The Critical Myth Podcast #123: Chuck Says Goodbye
by Administrator on Feb.07, 2012, under Critical Myth Podcast
The Critical Myth Crew covers another solid episode of Fringe (spoilers through 4.10) and the series finale of Chuck (spoilers through 5.13). Recorded on 04 Feb 2012.
End music: “Take On Me” by Jeffster! (from the episode “Chuck vs. the Goodbye”)
Opening theme provided by The Oceanic Six. A huge thanks to Alex, Luke, and Jason!
The podcast is on iTunes, and you can add this feed to the client of your choice:
http://entil2001.com/blog5/?feed=podcast
Want to leave some feedback? You can leave a comment here on the site or our Facebook page, or you can also record your comment and send it to us by E-mail at feedback@criticalmyth.com.
Review #3271: Fringe 4.11: “Making Angels”
by Administrator on Feb.06, 2012, under Reviews
Contributor: John Keegan
This was probably one of the most anticipated episodes of the season, and for good reason. While most of the regulars have been featured to one degree or another, on both sides of the dual-universe equation, Astrid and her counterpart have been mostly relegated to the background. It’s about time that Jasika Nicole had the chance to shine, and sure enough, it was the breakout performance we were all hoping to see.
Beyond bringing Alt-Astrid into the mix to break down some of the barriers that were lingering amongst the “Super Fringe Division”, we received more backstory for both Astrids than I think we’ve ever gotten. Alt-Astrid’s difficulty over the death of her father was heart-breaking, to say the least. The stark contrast between the two Astrids really made it feel like we were dealing with two entirely different characters, and even though a lot of time was spent with both versions, I was left wishing this could have stretched over a few episodes.
It helps that this episode also had a compelling case. For much of the episode, I was under the impression that the TSA agent was being actively aided and directed by the Observers, which would have tied into the notion that they are, ultimately, the real antagonists of the season. That still might be the case, but in the end, the agent was just a madman with September’s Observer tech. But we seem to be getting closer to the moment when the Observers intervene more directly, now that they are aware of Peter’s existence.
Beyond the interaction of the two Astrids, there was also some brilliant work between Walter and Alt-Astrid. The fact that he was able to appreciate her unique perspective allowed her to give him a different way of looking at past betrayal by Fauxlivia and his issues with Peter. He even remembered her name, to our Astrid’s chagrin!
But the real surprise was the substantial contributions from Fauxlivia herself. We knew from earlier episodes this season that she replaced Olivia in the Fringe Prime universe, largely in the same way that she did in the original timeline. But it hasn’t been fully explained, nor have all the ramifications been explored. It makes sense that this would be a major item of contention in the ongoing truce between the universes, and it had to be addressed.
I have to say, while I enjoyed Fauxlivia more than a little in the third season, I hadn’t realized how much I missed her. She’s always been more playful and casual, compared to Olivia’s more reserved and dour personality, and this timeline has only pushed both characters further in both directions. Fauxlivia’s personality is certainly infectious!
Looking at the broader situation, particularly Peter and his work with Walter on the Machine, I think it’s a great writing choice to have Walter struggle with his deal to help Peter. Walter’s issues are far from simple. While part of the problem may be that this is not his Peter, I don’t see how convincing Walter to consider Peter a true surrogate son is the best option. After all, would Walter want to let Peter go, once he was emotionally invested?
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
Review #3270: Supernatural 7.13: “The Slice Girls”
by Administrator on Feb.06, 2012, under Reviews
Contributor: John Keegan
This is the second effort from a writing duo that also brought us the sloppy “Shut Up, Dr. Phil”, which also lacked a certain subtlety. I didn’t recognize the names of the writers at the time, but I’m not surprised to see the connection. This was also the first time that the director worked for the show, so the overall effect might have led to the feeling that the episode just wasn’t as tight as it might have been.
The review for Supernatural 7.13: “The Slice Girls” has been added to the archive.
Trailer: The Avengers (2012)
by Administrator on Feb.06, 2012, under Previews
The new trailer for “The Avengers” that aired during the Super Bowl. Enjoy!
