Author: Jason Zingale (Page 88 of 154)

The Wire 5.5 – React Quotes

We’ve already hit the midway point of the season, and as the many subplots continue to creep along, they’ve also finally begun to merge together into one cohesive story. McNulty’s serial killer remains the center of attention, and for good reason. After calling Alma with news about the killer’s most recent victims, the two meet to discuss the case in detail. McNulty is hesitant to disclose any information at first, but when Scott (who tags along) admits that juicier details would give the story better coverage, McNulty lets them in on the fact that his killer has been biting people in very inappropriate places.

That alone is enough to send the story to the front page, and within hours, Daniels is at the mayor’s office to speak with Carcetti about the investigation. It turns out Carcetti is a little bothered by the spotlight a high-profile serial killer could bring to the city, and so he lifts the OT cap for McNulty and one other detective to work the case. Unhappy with the lack of commitment from the mayor’s office, McNulty is left to figure out another way to get surveillance on Marlo and his crew. As it turns out, McNulty left it up to luck.

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After Marlo meets with Vondas to discuss the details of their new business venture, Vondas gives him a cell phone so that he’s easily reachable. Marlo then gives his lawyer the number in case of an emergency, and when Herc steals it from his boss’ rolodex, it winds up in Lester’s hands. Unfortunately, Lester ‘s bid for a wiretap doesn’t go well, so instead of calling it quits, he and McNulty plot a way to fudge the paperwork on a wiretap for the serial killer case, and instead use it for Marlo’s cell phone.

The case gets additional help when a disgruntled Scott (who’s sent out to get react quotes from the homeless community) ends up faking a call from the serial killer to his cell phone. When combined with McNulty’s “call” (which just so happened to be dialed from the same location), the bid for that wiretap is a slam-dunk. Of course, now we know that Scott really is the sleazy scumbag that he appeared, but if his selfish motives end up helping McNulty and Lestor’s case, then so be it.

Meanwhile, Omar is back in town and staking out one of Marlo’s lieutenants. Being patient so as to not walk into a set-up, Omar waits for the best moment to strike. What he doesn’t realize, however, is that Marlo has remained one step ahead, and when Omar busts through the door to take out a few of his men, he’s ambushed by Chris, Snoop and Michael. Cornered behind a sofa, Omar makes a run for it and jumps out of the third-story window. When the three shooters run to the balcony to see where he landed, Omar has already disappeared. I was actually a bit surprised to discover that Omar made it out of the shootout unscathed, but the guy has shown in past seasons that he’s virtually indestructible, and while he still might not make it out of this season alive, he certainly won’t go down without a fight. And personally, I can’t wait.

Lost 4.1 – The Beginning of the End

After eight long months off the air, “Lost” is finally back… well, for eight weeks anyways. With the writer’s strike rearing its ugly head midway through production, it looks like fans will have to endure yet another lengthy wait for the remainder of season four. Still, it’s nice to have one of my favorite shows back in rotation. Sure, I probably complain more than anyone when it comes to the chronic inconsistencies of J.J. Abrams’ island drama, but when it comes down to it, there’s no denying that “Lost” has continued to captivate me, through good times and bad.

For the time being, it appears the flash-forward is the new flashback, and this is probably the best news of the season. There weren’t many memorable flashbacks last year, so the integration of this new parallel storytelling device is tantalizing at the very least. I don’t expect the flashbacks to be completely discontinued (then again, maybe they will be), but I wouldn’t expect one to crop up for quite some time.

Speaking of which, tonight’s episode opened with yet another flash-forward – this time starring Hurley. As Jack goes about his daily morning routine (i.e. drinking a glass of OJ spiked with a little vodka), he turns on the local news station to see Hurley in a high-speed pursuit with the police. After crashing into a convenience store and being arrested (all while shouting “Don’t you know who I am? I’m one of the Oceanic Six!”), it’s more or less confirmed that Hurley has gone a bit insane. When the detective in charge of the arrest mentions that he knew Ana Lucia, Hurley denies ever meeting her, and instead pleads for a transfer to the nut house. It’s there that he’s visited by Matthew Abaddon (Lance Reddick, from HBO’s “The Wire”), a man Hurley doesn’t seem to know, but who seems to know everything about him. In fact, when he asks Hurley if “they’re still alive,” the dude totally freaks out.

