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...)
Monday, November 21, 2011
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.
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