Month: November 2009 (Page 17 of 24)

Curb Your Enthusiasm 7.8 — Officer Krupke

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They are really turning Jeff into a jerk. In the season premiere, Jeff slept with a mental patient named Bam Bam, played by Catherine O’Hara. Jeff has also alluded to other instances of cheating, indicating that he has probably been unhappy in his marriage with Susie for quite some time. “Officer Krupke” begins with Susie finding another woman’s panties in Jeff’s glove compartment. Understandably, she freaks out. “Curb” has toyed with this divorce angle for all of Season 7. I’m not sure whether Larry David is just using Jeff’s infidelity to create one-off story lines or if he plans to take his marital problems to a different level. I could see Jeff, Larry, and Leon all living together in Season 8 (if we even get another season). Also, this scene with Susie is one of the rare occasions when Larry isn’t on camera. As I’ve stated before, he is typically in every scene from an episode.

Larry is pants shopping at Banana Republic. Sounds boring, but these are the types of situations that Larry David weaves into comedy gold. While he’s trying on a new pair of slacks, the fire alarm goes off and everybody has to exit the building. Outside, he strikes up a conversation with a police officer with the last name of Krupke. Larry asks him if he’s ever seen “West Side Story,” as there’s a character with the same name. Larry sings a snippet from one of the songs: “Oh, Officer Krupke/What are we to do?/Gee, Officer Krupke/Krup you.” This Officer Krupke isn’t familiar.

Larry doesn’t want to wait two hours until the building is safe, so he makes his way to Jeff’s place. He’s still wearing the new slacks — which he never bought — and the tags dangling from the sides. Jeff runs out to stop Larry and inform him about the panties situation. Jeff has a completely ridiculous plan. He’s told Susie that those were Larry panties, saying that Larry finds them very comfortable. Larry is obviously stunned, but he’s willing to help out his idiotic manager and friend.

Inside the house, Larry greets Virginia and Dennis, some mutual friends. As they chat, Susie eyes Larry’s backside, trying to spot any peculiar movements. Larry doesn’t want to listen to the story of how Virginia and Dennis met, so he takes a walk down the block. He stops at a children’s lemonade stand a buys a glass. After reprimanding the children for the awful-tasting beverage, the kids yell at him to leave. He returns to the Greenes’ house where Susie blatantly inspects his crotch region. The mother of one of the children shows up and scolds Larry.

We cut to Cheryl waiting to audition for the role of George’s ex-wife in the “Seinfeld” reunion. Virginia enters the room and Cheryl is surprised to see one of her friends. Virginia is auditioning for the part as well. Despite the awkwardness, they agree to meet for lunch after they both have read for the part.

Turns out, Cheryl David is a pretty good actress. Jerry Seinfeld, Mark the casting director, and Larry (obviously) are all impressed. Unfortunately, Virginia is even better. After some dissent from Larry, they agree to give Virginia the part.

Larry returns to Banana Republic to both retrieve his pants that he left in store during the fire and pay for ones that he’s currently wearing. The salesman that helped Larry earlier informs Larry that the pants are missing. Larry thinks that, since the store lost his pants, he should be able to keep the pair for free that he was going to buy. I think that’s a fair exchange. The salesman doesn’t. Larry has had enough. He trudges through the exit as his pants beep loudly.

Cheryl is conveniently sitting outside of Banana Republic. Larry lets her know that the show is going with Virginia. Cheryl is disheartened, but happy for her friend. She tells Larry about her lunch with Virginia and Dennis. After a few glasses of wine, Dennis asked Cheryl if she would like to participate in a threesome with him and Virginia. We never find out her answer, but Larry still takes offense at the mere proposal. He marches down to Dennis’ office and accomplishes nothing.

Back at the Greenes’ place, Jeff and Larry discuss the panties situation. Jeff wants Larry to stop making so many effeminate movements because it’s just making Susie even more suspicious. He also tells Larry that Virginia hurt her neck and can’t do the part. Therefore, Cheryl has it. Larry is excited, but wants to find out how Virginia was injured. Was she in a car accident or did she go down on Cheryl in a threesome? Larry and Jeff go to check Virginia’s car. It’s undamaged.

Larry meets Cheryl for lunch to deliver the news. Obviously, she wants to know why Virginia backed out. Larry poses the idea to Cheryl that Virginia hurt her neck while going down on her. Repulsed, she leaves. Larry then gets a frantic call from Jeff. Susie is going to divorce him and he needs Larry’s help.

