Category: TV Action (Page 12 of 145)

24 8.22: On with the body count

There’s no other way to say it: the carnage from tonight’s episode of “24” made me positively giddy. Jack Bauer may have dispensed some Dirty Harry-style justice in the past, but this time around, he’s a Terminator. He doesn’t feel pity, or remorse, and he absolutely will not stop until you are dead. Jesus, I can still feel the small jabs that he hit that hit man with last week, but that shot of Novakovich’s suite littered with dead guys, with Novakovich himself taking a poker to the stomach…that was a thing of beauty. I have been waiting for years to see Jack do something like that. Way to give the people what they want, Fox. I love it when shows finally start acting like they have nothing to lose. Unfortunately, they usually only do so after they’ve lost everything.

Having said that, I’m still unhappy that Jack hasn’t thought to upload the incriminating video to the interwebs. On the plus side, Mr. Blonde still has a copy of it on his hard drive, and since the video is of Starbuck, and Buffy is the one that’s about to pay him a visit, it’s possible that Buffy will get one look at this video and want to blow the whistle whether Jack wishes it or not. Either way, it will be a huge missed opportunity if the world doesn’t see that clip.

I thought for sure that Timmy was going to quit on the spot when Allison asked him to organize the raid of a newspaper. He’s always had a strong moral compass. He has to know that this is bad juju. But never mind that: Jack had to know that White She Devil was not smart enough to evade the authorities long enough to get her piece written. Heck, how many of us are smart enough to fall off the grid? The second you use a credit card, boom, you’re done. Need cash? Can’t get any out of an ATM. She was a sitting duck, and Jack should have known that.

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“Hello? Hey, Mr. Rafferty, how are you? Are the royalty checks still coming in?”

Then again, I’ll forgive him for having other things on his mind, namely how he was going to make I.M. Weasel sing like a canary about his involvement in the day’s events. I’m actually tempted to reinstate Logan’s other nickname of Buck Buck Brawwwwwwk, because the sounds he was making as he was grilled by Jack sounded just like a chicken. And, to bring the Terminator analogy back, I loved how Jack only wounded the American agents while mercilessly killing any and all Russians. I half expected him to say to Logan, after knocking one of his Secret Service agents unconscious, “He’ll live.”

So I.M. Weasel finally reveals his source within the Russian government, and it is none other than President Suvarov himself. Now forgive me, because I can be a little dense – I’ll pause while you get all jokes out of your system – but this doesn’t make a lot of sense to me. Why on earth would Suvarov tell Logan anything? There is no good that can come from this, especially if he’s trying to torpedo a peace treaty that the President of the United States is pushing. If I’m Suvarov, I am meeting Logan’s call with a long string of phrases that vary on the theme “You dumb motherfucker!” Gee, thanks for not ratting me out, but you may as well have, dingus. Please tell me I’m missing something here.

That was a nice touch, though, to see that Jack planted a bug on Logan and overheard everything he said to Suvarov. Here’s the question, though: was he able to capture that recording? Overhearing isn’t exactly admissible in a court of law. Not that Jack is thinking about the letter of the law at the moment, but you get the idea. In case the video’s destroyed, he’s going to need a backup plan. Assuming he even has a plan at this point. Seriously, he’s killed every single Russian connected to Renee’s death. What else is left? Killing Suvarov? He should make a video of himself, in the event of his untimely death, where he explains everything that has happened up to now, and finish it by playing the recording of the conversation he just overheard, if he’s capable. Then, upload it to the Web. Have I mentioned that he should be uploading stuff to the Web, multiple times, and sending copies directly to TV stations as well?

Two hours left. It’s the end of an era, if you will. We’ve given nine years of our lives to this show, and in a week, it’ll all be over. They say that they want to turn it into a movie franchise, but as Mr. Paulsen points out, if people aren’t willing to watch it for free, who’s going to pay to see it? Surely the people at Fox know this, which gives me hope that they will actually have the balls to kill Jack in the final seconds of next week’s series finale, giving him a ten-second silent clock tick. Ah, but who are we kidding, that will never happen. The thing is, it should. For what he’s done in the last few hours, Jack’s either looking at death or life in prison, even if he succeeds in exposing two corrupt administrations. And I for one do not want to see Jack end the show behind bars.

I originally planned on titling this blog “…And you will know us by the trail of dead” after seeing that slow pan of Novakovich’s suite. But I’d be remiss if I didn’t pimp Ice-T’s hardcore side project from the early ’90s, which seems positively quaint now but was a big deal at the time, to the point where his song “Cop Killer” got him in so much trouble that Time Warner voided his contract. These days, of course, he’s a “Law & Order” guy. You know what would be really awesome? When the time comes to kill off his character, it’s at the hands of a guy who was amped up after listening to some rapper talk about killing pigs. I have to think even Ice-T would appreciate the irony of that.

Greetings to the New Season: Fox

The network upfronts roll on, this time with the fine folks at Fox trotting out their new fall schedule and revealing which new series have been selected to accompany those series which have survived. As of this writing, there are no clips to accompany the descriptions of the new shows, but I’m led to understand that we’ll be getting those in due course, so…oh, wait, scratch that: they just arrived!

