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Drama

When Bryan Cranston won the Emmy for Best Actor, last year, it came as a surprise to most of the Awards show’s audience. After all, Mad Men’s Jon Hamm had all the buzz for that series going for him. That and Cranston’s Breaking Bad role, chemistry teacher Walter White, being a guy who decides, upon learning that he has terminal lung cancer, decides to provide for his family by going into the crystal meth business. The DVD release of the truncated first season [seven episodes, down from nine, bcause3 of the writers’ strike] shows that Cranston was consistently amazing throughout – but also that the entirety of the show’s cast is just as remarkable.

BREAKINGBAD

Walt has a nuclear family – him and his pregnant wife, Skyler [Anna Gunn] and son Walter Jr. [R.J. Mitte], a high school student who has cerebral palsy [as does the actor who plays him] – and a brother in law who works for the DEA, Hank Schrader [Dean Norris]. Hank’s wife [Skyler’s sister], Marie [Betsy Brandt] rounds out the family. Walt’s partner in crime is Jesse Dupree [Aaron Paul], a high school dropout whom Walt failed in chemistry.

The series is a black comedy that follows Walt as, bit by bit, he goes down the wrong path as his disease worsens. At first he hides his disease from his family as he starts up his meth lab [making the purest stuff Jesse has ever seen], but he eventually tells Skyler and the rest of the family persuade him to take chemotherapy. Along the way, Walt is faced with increasingly difficult choices – like what to do with a couple of dealers who try to horn in on his and Jesse’s set up – and, invariably, makes the wrong choices [though always from a place of good intentions...].

Series creator Vince Gilligan has created a darkly comic series that more than lives up to its intriguing title [Gilligan says that it’s slang for “raising hell”]. Even as we wonder what the heck Walt is thinking as he goes down the path into his personal dark side, we can understand his motivation – and even sympathize. Like the blurb on the box says, “…Walt will stop at nothing to make sure his family is taken care after he’s gone, even if it means putting all their lives on the line.”

Features include: Deleted Scenes on every disc; Audio Commentaries by Gilligan and Cast for the Pilot and Crazy Handful of Nothin’; Making of Breaking Bad; Inside Breaking Bad; Vince Gilligan’s Photo Gallery; AMC Shootout: Interview With Vince Gilligan, Bryan Cranston and Mark Johnson, and Screen Tests.

Grade: Breaking Bad: The Complete First Season – A+

Grade: Features – A

Final Grade: A+

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Well, sir… Lost [ABC, Wednesdays, 9/8C] is continuing on its roll!

Richard & Daniel

Among other things, we learn that Locke [Terry O’Quinn] was born in March of 1956 – and that ties into Charles Widmore [Alan Dale] in a supremely unexpected manner. It also figures in explaining why Locke was visited by Richard Alpert [Nestor Carbonell] as a child. The more you learn about this show – the more answers you get – the more questions arise.

Take Faraday’s mother… please! If you can find her… And just wait until you meet a certain member of Desmond’s family! And speaking of Faraday [Jeremy Davies], he gets to make a definitive statement – though not about the physics of the island [though he also gets to do some actual science stuff, too].

Latin. The dead language plays a role here, too. A small but pivotal part.

Locke’s tracking skills get a workout [see 1956]. We learn more about Faraday’s past [he seems like he’s come a long way from then, but with this show you never know]. Miles [Ken Leung] gets to use his special talent, though it doesn’t seem to help much. As for Charlotte [Rebecca Mader], I refer you back to her nosebleed in the season premiere. We even get a scene that suggests that Charles Widmore actually does care about his daughter, Penny [Sonya Walger]. Then there’s Charlie…

After screening three episodes of Lost, Season Five, I have to say that the pieces of the Cuse/Lindelof mosaic really are falling into place. As the season moves inexorably, but nimbly, towards its conclusion, you can kinda see the outlines within the Big Picture falling into place. Because You Left, The Lie and now, Jughead are all extremely well put together episodes. The scripts have been tight, well-paced and feature that odd mix of character and mythology that differentiates Lost from everything else on television. The direction has been, if anything, even crisper than in the past – these eps haven’t played like the three hours they’ve taken up in our schedules.

