraging Lindsay? Why stick to a stereotype of a “woman scorned” and turn her into a walking cat fight? Been there, hated it when they done that (with both Stella and Lindsay—though it should be noted that Lindsay is the only one to ever go back and apologize). Now, not only do I feel like I’ve lost what little insight I had into her character, but I’ve lost a bit of my desire to know more about her as well.
They have a victim who is willing and able to identify her attacker, Mac even brings up the hotel staff, and bar tender to collaborate her statement, yet we have Jo calling foul when just moments ago based on a mustard smear they are getting an easy breezy confession from a killer and calling it good? And now the D.C. rapist John Curtis (Jason Wiles) is demanding a lawyer. It is so frustrating when they first make the rules and then break them.
The shining portions of this episode were Duane Clarks’ directing, as he maintains a decent pace and easy flow, Lindsay and Don Flack’s handling of rape victim Ali Rand (well portrayed by Beau Garrett), as well as Lindsay’s attempt to be the better person and apologize to someone who clearly doesn’t deserve it or, apparently from her lack of any true response, want it. Also included in the highlights of the episode is the potential of the case and again, at least they are attempting to tell emotional stories which is much better than last year, as well as the continued use of each cast member. I am glad they are finally giving Lindsay something decent to work with, but roll my eyes at the fact that they aren’t creative enough to do a better job of it.
This was an uneven episode that did as much as entertain as it did infuriate. That is an odd combination, and Clements really needs to iron out some of the kinks in her storytelling or go back to school and learn what it means to be responsible for an entire story.
Agree? Disagree? with my assessment of Jo and Lindsay? Could you think of a better way to demonstrate Jo's emotional upheaval or did the show hit the right note for you?
Next Week: Watch out Judge Judy because it's Judgement Day...yeah...sorry I went there...
Monday, November 7, 2011
Dug Up Dead 8X06 Review (***1/2out of 5)
It’s Arsenic and Old Race to save a life this week on CSI:NY. Nothing says effective character moments better than Halloween…yeah, maybe not, but some how Get Me Out of Here, in a quirky way, managed to get the ambiguous white mask off and take a deeper look. However, the episode also scared up a number of disappointments as well. So for the first time in reviewing history (that’s right...the first time EVER) I am giving a half in my rating. There was just enough good to make the episode a four but just enough bad to make the episode a 3, and I couldn’t decide—also I finally figured out how to make that darn m&m a half.
Sorry to dig up the past but the show had a pretty high standard to live up to when touting a Halloween episode. Season four’s Boo was hugely effective in the “sleeping with the hallway light on” creepiness, as well as being emotionally strong, and show casing excellent CSI interaction and a real taste of New York City. This episode attempted to accomplish that, but came up short. For me it boils down to two main factors: Director Scott White is no Joe Dante and Writer Trey Callaway (as much as I have enjoyed several of his episodes) is no Peter Lenkov. Sticking with the Halloween metaphors that I am forcing down your throats, White and Callaway are more wearing the plastic masks of Dante and Lenkov.
The episode, rather than starting with an actual scare begins with what the show seems to really cling to: the “faux fright.” Oh look a girl running and screaming. I should be worried and scared for her except I’m not because I know that in 5 seconds it’s going to be revealed she’s playing flashlight tag or something equally inane. It’s a trick the show relies on much too frequently. A true “Halloween” episode shouldn’t have pulled that punch. (Remember in Boo when in the opening a body literally crawled its way to the surface? That’s some scary sh*t!)
Really, a big disappointment for me was the lack of fear. There wasn’t any real tension for me because the “scare” factor was never truly established or maintained. Which would have been fine, but it was clear they were trying to create that feeling. They just weren’t able to pull it off. No one ever assumed the guy buried alive would die. If that illusion is taken away then so too is the emotion and things become mechanical and boring. (Remember in Boo when they killed a family of four? Yeah, I felt that tension right away!)