Not much is known about Reddick’s character, but a recent interview indicated that he was a man of power, which can only mean one thing: Dharma. As for the question itself, Abaddon definitely has to be referring to the survivors who didn’t make it off the island. This means that they’re either still alive, or all dead. I’m going to bank on the former, though, since Hurley’s future visit with Jack (sans beard and depression) seemed to indicate a need to return to the island to right their wrongs. What exactly they did is still unknown, but it’s clearly going to be the focal point of the remainder of the series.

Back in the present, the survivors are preparing for the arrival of the “rescue boat” when a recently stabbed Naomi sneaks away into the jungle. Somehow, Locke has disappeared as well – despite the fact that he was standing a mere 10 feet away from Jack moments before. More concerned with Naomi’s disappearance, Jack and Co. go into the woods looking for her. Kate manages to get separated from the group, however, and Naomi ambushes her from the trees. Again, how someone on the brink of death was able to climb up a tree is beyond me, but I digress. Naomi ends up trusting that Kate meant her no harm, and she puts in another call to her friends, who still haven’t been able to lock on to their location.

Meanwhile, the beach group (which consists of Hurley, Desmond, Sayid, Sawyer and Bernard) heads back to warn Jack about Penny’s message, but when Hurley somehow gets lost in the shuffle (discovering Jacob’s abandoned house along the way), Locke is there to lead the way. The two groups finally converge in the middle of the woods, and after the news of Charlie’s death is announced, Locke makes a speech about his plans to head to the Others’ barracks for refuge. Jack is against the idea, but after attempting to kill Locke with an unloaded gun (“You’re not going to shoot me Jack, any more than I was going to…” *click*), most of the red shirts (along with Hurley, Claire and Sawyer) join Locke in what seems to be the safer strategy of the two. This divide between Jack and Locke is probably one of my least favorite ongoing subplots, but it’s a necessary conflict for the story to progress.

The arrival of yet another pilot (Jeremy Davies) caps the end of the episode, and while it probably left most people wanting more, well, I have a pretty good feeling that next week will more than make up for the lack of action. “Lost” is back, and for once, I couldn’t be more excited by the possibilities that it brings.

GQ picks the Ten Best Guy Films You’ve Never Seen

It’s Oscar season, and most people are out catching up on nominated flicks like “No Country for Old Men” and “Michael Clayton” (both of which come highly recommended from Bullz-Eye’s own critics). The guys over at GQ, however, have decided to branch out and nominate some of the best films that any self-respecting man needs to see, but probably never have, and they’ve come up with a great list.

Don’t worry. You’re not going to find movies like “Rambo” and “Animal House” here, but more obscure (and mostly foreign) guy films that, while you may have never heard of before, are definitely worth your time. I’ve only seen four of the 10 films myself, but if the others are of the same quality, then you should definitely add these titles to your Netflix queue ASAP. I’m not going to ruin any of the picks here (though you may be able to guess one from the image to the right), so be sure to head over to GQ.com and check out the list for yourself.

The Wire 5.4 – Transitions

As the title suggests, tonight’s episode was all about transitions – from expected promotions to unexpected (ahem) demotions – and the biggest of them all was Burrell’s resignation as Commissioner of the Baltimore Police Department. Yep, you heard right. After a visit from Daniels assuring Burrell he had nothing to do (or knew nothing about) Carcetti’s plans to replace him, and another visit from Council President Campbell promising a pension and comfy gig if he leaves quietly, the grizzled vet officially threw in the towel. Of course, not before he entrusted Campbell with the dirt he’s got on Daniels – which may or may not affect Carcetti in the future.