Finally, the cast of Lost continues to make us believe in these characters – all of whom are lost in one way or another and seeking to find themselves. It’s really only because of the well-developed characters that we can believe in the mythology of the show. If we didn’t care about Locke, we wouldn’t have been so worried when he faced the Smoke Monster in Season One. If we didn’t care about Faraday and Charlotte [and isn’t amazing how quickly we’ve taken to them?], we wouldn’t be worried about that nosebleed.

As long as the characters remain relatable, and the pace of the revelations [answers should soon begin to outnumber questions, judging by this week’s ep], then the show will continue to hold sway over those of us who still watch [whether in real time, or online, or whatever]. Judging by what I’ve seen so far, there’s a lot of fun/drama/weirdness to come.

I can’t wait!

Final Grade: A

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The winter premiere of The Closer [Mondays, TNT, 9/8C] is following a pretty hard act – it’s mid-season cliffhanger, and so we both learn the fate of Detective Sanchez [Raymond Cruz] and witness Deputy Chief Brenda Lee Johnson’s [Kyra Sedgwick] reaction to Fritz’s marriage ultimatum. Even better, there’s an apparent case of suicide that coroner Dr. Morales [Jonathan Del Arco] won’t sign off on – and he’s extorting Deputy Chief Johnson into taking the case [or he’ll take it to another division, making her team look like idiots!].

Tenney, Sternhagen, Sedgwick

The deceased is a recovering drug addict and con man who seems to have gone straight – though that doesn’t jive with the recollection of his ex-wife which is, in turns at odds with the experience [or at least testimony] of his pastor [church in a slating rink!] and cancer-suffering girlfriend. Add in the after effects of the cliff-hanger’s two-pronged dilemma – and the presence of Brenda’s parents [Barry Corbin and Frances Sternhagen], who are visiting for a few days before setting out on a Hawaiian cruise – and you’ve got all the ingredients for a truly odd mix of confusion, misdirection and pathos. The episode, Good Faith, is also notable for actually having scenes that do not require the presence of DC Strong.

Upcoming episodes feature a body found in the trunk of a car, and a suspected rapist/murderer whose lawyer has a track record of successfully defending sex offenders.

As usual, The Closer is written well enough to give us a few moments pause over each ep’s mystery, but it remains most notable for giving us a strong lead character that continues to grow as a person – and as a high-ranking member of the Los Angeles Police Department. Though this is Sedgwick’s show, there are moments for several members of her team as well as J.K. Simmons’ Assistant Chief Pope [who gets some really good stuff in the premiere].

All in all, The Closer hasn’t yet lost a step. It remains one of the best [and most watched] programs on cable television.

Final Grade: B

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Dexter

There was an overwhelming amount of great TV, this year [and, as you’ll see not too much later, an almost equally overwhelming amount of excessively bad TV]. Given the truly amazing amount of quality to be found between the networks and the various cable outlets, I’ve decided to list my favorite fifteen shows of the year.

[click to continue…]

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Danny Boyle’s Slumdog Millionaire tells a pretty basic rags-to-riches tale that has oddly charming and wrenchingly violent sidetracks. It begins when Jamal Malik’s [Dev Patel] hot streak on the Indian version of Who Wants To Be a Millionaire culminates in a ten million rupee total before he is taken away by police on charges of fraud/cheating. They use all kinds of methods of torture but he insists he knew the answers.

slumdogmillionaire

As the Police Inspector [Irrfan Khan] and Jamal watch a tape of his performance on the show, Jamal tells the Inspector how his childhood experiences taught him the answers to questions ranging from an individual cricketer’s record to knowing the name of the star of a certain film. As Jamal tells his story, we watch as he, his brother Salim, and a girl named Latika come out of the slums of Mumbai. While Jamal has always been a good kid, Salim [Madhur Mittal] has chosen another, easier path – and he loses touch with both of them.

Slumdog Millionaire’s cinematography crackles with energy and lays out the slums of Mumbai without apology – the poverty, the race violence, the criminal activity. It is a place with a veneer charm that isn’t quite enough to cover its grimy underbelly. Jamal’s path to the famous quiz show is fraught with all kinds of perils, spiritually as well as physically – and when he does well on the show, the immediate question has to be, how can a call centre assistant – “a chai wallah” – possibly possess all this specific knowledge? But Jamal isn’t putting his hard won street education to work for the money – he’s hoping that Latika [Freida Pinto] will see him and find her way to him. Love, he hopes, will conquer all.