On his way over to rescue his friend, Larry drives by the the lemonade stand. He’s signing that song from “West Side Story.” Right when he passes by the kids and their mother he belts, “Gee, Officer Krupke, Krup you!”

At the Greenes’ house, Susie confirms that Virginia hurt neck in a car accident — she was driving Dennis’ car. Officer Krupke shows up, responding to a call from the mother by the lemonade stand. She said Larry cursed at them. While Larry is defending himself, Officer Krupke notices the security tag on Larry’s pants. (Apparently, he’s been wearing the same pants the entire episode.) Krupke doesn’t buy into Larry’s idea of a fair exchange, so he wants the pants. Larry, sensing an opportunity to get Jeff out of deep water, removes his pants in front of everyone. Guess what he has on underneath?

Susie: Oh my God. Jesus Christ. Who are you?
Larry: I’m Larry David. I happen to enjoy wearing women’s panties.

Ha! Perfect!

But why, oh why, did they include that final scene? Jeff is at Larry’s door and he’s in a neck brace. He needs Larry to tell Susie he was in a car accident. Too much?

I hope this evolves into a bigger story arc for Jeff and Susie. If not, all this time focusing on Jeff’s infidelity was kind of a waste.

The Next Iron Chef: now a boys’ club

Last night on Food Network’s “The Next Iron Chef,” the final four chefs were whisked off to Japan, where they would compete in the birthplace of the Iron Chef series. For the initial challenge, Chefs Garces, Freitag, Mehta and Mullen had to first create small dishes with the UMAMI flavor profile (a savory soy-based flavor originated in Japan). Iron Chef Masumatu Morimoto would be the judge.

Each chef appeared to do a nice job with this challenge, but chef Mehta won it with his leeks with panko; soy clams; grilled beef; apples; and strawberries. Morimoto thought he did the best job of incorporating the UMAMI profile, and suddenly he is looking like a contender.

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Mad Men 3.13 – “Do We Vote or Something?”

DAMN, that was good.

Tonight’s season finale of “Mad Men” was one of those blessing / curse episodes: it took threads from throughout the season, tied them together into a happy ending of cheer-worthy proportions, but just as you start to think, “Oh, man, I can’t wait to see what happens next,” you remember that you’re watching the season finale and that your wait is going to last for the better part of a year.

When we first see Don, he’s a goddamned mess. He looks like crap, he’s been kicked out of his own bed, and even worse, his alarm didn’t go off, leading him to show up late for a meeting with Conrad Hilton. Not exactly the best start to a day, and it only gets worse: Connie drops the bombshell that McCann-Erickson is buying Putnam, Powell & Lowe, and since PPL owns Sterling-Cooper…well, so much for the Draper / Hilton partnership. Given his already rough morning, it’s no surprise that Don quickly descends into mouthing off to Connie about his treatment, leading Hilton to snap back with the suggestion that Don’s being a bit of a whiner. In the end, the two shake hands and depart as…not exactly friends, but still on some semblance of friendliness, at least from a business standpoint.

It’s after this encounter, though, that the ball really starts rolling, and, man, there are some points where you feel like the ball in question is the boulder that chased Indiana Jones in “Raiders of the Lost Ark.” Seriously, this was about as fast-moving an episode of “Mad Men” as I can ever remember. After we have a quick flashback to Don’s childhood, wherein we see that he has some personal experience to abrupt business transitions, Mr. Draper blows into Mr. Cooper’s office and drops on him the bombshell that he’s learned from Hilton. The result, surprisingly enough, is little more than a shrug. (“It makes sense,” says Bert. “All that short-term thinking.”) When Cooper falls back on his “we’ve got a contract” mentality, Don lashes back and suggests that they try and buy Sterling-Cooper back from the Brits, making for an absolutely fantastic back-and-forth between the two of them, delivered with impeccable timing by Jon Hamm and Robert Morse. The buyback isn’t such a bad idea, but, of course, it involves Don and Roger Sterling having to start speaking again, which would seem to lower the odds considerably…and, yet, it doesn’t. Instead, it leads to a reconciliation between the two of them, though not before Morse and John Slattery get their chance to do some verbal sparring, with Cooper offering his “Join or Die” speech and Sterling openly mocking his tactics. Even after returning to speaking terms with Roger, however, Don still can’t catch a break, returning home only to get the word from Betty that she’s moving forward with her plans to divorce him.

