Category: Actresses (Page 154 of 258)

Taking 5

There was never any reason to go into the movie “Taking 5” expecting anything other than a tweener-centric comedy with laughs on par with your average Nickelodeon sitcom, but it had one thing going for it: the inclusion of The Click Five. What can I say? I like the power pop, and those guys do it well. Plus, as a music fan, the premise of the film sounded funny enough: Devon (Alona Tal) and Gabby (Daniella Monet) desperately try to win a contest where the prize is a performance by their favorite band, 5 Leo Rise (played by The Click Five), but when things go horribly wrong, they decide to kidnap them and force them to play. I should’ve known, however, that there was something a little dodgy about this flick when I heard that the line-up of the band in the film included their original lead singer, Eric Dill, who left the band in late 2006. So why did this film sit on the shelf for so long? You’d like to think it’s because The Click Five lost some serious career momentum after Dill’s departure (and, boy, did they), but it’s more likely because the band originally come off sounding like the biggest assholes in the world. Oh, sure, eventually they come through and save the day, but why would they start the film by showing the object of the girls’ obsession acting like a bunch of complete dicks? Oh, wait, I forgot: chicks dig that. Well, in that case, maybe they’ll dig this movie more than I did.

Click to buy “Taking 5”

The Shield 7.2 – Snitch

After last week’s episode set up the arc for the rest of the season, tonight’s show was a little more laid back. That isn’t to say that nothing happened, but it wasn’t quite as jaw-dropping as the events that transpired in the season premiere. No chopped-off feet to speak of, and no crazy shootouts in the middle of Farmington. There were plenty of confrontations (Dutch and Billings, Vic and Corrine, Danny and Tina), however, but nothing we haven’t seen before. Still, I love that the writers make the most of the Dutch and Billings pairing, because even though the latter may get on Dutch’s nerves most of the time, you have to admit that when he tries, Billings is a damn good detective. Unfortunately, Dutch’s character has fallen to the wayside over the last two seasons (to the point that his character is almost as insignificant as Danny, Tina or Julian), and though this season is first and foremost about how Vic is going to save his badge, I’d like to see Dutch become involved in the fate of Vic’s future before the end.

With the Armenian/Mexican gang war in motion, Vic decides that it’s high time to get Aramboles out of the country, so he orders Shane to set up “travel arrangements” to Mexico with the same coyotes that were originally going to get Lem across the border. I’m not exactly sure why Vic is helping Aramboles (he’s already set him up as the fall guy, so why go through all the trouble?), but it probably has something to do with the fact that he just doesn’t want to give Pezuela the pleasure of killing him. Speaking of which, Vic’s carefully plotted gang war is already beginning to spin out of control when the Mexicans greenlight a hit on Rezian. Worried that Rezian’s death will result in the Armenian mob’s second-in-command following through with the assassination of his family, Shane visits the Armenian number one in prison to warn him, thinking that by doing so, he’s insured his loyalty to him. Instead, Rezian simply confirms his fears: if he dies, so do Shane and Vic’s families.

As if things couldn’t get worst, the mayor has just initiated a Most Wanted list that ranks the area’s top ten gangs. Vic is worried that it will only create competition (he likens the list to the sports standings, with every team making a push for the playoffs), and he’s right. Within hours, a white businessman is gunned down for no good reason, and before the afternoon is over, another white couple is shot in the middle of gangland. When an old woman comes forward as a witness to the second shooting and fingers two youngsters wearing Spook Street colors, Vic brings in the gang’s leader, Jamal, for questioning. As it happens, Jamal really doesn’t know anything about the hits, but when he learns that Homeland Security is involved due to an Al Qaeda-related threat tied to the murders, he realizes that an earlier joke involving the terrorist group might have been taken out of context as an order. Whoopsie daisy, indeed.

Of course, there is some good that comes of this. By relieving the pressure on another gang leader (Moses) suspected of the murders, Vic is able to call in a favor to some of his guys in lockup to keep Rezian safe. Meanwhile, Shane visits the accountant testifying against the Armenian mob boss, and though the deputy sheriff is sitting in the room with them the whole time, he still manages to threaten the man’s life (along with his family’s) should he refuse to recant his testimony. I’m actually kind of surprised the accountant was able to understand the intended threat, but kudos to Shane for relaying the message without actually saying a whole lot. Of course, that deputy sheriff is an idiot if she didn’t notice the change in the accountant’s behavior after Shane mentioned the livelihood of his daughter, but maybe she’s unfamiliar with the concept of a crooked cop.

With Rezian safe for the short-term, however, Vic is more than happy to gloat about it to Pezuela. He’s also ready to renegotiate a new deal, and for every week that Vic’s tenure isn’t preserved, Pezuela will have to cough up $10,000 for his services rendered. Unfortunately, I’m not convinced Pezuela cares about money (he was willing to take a hit financially by ordering the hit on Rezian), so if Vic thinks that draining his pockets will do him any good, he’s in for some bad news.