Review #3269: Spartacus: Vengeance 2.2: “A Place in This World”
by Administrator on Feb.06, 2012, under Reviews
Contributor: John Keegan
With the basics established in the season premiere, this episode takes up the task of setting up more of the plot and character arcs. It also serves to expound on Spartacus’ philosophy as he moves forward, transforming his movement from a simple act of retaliation and retribution to a true rebellion against Rome.
Part of the equation, of course, is growing the ranks from a gang of former gladiators to something closer to an army, and that means releasing the slaves they find as they hunt down Naevia. Of course, that’s easier said than done. Not only is it a question of doing so without attracting attention, but there’s always been a difference in status between gladiator and typical slave. And the gladiators want the benefits of freedom, some a little more than others.
Those issues of assumed class among the fugitives are a major theme, and not just because of how Tiberias is treated by the former denizens of the House of Batiatus. It makes perfect sense that Spartacus and Mira would be together at this point, given their past history. But it also makes sense that some of the new “recruits” would question her motives. After all, slaves have been shown since the start of the series positioning themselves in every possible way, most often sexually.
Part of the inequity is that the gladiators have been trained to fight. Not just fight, but fight dirty. It gives them a distinct advantage over the Roman soldiers that have been (and will continue to be) sent their way, but it also means that it’s that much harder to train most of the slaves that they are likely to liberate. Spartacus, Crixus, and the others have plenty of experience in learning how to fight, but precious little in how to teach others.
History tells us that Oenomaus eventually becomes a key member of the Spartacus’ rebellion, and clearly, this episode makes the case that he is needed sooner rather than later. And one would imagine that they finally gave us a closer look at his formative years in the House of Batiatus to set the stage for his long journey to that role. But who better to derail that possibility than Ashur?
That he would be involved in the intrigue with Lucretia is hardly a shock. Since he wasn’t among the fugitives, it was a good bet that he would show up in Capua, scheming his way back into someone’s favor. And he would make a logical trigger for Lucretia’s restoration, which would definitely make things interesting for Glaber and Ilithyia. And as mentioned previously, this would explain some of the distractions that would lead Glaber to make the mistakes that allow Spartacus and this rebellion to prosper.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
Review #3268: Justified 3.3: “Harlan Roulette”
by Administrator on Feb.05, 2012, under Reviews
Contributor: Henry T.
Written by Dave Andron
Directed by Jon Avnet
Crime in Harlan County seems to have many different aspects to it. There are clear and separate tiers to it, and this episode demonstrates that so fluidly within the hour. The lowlifes and scumbags occupy the bottom tier, men like Devil or Dewey for Boyd’s operation or Wally Beckett and Wade Messer for the Dixie Mafia. They get the dirtier or more violent jobs and are often the easiest people for law enforcement to identify and catch. The middle managers take the next tier up. These are men with some power and control the street soldiers, men like Wynn Duffy or Glenn Fogel, introduced here as a drug runner for the Dixie Mafia. The top tier belongs to people like Limehouse or the man from Detroit. They will prove to be the most difficult people to bring down, even as Raylan finally gets to meet one of them. The show’s world will only grow more complex from this point forward, and it’ll be interesting to see how the good and evil sides conduct their war as the season goes on.
The issue of Mags’ hidden fortune is drawing more and more attention. Boyd has already revealed his card in repeated attempts to acquire the location of the money. He has a tense meeting with Limehouse on a bridge that gets him and his organization nowhere closer to finding the money. Again, he keeps showing how his mind is always working every angle. He orders for Devil to sell off what’s left of the Bennett weed to some of Limehouse’s lackeys in order to keep Limehouse from launching an all-out assault on the Crowders. It also achieved the objective of getting rid of something Boyd no longer has any use for. Boyd then takes over a bar to set up as his new headquarters, with the added bonus of bringing his cousin Johnny back into the fold with more muscle for the organization.
I get the feeling Boyd is still trying his hardest to get into the position that Mags once held in Harlan County. It’s hard to get a sure read on Boyd’s intentions because his agenda is constantly changing with what comes at him. He operates with a purpose though, and that’s incredibly fascinating to watch. The prison guard who comes at Dickie with eyes for the money might get to it before Boyd does, though. The guard doesn’t have to deal with a threat like Limehouse the way Boyd does, and only has to slowly break down Dickie’s defenses until he gives up the location. It’s just a question of who’s faster with their various methods.
