The ethical debates abound as the search for the “One Ring” presents the quandary: are we the Gollums of the world or the Frodos? This weeks episode title, Out of the Sky, refers to more than a bag of jewels dropping down from no where, but to the emergence of a long lost partner/friend, and how quickly a person can fall to the “dark side.” The story was fast-paced, full of nice character driven plot points, growing teamwork, and had a parade of hilarious one-liners. The parallels in the story aren’t very subtle (we get it, everyone has to chose right or wrong), but they are--more importantly--effective. This episode manages to epitomize Voltaire’s statement, “Judge an [episode] by [its] questions rather than by [its] answers.” Let’s be honest, there wasn’t much doubt that Danny’s former partner, James Belson (Coby Ryan McLaughlin) was involved, but when a story is well told then I feel engaged, and excited to see how it will all play out, and that is how I felt watching this episode.
Writer Christopher Silber and director Nathan Hope are a dream team of subtle emotional manipulation. We feel the first moments of intensity as an obvious gang member places the gun he used to murder someone on the coffee table of his up-scale, wealthy lawyer, Roland Carson (umbrageously played by TV veteran Gregory Harris) as they discuss the legality of Carson keeping the weapon. This would be interesting enough as its own plot point, but intersperse their conversation with a helicopter hovering above the building and two men in black garb dropping down Mission Impossible style, and it is clear things are about to get a whole lot uglier. We again see this form of storytelling as Hawkes and Mac first discuss Belson’s guilt, only this time Silber and Hope improve upon it, using two distinct devices: a flashback showing Belson’s involvement and slow motion Danny walking towards an empty hospital room, essentially having three different scenes playing on top of each other. (A nod to those in the editing department; that couldn’t have been easy. Plus I love slow motion. You know something's about to go down when the slo-mo action starts.)
The story moved quickly through competent scene changes and snappy dialogue, maintaining a great pace. This is definitely an improvement from last weeks heavy handed jargon and boring moments. The dialogue was razor sharp at times. Mac accuses Carson of no longer wanting to be his clients’ errand boy by saying, “Maybe you got sick of carrying their water,” or how about in the same scene when Mac returns with a witty “They’re a little bit dead right now”? Adam joking about “ass dialing” an ex-girlfriend, Flack interrogating a suspect and citing him for having a knife to which the suspect responds, “Not my knife” prompting Flack to humorously reply back with the line, “It was in your pocket when we picked you up” are just a few examples of Silber making the effort to not only give us something to watch but to give us something we can actually enjoy watching, allowing the audience to move through drama and comedy effortlessly . Hope then adds depth to the language by using more than stationary camera shots. As Flack and Hawkes discuss petty thief Arnold Vonley’s (Mike Foy) inability to preform the heist, they are walking down the halls of the precinct, moving around corners and negotiating through co-workers--a classic West Wing-esque “walk and talk.” This scene very easily could have been filmed with them standing still, but the extra work paid off and the scene is much more memorable.
On top of the “who done it?” scenario that is playing throughout the episode, there is also an underlying character driven arc; Good Danny versus Evil Danny. (Anyone else find the light haired Messer/dark haired Belson difference to be interesting? Not sure if they meant that metaphor to be present, but it is immediately what I thought about.) Belson is an ex-cop, has a failed marriage, kids live thousands of miles away from him, and he is stuck working for the “bastard Carson.” Danny is questioning fate and luck, being forced to face what his life would have been like if he had made the same mistake Belson had. This also brilliantly adds believability to Danny’s reaction in the first season episode On the Job when he is accused of fatally shooting a cop. We gain insight into where Danny’s paranoia extended from, and why he was so concerned about what people were saying behind his back and the way they were looking at him. Danny was clearly effected by what had happened to his former partner, and Belson cleverly plays into that. When Danny first questions Belson in the hospital, Belson offers to help get Danny a job in the “private district” prompting Danny to respond, “I don’t plan on retiring anytime soon.” Belson then abruptly replies, “Yeah, well, neither was I if you remember.” This, of course, immediately brings that memory and its associated emotions to the forefront of Danny’s mind, which is established by Danny’s now reticent and withdrawn behavior, effectively distracting Danny and allowing Belson “off the hook” long enough for him to get out of the hospital and begin his rampage of killing. However, we see Danny’s growth as a character when he powerfully tells Belson at the end of the episode that it’s time for him to take responsibility for the life of crime he has created while at the same time we see Danny taking responsibility for the life that he has chosen to create.