Greetings to the New Show: “Fringe”

There’s a tendency among viewers to see the name “J.J. Abrams” and instantly consider it to be a mark of quality television. This is called “The ‘Lost’ Effect,” so named because Abrams is so intrinsically linked to “Lost” that those of us who are fans of the series – and, yes, I consider myself to be one – will tend to shrug off his failures because, hey, the guy was still responsible for “Lost,” so we’ve gotta at least give his stuff a shot, right? Now, in the interest of fairness, we should acknowledge that there are other individuals who subscribe to “The ‘Alias’ Effect” and “The ‘Felicity’ Effect”…though, oddly, you don’t hear much about “The ‘What About Brian’ Effect.” But I digress. My point here, really, is this: when it comes to the latest series to have Abrams’ name listed a producer, Fox’s “Fringe,” let’s all just try to keep things in perspective, view the show on its own merits, and try not to love it or hate it solely because he’s a part of it.

As it happens, “Fringe” has the advantage of featuring a couple of other names which give it added credibility, particularly amongst sci-fi fans: Roberto Orci and Alex Kurtzman. Fox has really been pushing the fact that the duo wrote the script for “Transformers,” but for some reason, they don’t mention that they were called upon by Zack Snyder to assist with the script for “Watchmen.” Funny, that. Probably more important than either of those credits, however, is their longstanding working relationship with Abrams, having done time with him on “Alias” as both writers and executive producers and writing the screenplays for both “Mission: Impossible III” and the new “Star Trek” film. The collaboration has worked out well in the past, so there’s every reason to be hopeful that…

Dammit! See what I mean? I almost fell into being optimistic about “Fringe” just because Abrams is involved. Granted, he was only a third of that particular equation, but even so, I don’t want to do that. Not again. I did it with “Six Degrees,” and 13 episodes later, I was left a bitter shell of a TV critic. I can’t handle that kind of heartbreak a second time…particularly not when “Fringe” reminds me so much of still another show that was canceled too soon: “Threshold.”

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Greetings to the New Show: “Do Not Disturb”

Back in July, when every broadcast network other than CBS was being stingier than Ebeneezer Scrooge about sending out screeners of pilots (or, in NBC’s case, first episodes, since they don’t do pilots anymore), I was pleasantly surprised when Fox stepped forward and provided us with the pilot for their new sitcom, “Do Not Disturb,” which focuses on the staff of a high-class hotel.

But then I watched it.

After enduring the viewing experience, I was still surprised that they’d provided us with the pilot…but, now, instead of being surprised that they had finished product with which to provide us, I was simply surprised that they felt like the show was worth showing to us, let alone put on the air. I don’t know if you remember my posting after sitting through the TCA panel for the show, but if you don’t, then this one sentence should provide you with sufficient insight as to my feelings on the pilot:

I was perhaps one of the few fans of Jerry O’Connell’s previous series, “Carpoolers,” and hearing that Jason Bateman directed the pilot episode of this hotel-based sitcom, I walked in ready to love it, but sweet Jiminy Christmas, this thing sucked so much that it might as well have been sponsored by Oreck.

Yes, it was just that good…and at least one other person agreed with me: my esteemed evil twin, Bill Harris of the Toronto Sun, who described it as the least funny sitcom pilot to cross his path in a couple of years. I think it’s safe to say that this dissatisfaction was shared by others beyond just writers named William Harris, however, since Fox soon made the decision to air an episode other than the pilot when the series premieres on September 10th. As a result of this move, the network proceeded to send us an advance screener of this episode as well…and after more than a week of having it sitting in my house and taunting me, I’m finally going to steel myself and watch it. But know this: I’m doing it for you, dear readers. People say that critics sit on high and look down at everyone else, deciding what’s good and what’s not, and maybe that’s true sometimes, but let’s not forget the sacrifices they make for the people who read their work…and while we’re at it, let’s not forget to ask God to have mercy on my soul for at least the next 22 minutes or so.

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Greetings to the New Show: “True Blood”

You’ve got to give HBO credit: they know how to hype a new series.

The amount of pre-publicity for “True Blood,” the new series from Alan Ball (creator of the late, great “Six Feet Under”), has been so tremendous that it’s been almost impossible to ignore. I certainly saw my fair share of the hype when I was out in L.A., but the network’s viral marketing campaign for the show has taken awareness of the series far beyond California. It all started with BloodCopy.com, but there have been billboards, fake ad campaigns for a product called TruBlood, MySpace accounts, and more.

All this for a TV show about vampires…?

Actually, it’s a pretty savvy move on HBO’s part to throw their marketing muscle behind “True Blood,” which is based on Charlaine Harris’ Southern Vampires Mysteries book series. Anyone who reads this blog knows that vampire-themed shows make for dedicated…oh, who are we kidding? They inspire straight-up obsession in their viewership, whether we’re talking about “Forever Knight,” “Angel,” or – yeah, baby! – “Moonlight.” HBO’s just playing it smart and getting the word out about the show from the get-go, to make sure it’s full-fledged event television when it premieres.

But is it…?

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