Much more complex is the man from Detroit’s plan to make Harlan County a profitable drug source for the Dixie Mafia. The only thing getting in his way is Raylan and the US Marshal’s Office. He tried once to kill Raylan with Icepick Nix, and that didn’t work. He then gets Wynn Duffy to pass the order to Glenn Fogel and his drug-peddling posse of addicts. I think they would have been more successful if they weren’t addicted to oxycodone. One guy gets caught by Raylan, and he eventually gets killed by Fogel in a twisted game of “Harlan Roulette” that gives the episode its title.
It’s left up to Wade, a guy who strung Raylan up on a tree for Dickie to whack with a baseball bat in last season’s finale, and he gets caught by the smarter and more savvy US Marshal. That left only Fogel and his right-hand man to try and kill Raylan. That didn’t end too well, with only Wade as the last man standing from Fogel’s little pawn shop operation. That leads to the final confrontation, arguably the best one in an episode full of really good ones, between Raylan, Duffy, and the man from Detroit. Raylan has already beaten Wynn Duffy at his own game — something he does literally in this scene — before getting his first glimpse of the man from Detroit.
This is probably not the last time Raylan is going to face this guy, but I think both will be more prepared at the next showdown. I did find it interesting that the man from Detroit smiled for Raylan’s picture to identify him, as if he had nothing to hide. It seems a little arrogant, though that does add to his dangerous mystique.
At first, I thought this was a very simple episode. There are far more layers of complexity with what’s going on in Harlan County than what you see. Battle lines are being drawn by every character, and it feels like there are different games of chess being played by multiple players here. Who will end up the victor? More importantly, how much damage will be done by the time everything is finished? With so many bad elements out there, both Raylan and the US Marshal’s Office looked outmatched at times. How they deal with that will determine who ultimately wins the war.
Grade: 8/10
Review #3267: Merlin 4.5: “His Father’s Son”
by Administrator on Feb.05, 2012, under Reviews
Contributor: Gregg Wright
I found it a bit odd that the birth of the white Dragon at the end of the previous episode is completely ignored for this episode. It just goes to show how little forethought goes into the development of most of the individual episodes in any given season of “Merlin”. I’d hoped that this season would be different, but it seems that, so far, it’s not nearly as different from previous seasons as I’d hoped. It was certainly unusual to have a major character death occur mid-season, but the placing of that episode suggests that they still want to establish a status quo early on in a season, and then play around with more episodic stories until the finale. The season is slightly more serialized than past seasons, but not to any satisfying degree.
Still, this is an important character episode for Arthur. It’s doubtful that it will have any major effects on the status quo in the long run, but I appreciated its refreshingly straightforward take on Arthur’s development as King of Camelot. The humor, what little there is of it, is integrated quite well without detracting from the more serious aspects of the story. And I liked that the episode was willing to let Arthur actually go through with killing an unarmed captive, and then later realize his mistake and own up to the consequences. “Merlin” is at its best when it follows through on the consequences of characters’ actions.
Another strength of the episode was in how it emphasized the camaraderie and loyalty between Arthur and his men (Merlin included). Additionally, I’m glad to see Arthur treating Merlin as an actual friend. I can imagine how much worse things might have gotten if the only person Arthur had to rely on was Agravaine, who seems to have a powerful talent for manipulating Arthur. Thankfully, Arthur has Merlin and Guinevere on hand to appeal to his better nature. I was a bit annoyed at Arthur and Gwen’s breakup at first. I think it would have added little of worth to the season. Also, I rather liked how Arthur’s apology to Gwen was handled.
It appears that most episodes will feature some kind of episodic threat that secretly connects with Morgana and Agravaine’s plans to overthrow Arthur (which Merlin will find some way of secretly foiling). Their involvement has been a bit disappointing and cookie-cutter so far. And this isn’t much different then the approach previous seasons have taken. The “big bad” of the season will remain in the background, continually plotting, until the finale, where the truly important stuff happens. I really hope there will be more to it than that for this season. Nathaniel Parker still feels underused, and Morgana is still generically evil and lacking in any kind of complexity.