The Trio of Power – that’s what I’ve decided to start calling Don, Roger, and Bert – soon reconvene and invite Lane Pryce in for a cup of tea, springing it on him that they know all about the situation with PPL and Sterling-Cooper. He tells them they’re slightly misinformed. Turns out that he’s slightly misinformed, once again getting the shaft from the company to which we’ve consistently seen him giving his all. This time they’ve gone too far, however, and he’s not afraid to let them know it. I gotta tell ya, I almost cheered when Lane began working out specifics with the Trio of Power about a possible partnership. This scene was even more enthralling than the ones which had preceded it, with the Trio more than willing to acknowledge Lane’s worth to them. And as soon as the quartet decided on their new plan of attack – to let Lane fire them and immediately begin working a back-door plan to start their own brand new agency – the tone of the episode officially turned into something not terribly far removed from “Ocean’s 11,” with a “we’re getting the band back together” vibe.

But what do you do when not everybody in the band wants to get back together?

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“A Christmas Carol” wins the weekend, but “Precious” gets the early Xmas cheer

Not quite Jim Carrey in Robert Zemeckis and Disney’s new CGI “A Christmas Carol” was pretty much destined to take the weekend, and it did with an estimated tally of $31 million. However, Nikki Finke noted that the film was expected to make, she says, at least $4 million more. I am inclined to think that the word that this version of Dicken’s holiday classic might be too scary for very young viewers might have given this entry a bit of a winter chill.

Variety, however, added insult to injury and the #1 movie found itself a subhead on its opening weekend. The trade paper of record instead led with the record-breaking per-screen average of the first new Oscar contender of the winter season, Lions Gate’s “Precious: Based on the Novel Push by Sapphire” which only placed 13th on the Box Office Mojo charts with an estimate of $1.8 million — but did so with an truly awe-inspiring per-screen average of $100,000 on 18 screens in L.A., New York, Chicago, and Atlanta. For comparison, the week’s second highest per-screen average went to “La Danse: The Paris Opera Ballet,” a new dance documentary by cinema vérité legend Frederick Wiseman with $14,000 on a single screen. This is obviously a ridiculously good start for a dysfunctionality-driven drama with some markedly uncommercial aspects to it. I also have to wonder if the theaters it was playing in were somewhat larger than the usual arthouse venues.

The association of “Precious” with after-the-fact executive producers Oprah Winfrey and Tyler Perry, who both literally bought into the film after seeing it but will be reportedly donating whatever money they make on the film to charity, obviously paid off here with largely African-American audiences. There’s little reason, however, to expect that the film won’t “cross over” with all ethnicities thanks to Oscar buzz and mostly great reviews. Still, I’d also argue that more traditional art-house style numbers later in its run are a real possibility. It is worth noting that the nine theaters it’s playing in the L.A. area are demographically fascinating, straddling predominantly black areas and the liberal, indie-friendly west side of town and have me resisting the urge to give you a history of Los Angeles ethnic politics. Somebody knows what they’re doing.

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Holding up the #2 spot is, not surprisingly, the Michael Jackson documentary, “This Is It,” which has ridden good worth-of-mouth to drop less than 40% and earn an estimated $14 million on its second weekend. Doing perhaps a bit better than expected, given that stars — at least stars with an average age north of 40 — no longer seem to have much impact at the box-office, the name-laden satirical comedy, “The Men Who Stare at Goats,” managed an estimated $13.3 million in the #3 spot. Considering the $25 million budget, pretty modest for a film with four fairly major actors, and the “meh”-to-sub-“meh” reviews for a movie that should be critical cat-nip, that’s really not bad at all. Being the only new comedy in some time probably helped.

Nipping at the goat-starers’ heels was “The Fourth Kind,” which engages in some “based on a true story” quasi-mock-doc shenanigans. Though I made sport of it last time, there really is a sucker born every minute and enough of them had $10.00 handy this weekend for the science fiction flick to net an estimated $12.5 million. Somewhere, the ghost of William Castle is smiling.

The weekend’s other new release was one-time “Donnie Darko” whiz kid Richard Kelly’s dark science fiction tale, “The Box.” Not too surprisingly, the “Twilight Zone”-like tale fell short of “Paranormal Activity” — hanging in very nicely with an estimated $8.6 million and sure to cross the $100 million mark shortly — and came in at sixth place with an estimate of roughly $7.9 million.

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