Category: TV Action (Page 54 of 145)

The Films of Michael Powell

England’s Michael Powell was a rare twofer as a director – both a great visual stylist and one of filmmaking’s most adept and original storytellers. While movie history played some very nasty tricks on Powell, depriving him of his rightful status alongside such contemporaries as Alfred Hitchcock and David Lean, his cult continues to grow. Indeed, after a day or two watching this package of two rare films making their long-overdue DVD debuts, you might be joining me for some genius-spiked Kool-Aid.

The first of half of this stunning double bill is 1946’s “A Matter of Life and Death,” one of a number of classics Powell made with Emeric Pressburger, his long-time filmmaking partner with whom he shared writing, producing, and directing credits. Originally released in the U.S. as “Stairway to Heaven,” this post-war romantic fantasy features a young David Niven as a downed RAF pilot whose apparently impossible survival and subsequent love affair with a sweet-natured American (Kim Hunter) arouses celestial interference from the heavenly powers that be – or, perhaps, that what he’s imagining, as a brilliant neurologist (Powell/Pressburger favorite Roger Livesey) grows increasingly concerned about his apparent hallucinations. This might sound like familiar romantic comedy-drama material, but there is a reason this was Powell’s personal favorite of all his films. It is a cinematic brew so rich and strange that on some levels it feels like a rom-com “Pan’s Labyrinth”; this one sneaks up on you.

“Age of Consent” isn’t on the same exalted level, but despite a shaky start and some unfortunate choices, it’s still aces. This rapturous, and often very funny, 1969 tale of initially semi-platonic May-December love stars then-newcomer Helen Mirren (“The Queen,” “Prime Suspect”), as a 17-year-old Aussie island waif, and aging star James Mason as a painter in need of inspiration. Far less giggle or squirm inducing than you could possibly imagine, “Age of Consent” appears to have been the first major-studio film to feature significant nudity (provided, of course, by Ms. Mirren). Despite hitting it big in Australia, it was butchered for its worldwide release and has been almost impossible to see ever since. Fortunately, this DVD does Powell’s last feature proud, including charming reminiscences from the now Queen-aged Ms. Mirren and Powell’s close late-life friend and number one fan, Martin Scorsese.

Click to buy “The Films of Michael Powell”

ABC cancels “Life On Mars”

Another good show bites the dust.

Granted, I wouldn’t put “Life On Mars” on the same level as last season’s time-traveling seriees, “Journeyman,” but “Life On Mars” has (had) a stellar cast — Harvey Keitel, Jason O’Mara, Gretchen Mol, Michael Imperioli — and a great premise. It debuted to strong ratings (8.2) but in recent weeks, ratings fell to the 3.0-3.7 range, which simply aren’t good enough to justify the expensive cast and production. (Coincidentally, “Journeyman” had similar ratings at the end of its run.)

The show will complete its 17-episode freshman-season order with an episode written as a series finale, wrapping the loose story ends, explaining how Tyler was transported back in time and perhaps bringing him back to his own time.

The show was a remake of a popular U.K. series that ran just 16 episodes (as planned). U.S. networks tend to try to bleed a hit for all its worth instead of getting in and getting out. Sometimes it works (“The Office”) and in the case of “Life On Mars,” sometimes it doesn’t. It turns out that the U.S. version will run one more episode than the U.K. version, so let’s hope that the creators have ample time to wrap things up. It looks like they do.

Season Pass Deleted: “Dollhouse”

I’m sorry. I can’t take it anymore.

I watched three full episodes of Joss Whedon’s “Dollhouse” and decided somewhere in the middle of the third episode that I couldn’t continue to watch the show. It didn’t help that the third episode had the dreaded troubled-pop-star-deals-with-stalker storyline, which has been done so many times before that it has become one of my biggest pet peeves. Bad stage production, bad singing, bad crowds…ugh.

The show has a solid premise — a business that rents out “dolls” which are programmed to suit the clients’ needs — and a pretty compelling macro storyline — a renegade doll on the loose and, separately, an FBI agent (Tahmoh Penikett) trying to find the dollhouse — but the week-to-week episodes just aren’t all that interesting. One week, the main character, Echo (Eliza Dushku) is an unconvincing kidnapping expert, the next she’s bait for a psychopath who likes to hunt humans. And last week she was a sassy backup singer who said things like, “You’re not okay…okay?”

Mind you, this is coming from a fan of Whedon’s work with “Buffy, the Vampire Slayer,” “Angel” and “Firefly.” I was really rooting for this show to work, but for whatever reason — suspect acting, sketchy writing, poor continuity — it just doesn’t.

24 7.11-12: Hey Madame President, you want some Candy?

As one of last week’s commenters observed, if you didn’t know any better, you’d think that I hate “24.” And to be honest, there have been times – and even seasons – when I did. But last week was an aberration in what has overall been the strongest season the show has assembled in ages, maybe ever. The show is always going to have its You Must Suspend Disbelief moments, and I understand that. I find that those YMSD moments are more forgivable when they revolve around timing, rather than when someone behaves completely out of character in order to manufacture a little more conflict. Just wanted to set the record straight for any newcomers to the blog. (*End of editorial*)

And while we’re talking about suspending disbelief, let’s address the most obvious one in tonight’s two-hour episode, and it’s not that a team of soldiers armed to the teeth found a way to infiltrate White House security. The show lives for that kind of conspiracy thriller stuff, and I would hate to see them stop. No, it’s the fact that no one involved in US intelligence had any idea that General Candyman was on US property. Public Enemy #1 is on your back porch, and you didn’t know? Really? Seth Meyers could riff on this for weeks in one of those Weekend Update skits. Like I said in last week’s comment section, how did he avoid detection? Did he float in on a raft? And if Candyman and Ike Turner are both in the States, who on earth is running Sangala? No one, apparently, because the soldiers are all running for the hills, but you’d think that the American soldiers in Sangala would have suspected that something was amiss before they bombed them back to the Stone Age. But hey, I have no military experience, so I don’t know how these things work. All I know is what a college friend and lifelong Army soldier once told me, which is that anything worth shooting is worth shooting twice, something Jack Bauer would wholeheartedly agree with.