This was a strong episode for many of the actors and characters, and Carmine Giovinazzo really stepped up to very tenuously show a range of emotions, including a slightly vulnerable side of Danny. Likewise, we saw both a tender and hard-nosed version of Flack, wonderfully delivered by Eddie Cahill (I was reminded why he was so successful on Friends; the guy has great comedic timing), and a chance to reconnect with light-hearted and clever Lindsay--who shared a few nice moments with Jo. Again, an episode that included every member of the team working together to solve crimes, and to help each other. The episode was sprinkled with great personal conversations that really helped to connect with the audience. I also appreciated Silber treating the audience with some modicum of intelligence. I was ready to go crazy over Belson noticing a little ring missing from a duffel bag full of jewelry, and him being willing to go back to the apartment and murder again for it. I was up in arms over how ridiculous I thought that was, but Silber efficiently solved that problem for me by having Carson explain to the audience it’s worth and importance. This is a type of detail that tends to get over looked on the show, the writers just expecting the audience to “go with it.”
A few flaws keep the episode from being perfect, having worked in the alarm industry I know for a fact you cannot disable an alarm by simply cutting a wire. Also, the thieves broke into the safe using the code so why didn’t anyone immediately wonder if this was an inside job? And if the water splashed on the guy’s clothing as he was walking home from work, and he was taking the duffel bag to the police the next morning, why was he wearing the same water splashed clothes when he was killed? I am also curious if it would have had more impact to show the girlfriend standing at the fountain with the ring in her hand, and end with us wondering what choice she made rather than show her tossing the ring into Fount(ain) Doom, but these are pretty minor issues in an otherwise excellent episode. So which is? Do you return the jewelry or keep a ring or two? You ponder on that while I take a quick trip to New York. There’s a fountain near Lucy’s I gotta go digging through...my precious...
Highlight of the episode: Lindsay dancing in a purple shirt.
Guilty Pleasure: Danny in glasses! (Yes, I actually squealed when I saw them). Although a close second would be Lucy’s--I know they were talking about the restaurant, but that’s how desperate I am for a mention of our girl.
Monday, October 25, 2010
CSI: West Side 7X04 review (**out of 5)
It’s the Sharks versus...well, the Sharks (Jets need not apply) as a gang leader begins systematically killing members of his own gang in this weeks episode Sangra Por Sangra; however, don’t expect a romantic duet between Mac Taylor and guest star Edward James Olmos’ character Luther Devarro--they prefer to swap trite, uninspiring, and stagnant dialogue as they engage in what can only be referred to as one epic stare-down. To paraphrase Don Flack, this episode starts out as a hot shot, but ends up a shish-kabob, as writer Aaron Rahsaan Thomas weaves an uneven, poorly developed tale of righteous indignation and hypocrisy, leading us all to the grand conclusion: vigilantism never ends well.
If you’re like me, then you were immediately engaged by the opening scene of a clearly wounded Mac with blood rolling down his arm, moving silently in and out of the shadowy darkness with his gun drawn as he hunts his prey, or perhaps he is the hunted with the deadly opponent just around the corner. Sounds and colors are muted, heightening the tension and we find ourselves in a damp underworld, watching as Mac comes face to face with the barrel of Luther’s gun. We are left with a cliff hanger moment when Luther pulls the trigger, releasing the bullet in Mac’s direction and the scene changes, providing no resolution. This of course follows the old adage ‘leave the audience wanting more’ and is rather effective...the first time around that is. A few scenes later and we have the exact same cliffhanger moment as a perp aims his gun at Don Flack and fires, cut to commercial. This is obviously the second time the episode deals with this particular story device and the second time definitely comes off as cheap and lazy. This may be blamed more on the director, Norberto Barba, than the writer, but I still think it goes back to the fact that one can’t really force a poorly written episode into a good one, but the narrative wasn’t helped any by the choppy pacing--some scenes lasting too long, while others weren’t afforded enough time.