Then—as one of my biggest pet peeves—the killer (who was so willing to MURDER another human being to protect himself) just gave a full confession in the end. No rhyme or reason is established; the show was just running out of time and Callaway knew he had trapped himself in a crypt and took the shameful road—Yes, shameful I say!—of the easy confession. (Remember in Boo when the killer is discovered it turns out he is absolutely bat crazy because he had accidently killed his sister? Talk about depth and well thought out motivation!)
And was I the only one to laugh out loud at the cemetery manager getting whacked ridiculously by the bulldozer? (Remember in Boo when that crazy ass old woman attacks Lindsay? Ok, I know those two things don’t really compare. I just like bringing up how incredibly fantastic Boo is.)
However, there was still plenty to like about the episode. In Boo the character stories were much more subtle and understated. I am always struck by the quiet sadness of Danny and Lindsay as they question the little girl in the hospital, but it is very understated. That has its place in story telling and works in that episode, but in this season I absolutely enjoyed every second of the obvious and over the top character exploration. There was nothing quiet about Danny and Lindsay here. They were entertaining and amusing. The topic of what to do with their bodies after death was macabre but playful (an interesting combination). The flow and progression of their conversation well communicated the shift in their dynamic, offering a glimpse in their too little viewed married life. It was wonderful to see a bit of that old chemistry again.
Likewise, Sid out of the morgue was a special treat. His pillow idea had absolutely nothing to do with the case and yet it didn’t feel forced or too out of place. I adore Robert Joy and his portrayal of Sid Hammerback is the reason he is my favorite M.E. across the franchise. Creepy Sid was well used in this episode. The same can be said for Adam and Hawkes as well. They all managed to get decent screen time and play pivotal roles in the episode. If the case had been better written and executed then it would have been an overall strong episode. It had strong pacing, and I can’t remember ever being bored or wanting a scene to hurry up and end.
I am getting a little sick of “Mama Bear” (and I typed Mama with a strong southern accent) Jo. That relationship has to be eased into and established; not forced down our throats. It would be nice to see someone else befriend Mac and show him affection for once. But even with Jo as the catalyst I love episodes that end with the entire cast doing something stupid like watch a dumb movie. (I will refrain from asking about Lucy since I’m beginning to wonder if she is just a figment of my imagination…you guys saw her once too right?…right?) It just feels like family finally getting the chance to connect for a moment. And for that kind of emotional manipulation I am a total sucker…OF BLOOD! Get it? ‘Cause I’m a vampire. (Does this mean I glitter in sunlight?)
So which do you prefer the Hokey Halloween or the Night of Horrors Halloween?
Next Week: Let’s Party like it’s 1999! And some poor balcony takes the fall for a murderer.
Sorry to dig up the past but the show had a pretty high standard to live up to when touting a Halloween episode. Season four’s Boo was hugely effective in the “sleeping with the hallway light on” creepiness, as well as being emotionally strong, and show casing excellent CSI interaction and a real taste of New York City. This episode attempted to accomplish that, but came up short. For me it boils down to two main factors: Director Scott White is no Joe Dante and Writer Trey Callaway (as much as I have enjoyed several of his episodes) is no Peter Lenkov. Sticking with the Halloween metaphors that I am forcing down your throats, White and Callaway are more wearing the plastic masks of Dante and Lenkov.
The episode, rather than starting with an actual scare begins with what the show seems to really cling to: the “faux fright.” Oh look a girl running and screaming. I should be worried and scared for her except I’m not because I know that in 5 seconds it’s going to be revealed she’s playing flashlight tag or something equally inane. It’s a trick the show relies on much too frequently. A true “Halloween” episode shouldn’t have pulled that punch. (Remember in Boo when in the opening a body literally crawled its way to the surface? That’s some scary sh*t!)
Really, a big disappointment for me was the lack of fear. There wasn’t any real tension for me because the “scare” factor was never truly established or maintained. Which would have been fine, but it was clear they were trying to create that feeling. They just weren’t able to pull it off. No one ever assumed the guy buried alive would die. If that illusion is taken away then so too is the emotion and things become mechanical and boring. (Remember in Boo when they killed a family of four? Yeah, I felt that tension right away!)