Well, with that being the case, you can read the descriptions and check out the clips of what Fox has for us for the upcoming season. Just be sure to let us know what you think about what they’re offering up! Oh, and before you ask, we didn’t forget to include a clip for the last series. They didn’t offer a clip for the last series…but, hell, I don’t even think they’ve cast it yet, so at least they’ve got a good excuse.

MONDAY

8 – 9 PM: HOUSE

9 – 10 PM: LONESTAR: a provocative soap set against the backdrop of big Texas oil, from Chris Keyser and Amy Lippman, the creators of “Party of Five”; Marc Webb, the director of “(500) Days of Summer”; and creator Kyle Killen. Robert / Bob Allen (newcomer James Wolk) is a charismatic and brilliant schemer who has meticulously constructed two lives in two different parts of Texas. He’s juggling two identities and two women in two very different worlds – all under one mountain of lies. As “Bob,” he lives in Houston and is married to Cat (Adrianne Palicki, “Friday Night Lights”), the beautiful daughter of Clint (Jon Voight, 24, “Midnight Cowboy”), the patriarch of an ultra-wealthy Texas oil family. More than 400 miles away in the suburban west Texas town of Midland, he’s “Robert,” living a second life with his sweet, naïve girlfriend, Lindsay (Eloise Mumford, “Mercy,” “Law & Order: SVU”). In Midland, he plays the perfect boyfriend while secretly bilking local investors of their savings. In Houston, he’s a devoted husband, charming Cat and her family to cement his position in the rich family business he aims to clean out. Bob has lived both lives successfully for years without arousing any suspicions…so far.

While one brother-in-law, Drew (Bryce Johnson, “Popular,” “The Mentalist”), admires Bob, his other brother-in-law, Trammell (Mark Deklin, “Nip/Tuck,” “Desperate Housewives”), is suspicious of his motives. Bob begins to fear his secret lives may unravel. With the cons closing in on him, Bob is divided by his love for two women; his loyalty to his father and mentor, John (David Keith, “An Officer and a Gentleman,” “The Class”); and his respect for his father-in-law, Clint. Now as he tries to hold his two lives together, while fending off angry investors and the suspicions of those around him, Bob puts it all on the line hoping he can beat the odds, leave the schemes behind and keep two separate relationships afloat.

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Doctor Who 5.5 – Flesh and Stone

Now I’d had a little bit to drink – OK, a lot to drink – before I watched “Flesh and Stone,” and when it was over I swore it was the best episode of new “Who” ever. Upon sobering up, I watched it again. It was not the best episode of new “Who” ever…but it was still pretty damn great, and certainly both parts of this story combined make for one helluva sterling example of what makes the new series tick. Indeed, from now on, when I want to turn somebody on to this show, it may very well be through this two-parter.

I’ve written before about my theories of “Who” cliffhangers, which essentially boils down to “the resolve is rarely as good as the hang.” In this case that probably still holds, but Moffat came awfully close to equaling the hang by delivering a way out of an impossible situation that was surprising and fun. I’m not sure it made a whole lot of sense – the destruction of the gravity globe gave them an updraft? They must make this shit up as they go along (of course, how else do you do it?). The shifting of the camera turning around to show the group on ceiling was gorgeous and great little reveal. But the save is short-lived, and the Angels are restoring themselves via the power of the Byzantium. Everybody follows the Doctor into the ship, and once again, the camera has a lot of fun here – the shot of the Doctor standing upright as Amy looks down the hole at him.

Octavian: “Dr. Song, I’ve lost good Clerics today. Do you trust this man?”
River: “I absolutely trust him.”
Octavian: “He’s not some kind of madman then?”
River: (beat) “I absolutely trust him.”

Then the story shifts into an action flick. The Angels attack in the dark in a thrilling, claustrophobic sequence, peppered with further tension between River (Alex Kingston) and Octavian (Iain Glen). What is this woman hiding? It’s within this sequence that we first hear Amy says the number 10. There’s really so much going on in the action arena in this section of the episode that it’d be pointlessly drab to recap it, and yet it’s amazing to watch. Once they discover the forest within the ship, the story pulls back on the action, but not the tension. It just keeps building. The gimmick of Amy counting down heightens, and during the conversation with Angel Bob, the Doctor finally snaps, and gets to the bottom of what’s going on with the countdown, and it appears Amy looks into the eyes of the videotaped Angel for a tad too long in the previous episode. And as if not enough is going on by this point, the crack from Amy’s wall makes another appearance, only this time everyone sees it. Octavian leads the group away from the crack and into the forest while the Doctor stays behind to investigate the crack. While he’s doing so, the Angels mount yet another attack, this time against the Doctor solo. Particularly effective is the shot of the Angel grabbing the Doctor’s jacket. He manages to worm his way out of his jacket while talking to the Angels about the crack and runs off into the forest.