I can’t imagine it will, however, since this is the final season of the show, but if it were to go on, Campbell might just have exactly what she needs to deny Carcetti the Governor’s chair and replace him as Baltimore’s new mayor. Then again, if McNulty’s able to raise the profile on his fabricated serial killer, Carcetti will undoubtedly earn serious brownie points by claiming himself a man of the people, and by default, of the homeless population as well.

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For the time being, McNulty’s still searching for more bodies, but that should get a little easier over the next few weeks now that Lester’s old partner has agreed to give them a heads up on any victims that float his way. You can also count on Alma’s next article about McNulty’s killer hitting the front page; especially when dead homeless start popping up with teeth marks (Lester’s idea) all over their bodies. Sure, it’s sick and twisted, but it’s also pretty funny.

What’s not funny, however, is the fact that no one seems to take Marlo seriously. I mean, McNulty and Co. obviously want to catch the guy (but only because he’s bad), Omar wants to kill him (but only because he drew first blood), and Prop Joe (perhaps the most clueless of the bunch) wants to domesticate him. For being such a smart gangster, Joe sure trusts a lot of the wrong people. Upon hearing that Omar believes he had something to do with Butchie’s torture/murder, Joe decides to take a leave of absence, but before he’s able to get the hell out of the city, Marlo arrives to bid farewell.

Joe’s death is probably the most surprising revelation of the fifth season thus far, but believe it or not, he was the glue that held together Baltimore’s criminal hoi polloi, and with him out of the picture, you can expect some blood to be shed over the next few weeks. Slim Charles will no doubt be gunning for Cheese after hearing of his disloyalty, and without Joe to oversee the co-op, Marlo will probably take out the rest of the major drug runners as well. The Greeks are also going to learn that agreeing to work with Marlo was a bad idea (especially if McNulty and Lester have anything to do with it), and Omar is going to do what Omar does best. Sorry, Chris and Snoop. This truly is the beginning of the end. Here’s hoping David Simon and Ed Burns can piece together an ending a little more compelling than onion rings and Journey.

Oscars ’08: The show must go on

The Academy Award nominees were released this morning, and if nothing else, they only further proved just how worthless this year’s Golden Globes really were. Most of the categories filled out as expected, but there were a few surprises, including Best Picture and Best Director nods for “Juno,” a Best Actor nod for Tommy Lee Jones, and Sean Penn’s crapfest “Into the Wild” getting almost completely shut out; save for the deserved nomination of Hal Holbrook in the Best Supporting Actor category.

Check out the nominees in all of the major categories, and then click below to read the full list. I’ve also attached stars to my predicted winners, so come back and let me know what you think.

BEST PICTURE
“Atonement”
“Juno”
“Michael Clayton”
(*) “No Country for Old Men”
“There Will Be Blood”

BEST DIRECTOR
Julian Schnabel (“The Diving Bell & the Butterfly”)
Jason Reitman (“Juno”)
Tony Gilroy (“Michael Clayton”)
(*) Joel and Ethan Coen (“No Country for Old Men”)
Paul Thomas Anderson (“There Will Be Blood”)

BEST ACTOR
George Clooney (“Michael Clayton”)
(*) Daniel Day-Lewis (“There Will Be Blood”)
Johnny Depp (“Sweeney Todd”)
Viggo Mortensen (“Eastern Promises”)
Tommy Lee Jones (“In the Valley of Elah”)

BEST ACTRESS
Cate Blanchett (“Elizabeth: The Golden Age”)
Julie Christie (“Away from Her”)
Marion Cotillard (“La Vie en Rose”)
Laura Linney (“The Savages”)
(*) Ellen Page (“Juno”)

BEST SUPPORTING ACTOR
Casey Affleck (“The Assassination of Jesse James”)
(*) Javier Bardem (“No Country for Old Men”)
Philip Seymour Hoffman (“Charlie Wilson’s War”)
Hal Holbrook (“Into the Wild”)
Tom Wilkinson (“Michael Clayton”)