Lindsay Duncan was utilized rather well in her guest role as Queen Annis. It’s too bad these guest starts just come and go, because Annis has the potential to be a great recurring ally, who could come to Camelot’s aid at some later point in the season. I liked that Annis was so mature about the whole situation. Her critique of Morgana was spot-on. Just like Uther, Morgana has become so filled with hatred that she can’t even think straight anymore. Whatever legitimate grievances she had against Camelot hardly even factor into her decisions anymore.
In many respects, this is the episode that should have been placed directly after “The Wicked Day”. It does little to repair the damage done by Uther’s unceremonious and poorly-executed departure from the show. But it does, at least, offer a solid look at Arthur’s role as king in the fallout of Uther’s death, and the inherent burdens of that newfound responsibility.
Rating: 8/10
Review #3266: Ringer 1.11: “It Just Got Normal”
by Administrator on Feb.05, 2012, under Reviews
Contributor: Henry T.
Written by Cathryn Humphris
Directed by Jeff Thomas
This show has been off the air for two months, and you would think those involved would take the time to correct some of its glaring flaws. Somehow, they managed to make the narrative structure of the show more confusing. Siobhan was inserted into the ongoing storyline (amazing what a simple return trip to New York will do), yet spent most of this episode passive and in the background. Bridget is still enjoying the fruits of her sister’s high lifestyle, not once having the thought that she’s hurting all of these people by perpetuating a lie. Juliet may be lying about her teacher raping her, though that’s hard to tell from the information given in this episode. Everyone dances around the truth — “Ringer” has been doing it all season — and so it’s difficult to see if the show or the characters will ever acknowledge the consequences of those lies.
At least the beginning of the episode held some intrigue. Siobhan comes into her home, only to see that her twin sister is showering and basically living her life. Siobhan ominously walks into the bathroom and stops at the shower, where Bridget is bathing in ignorance of everything. Maybe she confronts Bridget? Maybe all the lies stop now? It makes for an interesting teaser.
Yet, what follows doesn’t live up to that initial promise. After committing the murder of Gemma and framing someone else for it, Siobhan spends her time in New York working to get all the information she can on Andrew’s financial dealings. She’s committed to bringing him down for some still-unknown reason. It has the feel of a rote storyline, especially when we’re treated to a scene where Andrew blandly describes his company’s growth projections for the next decade. Siobhan’s goals are still fairly nebulous at this point so it’s hard to connect with the character.
She also manages to alienate Henry during the course of this episode, but it’s understandable. Half the time, he’s not even talking to the real Siobhan. He’s talking to her twin sister masquerading as Siobhan. Also, he is blaming Siobhan for his wife’s murder so a little alienation is understandable. Everything would be clarified if someone had the guts to tell the truth for a change, but the show continues to tease that possibility every chance it gets. It’s become a regular pattern for the show to spin its wheels like this, with characters left and right stopping short of saying something clear, then settling for a partial truth or no one saying anything at all. It’s becoming a little frustrating to watch all of it unfold.
It’s more of the same with the plot involving Bridget. A friend of Siobhan’s named Greer throws yet another fundraiser for Juliet’s school. What’s revealed through this interaction between Bridget and Greer is the fact that Siobhan engaged in yet another illicit affair with a married man (Henry is apparently not the first) and that Greer hated Siobhan for it. Going for yet another affair is repetition of the highest order, and demonstrates a lack of imagination on the writers’ part. We never see the affair, as well, only going so far as to have Greer describe what happened.
It isn’t like Bridget will feel true regret for it because she didn’t live any of the things being ascribed to her. She apologizes, they will move on. Ultimately, I have to question what Bridget gets out of this. Is she really in love with her sister’s husband? Does she enjoy the high life just a little too much that it’s getting to her head? Perhaps Siobhan is letting Bridget live her life so that she will eventually bring ruin to both her husband and her sister as a final act of revenge.
The fundraiser subplot is merely designed to also connect Juliet with what’s happening in the episode. Rape of a child by an authority figure is a serious charge, yet there is no weight behind it because Juliet has been presented up until now as a pathological liar and prone to sudden emotional outbursts. I’m not sure the show can treat such a storyline with the respect and seriousness it deserves.
