While all the Trekkies or Trekkers or whatever the politically-correct term is are experiencing simultaneous excitement and apprehension at what the next “Star Trek” film is going to be like (and writer J.J. Abrams is offering virtually nothing in the way of information about what to expect, which isn’t helping any), several fans are basically saying, “Ah, screw that,” and taking things into their own hands. Even more impressively, they’ve scored the assistance of Walter Koenig (Chekov), Nichelle Nichols (Uhura), and Alan Ruck (Captain Harriman in “Star Trek: Generations,” but you probably know him better as Cameron from “Ferris Bueller’s Day Off”). Check out the trailer for the upcoming flick; I have to say, while I know the budget can’t be but so much – and most of it almost certainly went to secure the cast – it really looks pretty good.
Year: 2006 (Page 38 of 228)
“Behind Enemy Lines 2”
This direct-to-video sequel based on the Owen Wilson action film has about as much in common with the original as you’d expect: the title. Everything else is a serious step down in quality, including (but certainly not limited to) one of the worst male leads in the business. The premise actually feels a bit more “news worthy” this time around (about a possible North Korean-produced nuclear missile), but the execution is absolutely terrible.
“Taking You Higher”
Cedric the Entertainer sure has a lot of explaining to do. His first HBO special hardly compares to his earlier (and shorter) stand-up work, let alone even resembles one. Is this a comedy act or a burlesque show? It certainly feels like the latter, especially with a total of four song & dance numbers breaking up the unimpressive selection of jokes. This is truly an upsetting performance from one of the self-proclaimed “kings of comedy.”
“Connors’ War”
Naughty By Nature’s Treach stars in this direct-to-video actioneer about a blind CIA agent who’s injected with an experimental drug that can…. Okay, stop right there. Have you heard enough about this schlockfest? Me too. Let’s move on.
“Fatal Contact: Bird Flu”
Using a worldwide viral outbreak as its backdrop, “Fatal Contact” attempts to scare its viewers into believing that this could happen in real life. Well, duh, of course it could. You could also get hit by a public transport bus on your way to work, but you don’t see movies called “Fatal Contact: Jaywalker Road Kill,” do ya? Cheap scare tactics only work on certain people, and well, they probably already saw this when it aired for the first and only time on cable television.
Back in the ’70s, the ABC network incorporated the current hit “Still The One” by Orleans and co-opted it as their new slogan. They even went so far as to make a two-and-a-half-minute clip using their own version of the song pimping out all their hit shows with all the stars of said shows making cameos. Look, it’s Tom Bosley! Hal Linden’s in the big balloon! Sadly, I remember this promotional campaign. It even extended into the local network affiliates where various locals were shown holding up their index fingers in a #1 symbol as “Still The One” played in the background. Truly wretched. I would love to see a network make a new one of these promos. Can you imagine the possibilities?
With new shows starting to drop like flies, I started thinking about which cancellations would break my heart. Here are five series that absolutely must survive the season, along with this week’s odds of it being cancelled, as determined by the good folks over at BrilliantButCancelled.com.
“Studio 60 on the Sunset Strip” (Mondays, NBC) (144:1)
NBC has put its weight behind this new Aaron Sorkin series, which follows the goings-on behind the scenes at a late-night comedy show. The dynamic between Bradley Whitford and Matthew Perry (who play the fictional show’s producer and writer, respectively) is terrific, while Amanda Peet is shockingly convincing as the network exec in charge of programming. But the most pleasant surprise has been the performance of Sarah Paulson, who is so convincing as the show’s star (coming up with killer Juliette Lewis and Holly Hunter impressions), it makes me wonder why she didn’t go into sketch comedy in the first place. “Studio 60” has quickly filled the void left after “The West Wing” left the air, and while its ratings are way behind “CSI:Miami,” the word is that the numbers are still well ahead of the baseline that NBC needs to keep the show on the air. Sorkin’s cred can’t hurt, either.
“Heroes” (Mondays, NBC) (483:1)
This series has been a strong ratings earner, so it doesn’t appear to be in much danger of being cancelled, as evidenced by the long odds. The separate storylines are starting to come together and the acting is getting better. The show is darker than expected; it deals with date rape, drug use, infidelity and murder, which makes perfect sense – in order to have heroes you must have villains. Plus, it can’t hurt to have arguably the best new character of the season – Hiro Nakamura, the Japanese time traveler.