Then—as one of my biggest pet peeves—the killer (who was so willing to MURDER another human being to protect himself) just gave a full confession in the end. No rhyme or reason is established; the show was just running out of time and Callaway knew he had trapped himself in a crypt and took the shameful road—Yes, shameful I say!—of the easy confession. (Remember in Boo when the killer is discovered it turns out he is absolutely bat crazy because he had accidently killed his sister? Talk about depth and well thought out motivation!)
And was I the only one to laugh out loud at the cemetery manager getting whacked ridiculously by the bulldozer? (Remember in Boo when that crazy ass old woman attacks Lindsay? Ok, I know those two things don’t really compare. I just like bringing up how incredibly fantastic Boo is.)
However, there was still plenty to like about the episode. In Boo the character stories were much more subtle and understated. I am always struck by the quiet sadness of Danny and Lindsay as they question the little girl in the hospital, but it is very understated. That has its place in story telling and works in that episode, but in this season I absolutely enjoyed every second of the obvious and over the top character exploration. There was nothing quiet about Danny and Lindsay here. They were entertaining and amusing. The topic of what to do with their bodies after death was macabre but playful (an interesting combination). The flow and progression of their conversation well communicated the shift in their dynamic, offering a glimpse in their too little viewed married life. It was wonderful to see a bit of that old chemistry again.
Likewise, Sid out of the morgue was a special treat. His pillow idea had absolutely nothing to do with the case and yet it didn’t feel forced or too out of place. I adore Robert Joy and his portrayal of Sid Hammerback is the reason he is my favorite M.E. across the franchise. Creepy Sid was well used in this episode. The same can be said for Adam and Hawkes as well. They all managed to get decent screen time and play pivotal roles in the episode. If the case had been better written and executed then it would have been an overall strong episode. It had strong pacing, and I can’t remember ever being bored or wanting a scene to hurry up and end.
I am getting a little sick of “Mama Bear” (and I typed Mama with a strong southern accent) Jo. That relationship has to be eased into and established; not forced down our throats. It would be nice to see someone else befriend Mac and show him affection for once. But even with Jo as the catalyst I love episodes that end with the entire cast doing something stupid like watch a dumb movie. (I will refrain from asking about Lucy since I’m beginning to wonder if she is just a figment of my imagination…you guys saw her once too right?…right?) It just feels like family finally getting the chance to connect for a moment. And for that kind of emotional manipulation I am a total sucker…OF BLOOD! Get it? ‘Cause I’m a vampire. (Does this mean I glitter in sunlight?)
So which do you prefer the Hokey Halloween or the Night of Horrors Halloween?
Next Week: Let’s Party like it’s 1999! And some poor balcony takes the fall for a murderer.
Tuesday, October 25, 2011
The Brothers Rim 8X05 Review (***out of 5)
What happens when we get a mediocre writer, a competent director, and a storyline with a bit of heart? Surprisingly, a decent—if some what forced—episode of CSI:NY. (I won’t lie…I was very shocked I didn’t hate this episode.) When I see Aaron Rahsaan Thomas credited with writing an episode I cringe, and make sure to bring a book because I have thus far been bored to tears by the episodes he has presented. His color-by-numbers approach to storytelling sends me diving under the kitchen table as I have horrific flashbacks to my first year of Creative Writing class. The episode Air Apparent was just that—very apparent. However, there was enough skill in the directing and acting department to enhance Thomas’ attempts at emotion.