This may be Danny Boyle’s finest film. The characters are engaging – even while they’re conning their way along – and smart [as Taj Mahal tour guides, for example, they improvise all kinds of material to give their tourists the "real" story]. Somehow, though, as the boys grow up, Salim becomes a professional criminal while Jamal, well, he gets tea for the people in the call centre. Latika, however, comes through even more dire circumstances as a prostitute and then the mistress of Salim’s boss.

Slumdog Millionaire is one of those movies that energize its audience. It’s all about hope and staying true to oneself, no matter what trials one must overcome. Like Beat Takeshi’s The Blind Swordsman Zatoichi, Boyle gives us a bonus burst of energy over the closing credits as the crowd in the train station breaks into a Bollywood song and dance number that encapsulates the joy of the film.

Final Grade: A+

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The Robert Wise film, The Day The Earth Stood Still, was a metaphor for a cold war that was threatening to go hot. The remake is an ecological horror tale – if we can’t take care of the earth, we – and everything we’ve created – will be removed.

daytheearthstoodstill

It seems that we are at the edge of a great precipice – not unlike the civilizations that grew on a handful of other planets out there in the universe. Klaatu [Keanu Reeves] has been sent to carry out the removal of the one major blight on the planet – us. Where the precipice comes in is when a beautiful scientist, Dr. Helen Benson [Jennifer Connelly], asks him if the other civilizations Out There had come to such a precipice and what happened.

So, despite the governments and people of Earth behaving like paranoid imbeciles – and even Helen’s stepson, Jacob [Jaden Christopher Smith] says we should kill Klaatu – even though all that violence and paranoid is only offset by a bit of Bach and the love Helen has for Jacob, Klaatu has had the answer he needed all along. It just takes one beautiful lady scientist to ask the question that shakes the answer loose. That’s drama, folks!

For the third time in three weeks, I’ve seen a film that held a certain amount of promise and discovered that promise is wonderful for trailers, but films need a bit more than that. The Day The Earth Stood Still is well made. It moves at an appropriate pace; most of the effects are quite effective; most of the cast give solid performances [Reeves is his usual Tabula Rasa self – you see what you want to see in his transparent performance... or not...], and there’s even a moral to the story.

Too bad that that the whole thing just so damned silly.

Final Grade: D

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This season, CSI [CBS, Thursdays, 9/8C] has been a real rollercoaster ride. It started with the death of Warrick [Gary Dourdan] – followed by a murderer who used dead people to create some very warped art; an unsolved case involving an engaged couple; a killer hypnotist and even the return of Lady Heather [Melinda Clarke]. Along the way, Gil Grissom [William Petersen] has been looking less like the clue sniffer we’ve come to know and more like a man who has just about run out gas.

CRIME SCENE INVESTIGATION

When he reveals to his team that he’s leaving, at the beginning this week’s episode, 19 Down…, it may come as a surprise to his team, but even without all the publicity about the new cast member, we’d have known before they did – and actually, Catherine Willows [Marg Hellgenberger] surprises him by not being surprised.

When what starts off as just another day in Vegas turns into something greatly different – a murder ties into a long imprisoned serial killer – and Grissom gets that intrigued look again. The tie-in is to Nathan Haskell [Bill Irwin – think Jack Coleman’s HRG gone stone bugfrak crazy], who killed at least eight couples before he was caught. Turns out that Haskell is doing a series of closed circuit Q&A sessions with a university class taught by one Dr. Raymond Langston [Laurence Fishburne].

19 Down… is the fall cliffhanger for CSI, so they’ve really shot the works. The pacing is [if you can believe it] even crisper than usual and the way it ties into the season’s prior unsolved mystery is not just clever, it’s very close to genius. Co-Executive Producers Naren Shankar and Carol Mendelsohn have created a terrific puzzle for Grissom and his team and every member of the core cast gets a meaty moment to shine – as when Hodges responds to the news of Grissom’s leaving [for just one example]. Director Kenneth Fink keeps things tight and suspenseful.

Not many weekly series can maintain a high level of quality through nine seasons, and CSI’s ninth season isn’t over yet, but between the announcement of Grissom’s leaving and the introduction of Langston, it would seem likely that the show is going to maintain that high level. It also seems likely that the transition of the series from Grissom’s era into Willows’ era will be a reasonably smooth one. For now, at least, I have to say that this is my favorite fall cliffhanger, so far.

Final Grade: A

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