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Hidden Netflix Gems – Bringing Out the Dead

Hidden Netflix Gems is a new feature designed to help readers answer that burning question, “What should I watch tonight?” It will be updated every Saturday before the sun goes down.

Today’s entry is a hidden gem not only in the catalogue of Netflix, but also in that of beloved director Martin Scorsese, one of several underrated masterpieces so often overshadowed by more well-known ones like Goodfellas and Raging Bull. Along with films like The King of Comedy and After Hours, Scorsese’s 1999 film Bringing Out the Dead has been unjustly overlooked for the most part, and deserves more recognition than it has gotten. Sure, you could dismiss it as simply “Ambulance Driver” for its similarity to Scorsese’s breakthrough masterpiece, Taxi Driver, as well as the fact that both films were written by frequent collaborator Paul Schrader, but there is more to it than that. I’m certainly not saying it’s better than Taxi Driver, but it’s certainly different enough to warrant appraisal on its own merits.

The film follows three days in the life of constantly working New York City paramedic Frank Pierce (Nicolas Cage), who is so exhausted and depressed that he has begun to hallucinate. His most frequently recurring vision is of a young woman named Rose (Cynthia Roman), who he failed to save from a fatal overdose. Throughout the three days in which we witness his life, Frank is teamed with three different partners, each of whom seem to reflect different aspects of his personality and his viewpoint toward his job. Larry (John Goodman) does his best to not take his work home with him, looking at his work as simply a job by which he refuses to let himself be haunted. Marcus (Ving Rhames) is the polar opposite of Larry, a Christian who views his job as working the miracles of the lord, bringing the dead back to life. Tom Wolls (Tom Sizemore) represents pure, unchained id, a man who encourages Frank to release his own demons through naked aggression aimed at the patients he is meant to be helping.

Along the way, Frank saves an old man named Mr. Burke (Cullen Oliver Johnson), who is ultimately so far gone that he spends his recovery in an intensive care unit, repeatedly flatlining and being revived again. His former junkie daughter, Mary (Patricia Arquette), forms a tenuous bond with Frank, and the two of them find some hope for redemption in each other, though without the expected romantic subplot that would have undoubtedly been exploited in a lesser film. Though Arquette’s performance feels oddly flat and this is not Scorsese’s best film, it is also far from his worst, which makes it vastly superior to the average movie. Bringing Out the Dead is a fascinating look at a profession that is oddly underrepresented in the movies, and the depths of the human soul that profession must regularly plumb.

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TCA Press Tour, Summer 2010: Day 8

Much as the CBS family of networks split their efforts into two days worth of panels – one for CBS, the other for Showtime and The CW – so did Fox give us some breathing room by placing their presentations for FX’s slate of new programming on a separate day. (I wish to God NBC / Universal would take a cue from their peers. I’m so sick of being rushed through a mishmosh of NBC, USA, Bravo, and SyFy series in one long can’t-stop-won’t-stop day.)

Executive Session

Your personal mileage may vary, but for my money, John Landgraf is one of the nicest network heads currently in the game. He’s very low-key, but he’s always ready to give you a quote when you’re looking for one. Today, he offered up the following bits and pieces about the future of FX.

* “Louie” has been renewed for a second season of 13 episodes.

* Ben Garant and Tom Lennon, late of “Reno 911!,” are going to do a pilot for FX called “The USS Alabama.” It’s another partially-scripted, partially-improvised series, and, according to Landgraf, “It takes place in space on the USS Alabama with a crew of spacefarers who might not be too much brighter than the cops in ‘Reno 911!’”

* There are two other pilots in the works as well, the first being “Outlaw Country,” which will star Mary Steenburgen. “Some really talented young actors have joined that cast,” said Landgraf. “That goes into production in, I think, six weeks. It’s a fantastic script. Something we’re really, really excited about.” The other is “Wilfred,” a comedy pilot based on an Australian comedy series, which completed principal photography last week.

* The “Damages” deal done with DirecTV is different from the one that was done with “Friday Night Lights” in that FX will not be offering up the episodes after they’ve run on DirecTV. “The season that has aired, which was the third season of ‘Damages,’ is the last season it will air on FX,” said Landgraf. “For us, we’re also producers on ‘Damages.’ We’ve been co-owners and co-producers through FX Productions, and DirectTV felt very strongly. They were willing to underwrite it, and to a very substantial amount financially, they enabled it to move forward. That was the deal that Sony worked on very aggressively, but they wanted it exclusively, so this was really the best and only way for ‘Damages’ to move forward. So we stepped aside as a network entity, and we’re still involved as a production entity.”

Sons of Anarchy

I don’t know that there’s any series currently on the air that I feel worse about not watching than “Sons of Anarchy.” Everyone tells me it’s fantastic, I have every reason to believe that those people are right, and yet I just haven’t had the time to go back and revisit the show’s first two seasons. But that won’t stop me from bringing you the info that creator Kurt Sutter and his cast provided to us during the show’s panel, of course.

As far as the “big bad” for Season 3, as it were, Sutter says, “We have a couple dual storylines going in Charming and as well as in Belfast, but I guess if you had to pin it down to one specific adversary, I would say that it’s probably the Titus Welliver character, Jimmy O.”

What of the theme of the new season? “I don’t know if there’s one specific overriding theme,” said Sutter. “I think the theme is always about family and Jax sort of defining his role as a father and as a partner and as a son and as a member of this club, and the Abel storyline drives us through pretty much the entire season, and…I don’t want to give anything away in terms of what that means and where that takes us, but, you know, the thing is our seasons, the actual span of time within our seasons is very short. It’s potentially a couple, two or three weeks. So there isn’t a lot of time that passes where you can have a lot of things unfold organically. So it is a very concentrated period of time which I think helps feed, I think, the sense of urgency for the tasks that they have at hand this season.”

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