The storyline follows the notorious gang member Luther Devarro (Olmos), recently released from prison and founder of the rough and tough El Puno (the fist), as he secretly--or not so secretly since I found the plot to be rather obvious--murders the members who ran the gang while he was behind bars for fifteen years. The motivation we are presented for his killings basically seems to boil down to semantics. The younger generation defines “the fist” as a weapon to be used to fight, destroy, and batter the community, to be used as offense. Devarro’s definition of “the fist” is about control, maintaining a tight grip on the community, to be used as defense. As he tells Mac, “I never intended to create something violent.” This statement is made after it is revealed that Devarro is the one responsible for the dead bodies *insert your own disbelieving tone*. His character is riddled with such inconsistencies. In one of the more well written lines of the episode, Devarro validates his lack of willingness to involve the police by stating, “Last thing I want is an army of badges canvassing my neighborhood with itchy trigger fingers. Someone’s son [is] liable to be out on a stoop, holding a cell phone and catch bullets.” A disheartening sentiment, but unfortunately also a very believable possibility. His statement, however, is rendered moot when he blows up a building, in the middle of the day, on a crowded street. He didn’t seem too concerned with the number of innocent lives he could have taken.
Can a person really take the moral low ground? When Hazel Ortega (Lymari Nadal-who gave one of the better performances of the evening) was being accused of one of the murders, Devarro, knowing that members of El Puno were thirsty for revenge and cognizant of his own guilt, did not do enough to try and protect her, resulting in the before mentioned shoot out between Flack and two members of El Puno. It is revealed that Ortega witnessed Devarro killing, but her fear of retribution kept her silent, and Devarro didn’t hesitate to use that fear, otherwise he would have killed her to protect his own identity. Instead, he was willing to use his status as El Puno’s infamous cutthroat leader--a status he gained not by his own devices, but by the actions he professes to despise of the younger gang members--to ensure her silence. This undermines Devarro’s claims of for an “aw shucks, mom ’n’ pop” type of gang operation he dreamed of.
We again see the repetitive nature of Thomas’ storytelling when Mac confronts Devarro, twice, each time promising the hand of justice to come down--note to writers, a threat loses its power when it has to be made twice. These cringe-worthy moments were inundated with boring, cliched, George Lucasesque lines such as “a handshake used to mean something” and “If you don’t, this fair man will lock you up again, and this time you won’t get out.” Tension has to be created organically because if it’s forced, for example Mac making the ridiculous choice to go into a gang’s hangout alone and without back up, it takes one out of the situation with its lack of believability, therefore voiding the intensity, nearly make a mockery of it.
There is plenty to pick apart in this episode (the occasional role inversion between Mac and Devarro, the lack of commentary on what effects it would have socially and fundamentally on a community when one gang is whipped out leaving it’s rival full rein, Devarro’s misguided Utopian view, his God-like-complex failing to understand “that you first make thieves and then punish them”, choppy editing, stilted scenes, and jokes that just weren’t funny) which is disappointing considering last week’s fantastic episode, and the deep respect I have for Edward James Olmos as an actor. It’s a shame we can’t have a re-do, bring him back for episode worthy of his caliber.
On a positive note, I am thoroughly enjoying the inclusion of all cast members in most of the episodes this season, each having a role to play in the weekly fight against crime, and I hope that trend continues, especially the continued use of Team Messer. I am glad the writers are realizing that they worked well together before they were married, and they can continue to work well together post matrimonially as well. Here’s hoping next weeks episode maintains a better balance.
Highlight of the Night: Seeing Sid out of the morgue.
Guilty Pleasure: Danny’s sexy voice when he was talking to Lindsay about “kiss and tell”
If you’re like me, then you were immediately engaged by the opening scene of a clearly wounded Mac with blood rolling down his arm, moving silently in and out of the shadowy darkness with his gun drawn as he hunts his prey, or perhaps he is the hunted with the deadly opponent just around the corner. Sounds and colors are muted, heightening the tension and we find ourselves in a damp underworld, watching as Mac comes face to face with the barrel of Luther’s gun. We are left with a cliff hanger moment when Luther pulls the trigger, releasing the bullet in Mac’s direction and the scene changes, providing no resolution. This of course follows the old adage ‘leave the audience wanting more’ and is rather effective...the first time around that is. A few scenes later and we have the exact same cliffhanger moment as a perp aims his gun at Don Flack and fires, cut to commercial. This is obviously the second time the episode deals with this particular story device and the second time definitely comes off as cheap and lazy. This may be blamed more on the director, Norberto Barba, than the writer, but I still think it goes back to the fact that one can’t really force a poorly written episode into a good one, but the narrative wasn’t helped any by the choppy pacing--some scenes lasting too long, while others weren’t afforded enough time.