Tonight’s episode finally gave us the smackdown we’ve been thirsting for: Chloe O’Brian vs. Janis Gold. And impressively enough, it ended with Janis getting the drop on Chloe, enough to convince Dudley Do-Right to lock up Chloe in holding. Of course, Janis had to work some magic of her own in order to obtain a recording of the phone call that incriminated Chloe, which opens the door to the possibility that Janis might have some secrets of her own. Perhaps Billy Walsh was just a smoke screen, and that he and Janis were both involved in the day’s events, with each unaware of the other’s involvement. That would certainly make for a nice last-minute twist, the type upon which this show thrives.

“So Chloe, are you thinking what I’m thinking” “I was thinking it before you even walked into the room.” “So it’s on?” “Oh, it’s on, bitch.”

The first hour of tonight’s show was just the buildup to the raid, but I thought they did a good job of ratcheting up the tension. I will, though, call two specific things into question: the fact that no one saw the “orderly” kill Ike Turner thanks to the phantom phone call (Ike’s death was not quite the head on a stake that I predicted in Hour 8, but it makes sense given the circumstances), and the fact that Jacqueline Bauer not only jumped onto a boat filled with soldiers, but chose to stay on the boat once she lost both her gun and her cell phone. All together now: Ahhhhhhh hahahahahahaha! Whew, all better. Seriously, that was just silly. Even better was that she walked right by all of their weapons as they sat outside, unguarded, on the boat’s stern. Had she grabbed one of those assault rifles, she could have at worst crippled Candyman’s efforts and at best stopped them entirely. This part of the show brought to you by Steve Winwood’s “Roll with It.”

So Jack knows that Senator Forman’s weasel assistant is the point man to the day’s events, and gets thisclose to getting him to talk (thanks to the threat of paralysis via torture, of course) when security blows the door down, at which point Weasel Boy predictably asks for his attorney and clams up. And sure enough, minutes later the lunatics have taken over the asylum. Interesting that they kill everyone in sight and then, upon capturing Big Balls Bill, decide that they need hostages. Not that I was rooting for Bill’s death, but it would have made more sense, since he was actively trying to mislead them by running off with Madame Prez’s tracker. Even more interesting was Tony’s story about his “contact,” who’s now “dead.” Are we all in agreement that Tony is the source, and is feeding Jack intel out of atonement for the bad things he’s done/is about to do? Even more curious was the conversation between the Vice President and one of his lackeys about not looking too eager to see the President get offed. This is surely to distract us from the real problem, which is none other than the retun of Jonas Brother (that’s Jon Voigt’s character, for those who missed my “24: Redemption” blog all those months ago), who sold out President Taylor’s daughter in a nanosecond in order to secure the safety of his mysterious shipment. Jonas Brother is like this season’s First Lady of Crazy: the gift that keeps on giving.

Our episode ends with President Taylor giving herself up so that Candyman doesn’t gouge her daughter’s eyes (though Old Yeller takes another bullet protecting said daughter, the poor bastard), and Jack utters the words that will make at least one loyal follower of this blog giddy: “I have a daughter.” Of course, what he didn’t tell Madame President was that his daughter is likely caught in a bear trap, or a hostage in a Kwik-E-Mart robbery, or something else equally crazy, but I suppose this was neither the time nor the place for details.

Heroes 3.18 – When Harriet Tubman Met Def Leppard

I’m not saying this was the best episode of the season, but it was definitely filled with some of the best dialogue of the season.

I can’t tell you the exact moment that I decided I liked every character on “Heroes,” but at least I can identify it for Claire’s new boy, Alex (though I like to think of him as Aqualad). It was when he looked at her and said, “You’re not Harriet Tubman, Claire, all right? And this isn’t the Underground Railroad. You’re just a high school girl, and you’re in over your head.” He’s probably a narc, but what can I tell you? You just don’t get many Harriet Tubman references nowadays; you’ve gotta respect them when they come along. Also, I actually laughed out loud when Alex wouldn’t even cop to having sex with Claire to save his own skin.

You know, I almost hate to admit it, but I actually kind of liked Hayden Panettiere’s performance this episode…probably because she actually played some semblance of a typical teenage girl for much of the time, particularly during the discussion with her mom about whether or not a divorce from HRG was forthcoming. Her mom had quite a few good lines during the course of the episode, too, including her observation about the van that’d been sitting outside their house for way too long (“No-one’s pool is that dirty”), but nothing topped the lustful shout-out to the glory of Def Leppard’s Rick Savage. Having the agent come in and almost but not quite find Alex wasn’t nearly as suspenseful as I think it was probably intended to be, though, nor was Claire and Alex’s great escape. And the underwater kiss…?

Okay, fine, it was actually kind of sweet. Happy?

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