The episode opens with the juxtaposition of brothers; one in prison, one on the basketball court, or rather one in hell and one in heaven (the announcer to the game even calls the winning shot as one from “heaven”). The story begins moving between the two brothers, showing closeness in nuances and thoughts but clearly separated by circumstances or choices—Hank the Inmate and Riley the Good. I am not a big sports fan. I had enough of basketball growing up with three brothers who were obsessed with the game. Oddly though, basketball and prison sent my memory a’scramblin’ and I remembered reading a story about a basketball player from BYU named Jimmer Somethingorother (later found it was Fredette) who had gone with his brother to play basketball with inmates in prison. I can’t help but seriously consider this the idea that inspired the episode. Even the teams colors were blue and white (BYU’s colors) as well as having Jimmer…I mean Riley…shown as a clean-cut, religious young man. The dynamic is set up clearly from the beginning of the episode. A bit too clearly in fact since before the opening sequence was over I knew who the “killer” was. We have two very distinct characters introduced to us in the first five minutes, but we also had a third character heavily hinted at. Coach Gavin was declared the “winningest coach in ADL History” after already being mentioned by name moments earlier. In a show that keeps a great deal of details generic or vague it is always pretty telling to have a character so well touted. This again goes back to Thomas’ lack of subtly and finesse.
Yet director Anthony Hemingway (who managed to work his name into the opening sequence “Hemingway passes the ball.”) was able to add enough flash and pizzazz to take the heavy handed emotional manipulation and actually make it meaningful. Though I may never forgive either of them for the embarrassingly obvious jump to Don’s storyline. Don basically says “You should watch out for your sibling with an addiction problem.” Then cut to Mac who asks, “So Don, how is your sibling with and addiction problem?” Ugh! Really? They aren’t even going to buy us dinner first? But, again, there was something to save it and this time it was Eddie Cahill and Kathleen Munroe as the Siblings Flack. The dialogue was very “After School Special” but Cahill and Munroe managed to deliver their lines with easy and grace. Their chemistry kept the scenes engaging and heartfelt even as I could feel the proverbial gun of emotional manipulation to my head. Don wants to look out for his sister. “NYPD. Open up!” And Samantha wants her chance to be an unsupervised adult. “You’ve been knocking on my door like that since the Academy.” These two played well with each other, even if they both needed to be put in time out for a moment. Munroe’s performance added a splash of color to Cahill’s character. It was wonderful to see. We usually get a scene report, and a line or two of laughter from his character so this was a great departure.
If they could have gotten the pacing of the episode a bit more on target then they really would have had a strong episode. The scene where Don is following his sister was so fast and choppy that I had to go back and watch it three times just to be sure I didn’t miss anything. But the scene where the two brothers play basketball seemed to go on forever. I later realized the 3 minute basketball game in a male psyche is equivalent to the gratuitous naked dancing woman we typically get. There needs to be someone making better calls in the editing department.
Everything wrapped up nicely in a disgustingly Disney-esque fashion. Both sets of siblings paralleled each other by making up in the end. But that’s just because Thomas lacks refinement (and Alan Menken was unavailable to provide an award winning musical number). However, there was a lot of old school CSI magic here too. I can’t remember the last time we had a “good ol’ fashion internal organ getting stabbed” shot. Morbid, but interesting. Also having Lindsay perform the blood analysis was great continuity, and I am totally digging the stronger, sassier Lindsay this season. And Mac wasn’t doing everyone else’s job this week. There was a strong season two vibe to this episode—it just missed the great DL interaction from that season.
The show is getting closer to finding the balance between plot and character. They still have a way to go but this one was definitely a lot closer to knocking it out of the park (that’s a basketball reference right? …Right?)
So which do you prefer: an episode that features a character’s story heavily with a case being the subplot or the reverse? Or are you a “keep the drama in the kitchen I just want some crime solving” type? Or how about the “case shmase—just give me the character stuff” type?
Next Week: H-A-double L-O-W-double E-N spells a case that looks eerily familiar, almost like we had a someone come out of the grave in a previous episode…oh yeah it was called Boo from season 4! Hmm…here’s hoping this episode isn’t just a zombie! Wait…that actually just spells HALLOWEEN…I knew I should have paid closer attention in school.