We are around the halfway point of the season and I still don’t know what “Ringer” is, or what it wants to be. I have to wonder if the writers know what it wants to be. The show spent two months off the air and didn’t appreciably get better. The music selection is still oddly tone-deaf, the characters spend entirely too much time having conversations on the phone, and there’s no sense of intrigue or forward momentum to anything. I tend to favor shows with ambition. “Ringer” seems to have none of that, especially when it just continues to stand idle with so many of its plots and its characters stare silently into space for much of its run.
Telling the truth is apparently something the characters avoid doing, which is why I was disappointed they took out Gemma so early. She was one of the few people on the show who knew the truth, and that was never properly used or developed. I fear more of the same kind of thing is in store for this show’s future.
Grade: 4/10
Review #3265: Chronicle (2012)
by Administrator on Feb.04, 2012, under Reviews
Contributor: Andy Spencer
Writer: Max Landis
Director: Josh Trank
Especially for a low-budget debut film and screenplay, “Chronicle” blew me away. This is a film that can stand proudly among other genre giants. Complex and perceptive, “Chronicle” is a superhero film that seems proud to bend the rules of its genre and filmmaking style to suit its needs.
Actually, more than anything, “Chronicle” is a psychological study, but more on that later. The characters (who aren’t that different from anyone reading this) come first, and thankfully, all of them are very well-played by the young stars. Andrew, the main character, is a senior in high school who has a pretty bad life at first. Beaten by his father, bullied at school, and antisocial in nature, his cousin Matt and a camera are his only companions. He uses the latter to film his daily routine, such as watching a pep rally, going to school, and letting Matt drag him along to a party.
It is at this point that the duo and their mutual friend Steve happen upon a hole in the ground, put there by a large, seemingly alive crystalline object that disrupts the camera feed and gives them telekinesis. For the next thirty minutes, we see some of the funniest pranks anyone with telekinesis could pull (scaring a little girl with a floating teddy bear, pushing a car into a different parking space, etc.). However, one of the three (guess which) begins to slowly use his powers for not-as-amicable reasons, including, in one incredibly disturbing scene, levitating a spider and severing all its legs at once.
However, the psychological aspect of the film is the one that is almost creepily realistic, thanks in large part to the writer, Max Landis. The dialogue sounds almost exactly like what kids their age would actually say, ringing as true as their actions (brought to life with some great special effects). If you are in your late teens (or, for that matter, not too far beyond), it makes you wonder whether you would have used your power differently than the characters. It is a great example of how, if one is pushed far enough fast enough, and is given the ability to deal with his problems in unimaginable ways, something will snap. And it does.
The final forty minutes or so are dark, chilling, and bleak. Josh Trank uses the found footage concept to great effect, with the rare knowledge that there is usually more than one camera in an area at a time. Cell phone cameras, security footage, and Andrew’s camera are used to maximum effect, and the telekinesis gives the director a great excuse to use conventional film techniques with digital photography. Combined with the sparse but convincing effects, it never brings you out of the story or the experience, and never feels cheesy or overdone.
And interestingly, the tonal shift near the middle feels to me like a reflection of superhero movies themselves. Before the year 2000, they almost never took themselves seriously, and were all melodrama and light shows without much depth. But recently, films like “Watchmen”, “The Dark Knight”, and “Iron Man” have given us looks at the dark depths beyond the colorful exterior their protagonists hide behind.
Prior to its release, I wanted this to be good, but just did not have the confidence that two industry rookies could do justice to the great ideas the film seemed to possess. I was very glad to be proven wrong.
Final rating: 10/10
The Critical Myth Podcast #122: A Touch of Temptation
by Administrator on Feb.04, 2012, under Critical Myth Podcast
The Critical Myth Crew faces down temptation and takes a first look at the new Kiefer Sutherland vehicle. Recorded on 28 Jan 2012.
Topics include:
Being Human (spoilers through 2.2)
Lost Girl (spoilers through 1.2)
Touch (spoilers through 1.1)
End music: “Supervixen” by Garbage (from the album “Garbage”)
Opening theme provided by The Oceanic Six. A huge thanks to Alex, Luke, and Jason!
The podcast is on iTunes, and you can add this feed to the client of your choice:
http://entil2001.com/blog5/?feed=podcast
Want to leave some feedback? You can leave a comment here on the site or our Facebook page, or you can also record your comment and send it to us by E-mail at feedback@criticalmyth.com.