“Friday Night Lights” (Tuesdays, NBC) (72:1)
While the series based on Texas high school football hasn’t been a ratings giant on Tuesday nights, it has done well with young men, which is the toughest demographic to reach. I was concerned about the casting of Kyle Chandler (his eyebrows bother me), but he’s been solid as the team’s head coach. I’m especially interested in the future of the backup QB, played convincingly by Zach Gilford, who was thrust into the spotlight when the star QB went down with an injury. The show is shot in a herky-jerky sort of way, which adds to its realism, especially during game sequences. I might have put the series on Wednesday night – smack dab in the middle of the week to give football fans a fix before the weekend, but I’m sure more scientific thought than that went into the show’s scheduling.
“Jericho” (CBS) (34:1)
This show needs to make it through the year, not because it’s particularly good, but because I want to know what the hell is going on. In many respects, the show has been “CBS’ed.” That is, there are too many heart-heavy, family-oriented moments and the soundtrack generally sucks, but the show’s terrific premise and the subsequent questions will hold my attention throughout the season. Who attacked us? What do they want? Where do the citizens of Jericho (and its country) go from here? I sure hope that if the show is cancelled, they’re at least given enough notice to provide answers to those questions.
“30 Rock” (NBC) (134:1)
My wife would kill me if I didn’t include this show on the list. Tina Fey’s half-hour comedy about the goings-on behind the scenes at a late-night sketch show (sound familiar?) has proven that “30 Rock” and “Studio 60” can co-exist. “30 Rock” is schticky, while I find “Studio 60” wittier. Even though the two shows have the same premise, they go about it in very different ways. Aside from “The Office” and “My Name Is Earl,” there is a dearth of good sitcoms on the air, so “30 Rock” is more than welcome to join the party. By the way, Alec Baldwin is hilarious as the network exec in charge of the show.
For those that missed an episode or would like to get caught up can go to each show’s website to watch back episodes. The NBC shows have this week’s episodes available for streaming, while “Jericho” appears to have all back episodes available for online viewing.
…but all of it’s going to burn.
Episode 5 begins with a rapid-fire back-and-forth conversation between several people at the bar that feels like a desperate attempt at capturing a “casual dialogue” feel. It flops miserably. Hopefully, they won’t attempt it again; seriously, it was bad enough to turn anyone away from the show.
There are several interesting developments this episode, though we get some cliches as well. The power’s back, and so are the phones…although the first voice anyone hears is from the director of Homeland Security, basically just saying, “Sit tight, don’t panic, we’re on the case.” There’s also a TV signal, but it doesn’t offer much, except to move from an emergency broadcast screen to that of the Presidential seal at the end of the episode; presumably, next episode will begin with a message from the President himself…or whoever’s running the country. The drama between Eric, his wife, and the bartender…I dunno, I’m just not all that caught up in it. Same with the New York accountant and the bankrupt farmer; enough with the flirtation already. It doesn’t ring true…much like the cliche of making the New York businesswoman be a complete bitch who complains about the small-town yokels. (Expect the follow-up cliche where she warms up to everyone due to the mutual distress they’re all in.) The fact that so many fires occurred around town at approximately the same time seems too coincidental – sure, it might just be because of the power spikes, but I’m skeptical – but, really, did we really need the obligatory child-runs-back-into-the-burning-building plot line? We get more teen angst, and there’s no real development on Robert’s mysterious history, except to see that he has the equipment to access the internet when no-one else can. (I have to say, I cringed when Jake was looking through the telescope at Robert and, though he clearly didn’t know he was being watched, Robert started looking around.) There’s further dancing around why Jake left town and where he went, but we don’t get any resolution on that…well, except for Jake’s passport photo on Robert’s laptop, which does, admittedly, raise my curiosity.
There are a couple of legitimately funny moments in the episode, starting with the power coming back on in “Jericho” and BTO’s “Taking Care of Business” playing loudly. You’re almost certain it’s going to be the soundtrack to a montage of people running through the town…until someone walks over and turns off the jukebox. It’s also smirk-worthy when, after Jake continues his ongoing false claims about what how he learned his various skills (when he knows how to turn on the water pressure to save a burning house, he explains, “I was a pool guy”), he’s called on it by Robert (he provides emergency power with the line, “I was a pool guy, too”). The best, though, is the teasing reference to another new series, which occurs when Emily gets zapped by a power line and is knocked unconscious.
Boy: Is she going to wake up?
Doctor: Yes.
Boy: (Hesitates) With super powers?
Doctor: Probably not.
All in all, though, we spend the entire episode waiting to find out what the government is going to say during their broadcast…and it ends without us ever finding out, which is a little annoying. Then again, it also ends with missles flying through the air, so there’s little question that I’ll be tuning in next week, anyway.
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