The episode opens with the juxtaposition of brothers; one in prison, one on the basketball court, or rather one in hell and one in heaven (the announcer to the game even calls the winning shot as one from “heaven”). The story begins moving between the two brothers, showing closeness in nuances and thoughts but clearly separated by circumstances or choices—Hank the Inmate and Riley the Good. I am not a big sports fan. I had enough of basketball growing up with three brothers who were obsessed with the game. Oddly though, basketball and prison sent my memory a’scramblin’ and I remembered reading a story about a basketball player from BYU named Jimmer Somethingorother (later found it was Fredette) who had gone with his brother to play basketball with inmates in prison. I can’t help but seriously consider this the idea that inspired the episode. Even the teams colors were blue and white (BYU’s colors) as well as having Jimmer…I mean Riley…shown as a clean-cut, religious young man. The dynamic is set up clearly from the beginning of the episode. A bit too clearly in fact since before the opening sequence was over I knew who the “killer” was. We have two very distinct characters introduced to us in the first five minutes, but we also had a third character heavily hinted at. Coach Gavin was declared the “winningest coach in ADL History” after already being mentioned by name moments earlier. In a show that keeps a great deal of details generic or vague it is always pretty telling to have a character so well touted. This again goes back to Thomas’ lack of subtly and finesse.
Yet director Anthony Hemingway (who managed to work his name into the opening sequence “Hemingway passes the ball.”) was able to add enough flash and pizzazz to take the heavy handed emotional manipulation and actually make it meaningful. Though I may never forgive either of them for the embarrassingly obvious jump to Don’s storyline. Don basically says “You should watch out for your sibling with an addiction problem.” Then cut to Mac who asks, “So Don, how is your sibling with and addiction problem?” Ugh! Really? They aren’t even going to buy us dinner first? But, again, there was something to save it and this time it was Eddie Cahill and Kathleen Munroe as the Siblings Flack. The dialogue was very “After School Special” but Cahill and Munroe managed to deliver their lines with easy and grace. Their chemistry kept the scenes engaging and heartfelt even as I could feel the proverbial gun of emotional manipulation to my head. Don wants to look out for his sister. “NYPD. Open up!” And Samantha wants her chance to be an unsupervised adult. “You’ve been knocking on my door like that since the Academy.” These two played well with each other, even if they both needed to be put in time out for a moment. Munroe’s performance added a splash of color to Cahill’s character. It was wonderful to see. We usually get a scene report, and a line or two of laughter from his character so this was a great departure.
If they could have gotten the pacing of the episode a bit more on target then they really would have had a strong episode. The scene where Don is following his sister was so fast and choppy that I had to go back and watch it three times just to be sure I didn’t miss anything. But the scene where the two brothers play basketball seemed to go on forever. I later realized the 3 minute basketball game in a male psyche is equivalent to the gratuitous naked dancing woman we typically get. There needs to be someone making better calls in the editing department.
Everything wrapped up nicely in a disgustingly Disney-esque fashion. Both sets of siblings paralleled each other by making up in the end. But that’s just because Thomas lacks refinement (and Alan Menken was unavailable to provide an award winning musical number). However, there was a lot of old school CSI magic here too. I can’t remember the last time we had a “good ol’ fashion internal organ getting stabbed” shot. Morbid, but interesting. Also having Lindsay perform the blood analysis was great continuity, and I am totally digging the stronger, sassier Lindsay this season. And Mac wasn’t doing everyone else’s job this week. There was a strong season two vibe to this episode—it just missed the great DL interaction from that season.
The show is getting closer to finding the balance between plot and character. They still have a way to go but this one was definitely a lot closer to knocking it out of the park (that’s a basketball reference right? …Right?)
So which do you prefer: an episode that features a character’s story heavily with a case being the subplot or the reverse? Or are you a “keep the drama in the kitchen I just want some crime solving” type? Or how about the “case shmase—just give me the character stuff” type?
Next Week: H-A-double L-O-W-double E-N spells a case that looks eerily familiar, almost like we had a someone come out of the grave in a previous episode…oh yeah it was called Boo from season 4! Hmm…here’s hoping this episode isn’t just a zombie! Wait…that actually just spells HALLOWEEN…I knew I should have paid closer attention in school.
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