BEST SUPPORTING ACTRESS
Cate Blanchett (“I’m Not There”)
Ruby Dee (“American Gangster”)
Saoirse Ronan (“Atonement”)
(*) Amy Ryan (“Gone Baby Gone”)
Tilda Swinton (“Michael Clayton”)

ADAPTED SCREENPLAY
Christopher Hampton (“Atonement”)
Sarah Polley (“Away from Her”)
Ronald Harwood (“The Diving Bell & the Butterfly”)
(*) Joel Coen & Ethan Coen (“No Country for Old Men”)
Paul Thomas Anderson (“There Will Be Blood”)

ORIGINAL SCREENPLAY
(*) Diablo Cody (“Juno”)
Nancy Oliver (“Lars and the Real Girl”)
Tony Gilroy (“Michael Clayton”)
Brad Bird (“Ratatouille”)
Tamara Jenkins (“The Savages”)

BEST FOREIGN LANGUAGE FILM
“Beaufort” (Israel)
(*) “The Counterfeiters” (Austria)
“Katyn” (Poland)
“Mongol” (Kazakhstan)
“12” (Russia)

BEST ANIMATED FEATURE FILM
“Persepolis”
(*) “Ratatouille”
“Surf’s Up”

ACHIEVEMENT IN ART DIRECTION
“American Gangster”
“Atonement”
“The Golden Compass”
(*) “Sweeney Todd: The Demon Barber of Fleet Street”
“There Will Be Blood”

ACHIEVEMENT IN CINEMATOGRAPHY
Roger Deakins (“The Assassination of Jesse James”)
Seamus McGarvey (“Atonement”)
Janusz Kaminski (“The Diving Bell and the Butterfly”)
(*) Roger Deakins (“No Country for Old Men”)
Robert Elswit (“There Will Be Blood”)

ACHIEVEMENT IN COSTUME DESIGN
Albert Wolsky (“Across the Universe”)
Jacqueline Durran (“Atonement”)
(*) Alexandra Byrne (“Elizabeth: The Golden Age”)
Marit Allen (“La Vie en Rose”)
Colleen Atwood (“Sweeney Todd: The Demon Barber of Fleet Street”)

BEST DOCUMENTARY FEATURE
“No End in Sight”
“Operation Homecoming: Writing the Wartime Experience”
(*) “Sicko”
“Taxi to the Dark Side”
“War/Dance”

ACHIEVEMENT IN FILM EDITING
Christopher Rouse (“The Bourne Ultimatum”)
Juliette Welfling (“The Diving Bell and the Butterfly”)
Jay Cassidy (“Into the Wild”)
(*) Roderick Jaynes (“No Country for Old Men”)
Dylan Tichenor (“There Will Be Blood”)

BEST ORIGINAL SCORE
(*) Dario Marianelli (“Atonement”)
Alberto Iglesias (“The Kite Runner”)
James Newton Howard (“Michael Clayton”)
Michael Giacchino (“Ratatouille”)
Marco Beltrami (“3:10 to Yuma”)

BEST ORIGINAL SONG
(*) “Falling Slowly” (“Once”)
“Happy Working Song” (“Enchanted”)
“So Close” (“Enchanted”)
“That’s How You Know” (“Enchanted”)
“Raise It Up” (“August Rush”)

ACHIEVEMENT IN MAKEUP
“La Vie en Rose”
“Norbit”
(*) “Pirates of the Caribbean: At World’s End”

ACHIEVEMENT IN SOUND MIXING
“The Bourne Ultimatum”
“No Country for Old Men”
“Ratatouille”
“3:10 to Yuma”
(*) “Transformers”

ACHIEVEMENT IN SOUND EDITING
“The Bourne Ultimatum”
“No Country for Old Men”
“Ratatouille”
“There Will Be Blood”
(*) “Transformers”

ACHIEVEMENT IN VISUAL EFFECTS
“The Golden Compass”
“Pirates of the Caribbean: At World’s End”
(*) “Transformers”

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