Again, most of this stuff makes for a lousy recap, but it’s so much damn fun to watch. It’s like trying to explain why “Die Hard” is great action movie by telling someone who hasn’t seen it about John McClane tying himself to a fire hose and jumping off a building in his bare feet. There’s no substitute for the real thing, and it’s rather silly to break it all down, because it wasn’t written to be deconstructed – it was written and directed to be a thrill ride. So kudos to Steven Moffat for writing a cracking screenplay that Adam Smith then proceeded to direct the hell out of. With this two-parter, Moffat has really redeemed himself as both a writer and a showrunner. This is the kind of fare I expected from him but wasn’t getting in 5.2 and 5.3. Adding to that, if this is Moffat’s version of the action-packed two-parters that always featured early in the Davies era, then blow me down. This is scads better than stuff like “Rise of the Cybermen” and “The Sontaran Strategem.” It’s not that those stories were bad, but they always felt like the bubblegum installments of their seasons, whereas this may also be bubblegum, but it’s bubblegum that keeps its flavor for a long, long time; in the midst of all this action, there’s room for great character development, stellar acting and strong drama. Oh, you know what else is mildly noteworthy? As I understand it, these two episodes were the first of the season that were shot, so it’s fascinating to note how firm a grasp Matt Smith and Karen Gillan had on not only their roles, but also the concept of the series at this early stage in the game. I’d speculate on what it must have been like to work through the lame scripts for “The Beast Below” and “Victory of the Daleks” after shooting fare like this first, but I’d best not. Surely these two actors had the time of their lives while making this season no matter how weak any given script may have been.

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24 8.21: The knife feels like justice

Tonight’s episode of “24” felt like a blast from the past. It was pretty lean in terms of storytelling, it contained a hellacious, if predictable, end-around, and ended with one of the most vicious torture scenes in the show’s history. Pity it had one major, major flaw.

I liked that Dominic was so busy trying to nail down Bauer down that he took no notice of Chloe and Merv the Perv conspiring behind his back. Even when he noticed Chloe giving him The Look (you know the one), he just tinted the windows and kept on scheming. Fool. Nobody puts Chloe in a corner. Still, you’d think Dominic would show a little more diplomacy when safeguarding high crimes committed by the White House. By yanking that file away from Arlo, he may as well have stamped “CORRUPT” on his forehead.

As Jack is setting up the meet with White She Devil, I’m thinking to myself, “There has to be a better way to do this.” Not in terms of getting her the evidence (more on that in a bit), but in terms of meeting out in the open like that. So as it’s going down and he shows up, I knew he’d have a plan, and sure enough, he did. He didn’t care about getting caught on camera – he knew the hit man who took out Crazy Jackie would be there, and could then settle two scores for the price of one. Get the intel, and make the motherfucker responsible for Jackie’s death squeal like a stuck pig before ultimately killing him. Re-enter Mr. Blonde, to get the drop on Dmitri Sharpshooter.

But I have another idea.

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“Let’s see, stab him, then the lighter fluid, then the blowtorch, then the pliers. No, pliers first. The crowd loves it when I open with that.”

That’s great that he was able to abduct – and torture the bejeezus out of – Renee’s killer, but if he just wanted to make sure She Devil got the video, why didn’t he just go viral with it? Post that puppy to YouTube, text her the link, have her record her own version in the event CTU discovers it, and send it to every TV station in New York City. She Devil said it herself, Starbuck’s tape alone was more than enough evidence to blow the lid off. He didn’t need to risk her life over it, which actually goes to Dominic’s point that Jack has indeed lost it, and is acting not out of duty but out of grief and hell-bent on revenge. I believe Jack has it mostly together; he did check himself after unloading about 20 hay makers on the helpless hit man. But let’s not kid ourselves, people: Jack Bauer is the Crow, and he will not stop until everyone responsible for Renee’s death is dealt with. And by dealt with, I mean gutted like a deer, but not before having a little blowtorch work done. And taking the cell phone memory card out of hit man’s stomach, staring him in the eyes the entire time…wow.

The bottom line is that Jack should go viral with the footage anyway, because once it’s out on the web, the government will not be able to control the message any longer. It’s an instant checkmate, and Jack, of all people, should know this. But hey, the “24” writers, for as advanced as their tech is, are slow on the draw with certain things. They actually used texting to their advantage this week, after passing on a golden opportunity to use it in an earlier episode. Before you know it, they’ll be Facebooking, tweeting, and then, when no one’s looking, sexting. Shhhhh!

I still have one question: has I.M. Weasel revealed how he suspected the Russians were involved in the day’s events? I remember him offering his services to Allison, and then blackmailing Mikhail into submission, but never really being forthright – not his strong suit, sure – with either of them. He must have known something, but what? If he heard chatter, then who was chattering? I hear chatter about lots of things, but I don’t offer my services to the President unless I’m 100% sure of my intel, especially if I’m a disgraced former President looking for redemption.

Time for tonight’s song, courtesy of a mid-’80s AAA-hungry Brian Setzer. This is the first time I’ve heard this song since its release, and all I could think of was Marshall Crenshaw. I’m frankly surprised Crenshaw didn’t write this, because it sounds just like him.

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