The storyline follows the notorious gang member Luther Devarro (Olmos), recently released from prison and founder of the rough and tough El Puno (the fist), as he secretly--or not so secretly since I found the plot to be rather obvious--murders the members who ran the gang while he was behind bars for fifteen years. The motivation we are presented for his killings basically seems to boil down to semantics. The younger generation defines “the fist” as a weapon to be used to fight, destroy, and batter the community, to be used as offense. Devarro’s definition of “the fist” is about control, maintaining a tight grip on the community, to be used as defense. As he tells Mac, “I never intended to create something violent.” This statement is made after it is revealed that Devarro is the one responsible for the dead bodies *insert your own disbelieving tone*. His character is riddled with such inconsistencies. In one of the more well written lines of the episode, Devarro validates his lack of willingness to involve the police by stating, “Last thing I want is an army of badges canvassing my neighborhood with itchy trigger fingers. Someone’s son [is] liable to be out on a stoop, holding a cell phone and catch bullets.” A disheartening sentiment, but unfortunately also a very believable possibility. His statement, however, is rendered moot when he blows up a building, in the middle of the day, on a crowded street. He didn’t seem too concerned with the number of innocent lives he could have taken.
Can a person really take the moral low ground? When Hazel Ortega (Lymari Nadal-who gave one of the better performances of the evening) was being accused of one of the murders, Devarro, knowing that members of El Puno were thirsty for revenge and cognizant of his own guilt, did not do enough to try and protect her, resulting in the before mentioned shoot out between Flack and two members of El Puno. It is revealed that Ortega witnessed Devarro killing, but her fear of retribution kept her silent, and Devarro didn’t hesitate to use that fear, otherwise he would have killed her to protect his own identity. Instead, he was willing to use his status as El Puno’s infamous cutthroat leader--a status he gained not by his own devices, but by the actions he professes to despise of the younger gang members--to ensure her silence. This undermines Devarro’s claims of for an “aw shucks, mom ’n’ pop” type of gang operation he dreamed of.
We again see the repetitive nature of Thomas’ storytelling when Mac confronts Devarro, twice, each time promising the hand of justice to come down--note to writers, a threat loses its power when it has to be made twice. These cringe-worthy moments were inundated with boring, cliched, George Lucasesque lines such as “a handshake used to mean something” and “If you don’t, this fair man will lock you up again, and this time you won’t get out.” Tension has to be created organically because if it’s forced, for example Mac making the ridiculous choice to go into a gang’s hangout alone and without back up, it takes one out of the situation with its lack of believability, therefore voiding the intensity, nearly make a mockery of it.
There is plenty to pick apart in this episode (the occasional role inversion between Mac and Devarro, the lack of commentary on what effects it would have socially and fundamentally on a community when one gang is whipped out leaving it’s rival full rein, Devarro’s misguided Utopian view, his God-like-complex failing to understand “that you first make thieves and then punish them”, choppy editing, stilted scenes, and jokes that just weren’t funny) which is disappointing considering last week’s fantastic episode, and the deep respect I have for Edward James Olmos as an actor. It’s a shame we can’t have a re-do, bring him back for episode worthy of his caliber.
On a positive note, I am thoroughly enjoying the inclusion of all cast members in most of the episodes this season, each having a role to play in the weekly fight against crime, and I hope that trend continues, especially the continued use of Team Messer. I am glad the writers are realizing that they worked well together before they were married, and they can continue to work well together post matrimonially as well. Here’s hoping next weeks episode maintains a better balance.
Highlight of the Night: Seeing Sid out of the morgue.
Guilty Pleasure: Danny’s sexy voice when he was talking to Lindsay about “kiss and tell”
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