Category: TV Sci-Fi (Page 60 of 81)

Heroes: Season 3 Preview

I have seen the first hour of the two-hour premiere of the new season of “Heroes,” and I’d just like to dispel a rumor that’s been floating around the ‘net: the episode does not begin with Sylar standing in the shower, assuring Claire that Season 2 was just a bad dream.

Poor Tim Kring. He’s spent the last year having to deal with non-stop comments about how the second season of “Heroes” didn’t live up to the expectations that had been set by the first season, so much so that he felt obliged to go on the record with Entertainment Weekly and apologize to the fans. But don’t feel too badly for him: Kring’s reputation is already on the mend, courtesy of this first hour of Season 3 (subtitled “Villains”), of which the producers of “Heroes” were so proud that they debuted it at Comic-Con way back in July.

Our man Jason Zingale was on the scene at the time…yes, that’s right, he saw it before I did, the bastard…but sadly for those who love their spoilers, he was willing to say precious little about what he’d witnessed.

“I’d like to talk more about what I saw, but I simply don’t want to ruin the experience,” he said, in his original blog entry. “All I’ll say for now is that it is mind-blowing, and it’s exactly what the series needs after season two was interrupted by the strike. Some cliffhangers are explained and others aren’t. New characters with powers are introduced, while older characters reveal new powers of their own. And perhaps most importantly, it’s all done with a comic flair that was sorely missing from last year’s mini-season.”

Having now seen it for myself, I have no arguments with any of his statements. It really does feel like a return to form for the series…though, of course, let’s be honest: given how long it’s been since we last saw a new episode of the show – can you believe the last one aired on Dec. 3, 2007? – isn’t it possible that our desire for more “Heroes” might be making us a little bit more forgiving than we might otherwise be?

Sure, it’s possible…but when you see it for yourself on Monday, I’m pretty sure you, too, will agree that the series hasn’t been this much like a live-action comic book since Season 1.

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Fringe 1.2

This won’t be a formal blog, mostly because I wasn’t able to watch the episode when it originally aired, but given the discussion that evolved from my initial preview of the pilot, I thought I’d at least offer up a few brief comments about Episode #2.

* First off, I didn’t mention it in my original write-up about the series, but I really dig the way they set the location: with huge letters that look like they’re part of the scenery. It’s one of those accepted parts of a series that you wouldn’t think they could do anything particularly unique with, but damned if they didn’t.

* Like the pilot, the opening sequence is nice and harrowing, making it the perfect way to get you caught up in the episode right off the bat, and the decision to provide it with limited commercial interruptions – timed down to the second – was certainly appreciated as well. Also, the method of offering flashbacks to the pilot was a nice, unobtrusive way to giving first-timers just enough info to walk into this episode without feeling lost.

* The character of Dr. Walter Bishop continues to be fascinatingly eccentric, with his memories ebbing and flowing like the tide, but the reality is that John Noble’s performance in the role is enthralling to watch. His quiet, innocent delivery makes even the strangest lines work, and his sudden explosion of anger at one point is downright shocking.

* Thankfully, they have indeed attempted to downplay the Pacey-isms being delivered by Joshua Jackson. There are still a couple of moments where he throws out snappy lines which feel inappropriate, but the character of Peter is startling to feel more like a real guy caught up in a weird situation. (I can only presume that his aptitude at police work comes from years of watching procedurals on TV.)

* Okay, maybe Anna Torv is a little glum in her delivery, but I don’t really have a problem with her performance. I had to laugh when my wife made a comment about how she needed to get her roots done, but she accepted my argument (or pretended to, at least) that a real government agent wouldn’t be all that concerned about maintaining a glamorous look, anyway.

* Obviously, things don’t really kick into high gear until the last 15 minutes of the episode, but between the unfolding of the man-baby plot, Walter remembering where he parked his car, the tie-in to the case to Walter’s research, and Olivia trying to work out how much of her work over the past year was tainted by her traitorous partner, I remained thoroughly interested from beginning to end.

* All hail the cow!

Terminator: The Sarah Connor Chronicles 2.2 – Boring, Sarah, Boring

“Oh, this isn’t cool.”

Those are the words I uttered when the beginning-of-episode recap came and went this week with neither a glimpse nor even a mention of the sexy T-1000 who made such a memorable appearance in the final moments of the season premiere. And I can’t imagine I’m the only one. When Shirley Manson transformed from a urinal into a liquid-metal killing machine last week, it was – to paraphrase David Medsker – a moment of the “hell, yes” variety, and to follow that up with an episode which mostly acts like it never happened…?

Frankly, it verges on the unforgivable.

So yet another guy from the future comes back to send a message to the Connor clan, barely surviving long enough to spit out his message that they should go to their friendly neighborhood nuclear power plant. We get a brief flash-forward…we’re talking about five seconds long…so that we can get an idea of the importance of this plant, but while glimpses of the future always look awesome, you can’t help but look at the brief scenes and think, “Well, that was nice. Too bad they probably blew 95% of this week’s special-effects budget on that sequence.” In this case, it was apparently more like 99%, since the FX otherwise remain at a bare minimum this week…but I digress. Sarah and Cameron quickly get jobs at the plant, with Sarah almost managing to act more suspicious than Cameron in her attempts to ingratiate herself to the boss man, Carl. (It’s bad enough when she does it in the office, but when she turns up at the local watering hole, it’s even worse.)

John’s freak-out at the end of last episode apparently wasn’t as profound as it might’ve looked from his haircut, but he’s clearly still a changed (young) man. Although it was done a little heavy-handedly, his return to school made a very good point: how do you just go through the motions when you already know what the future holds? With the help of a new female friend, apparently. It’s funny that Busy Phillips should play the very pregnant realtor who shows Sarah Connor their new digs, since even before she made her appearance, I was already thinking that Riley (Leven Rambin), totally reminded me of Kim Kelly in “Freaks and Geeks.” At the moment, though, there’s not much to the character of Riley, aside from the fact that she’s kind of cute and she clearly thinks John is, too.

There was an ungodly amount of conversation in this episode, much of it stupefying in its banality. The worst offenders were the conversations between Sarah and Carl, of course, though the drivel being spouted between John and Riley wasn’t much better. The scenes with Agent Ellison and Charley Dixon were interesting in a let’s-get-all-the-loose-ends-from-last-season-wrapped-up kind of way, but they weren’t overly satisfying, mostly because Charley was a great character. I’m sure we’ll see him return, because I refuse to believe that he won’t eventually kick his wife to the curb in favor of Sarah, but it was a shame to see him go nonetheless.

This may well have been the most boring episode of “The Sarah Connor Chronicles” to date, and after the success of last week’s season premiere (granted, I liked it better than David did, but, still, even he admitted that there was plenty of action to be had), it could prove to be a momentum-killer of gargantuan proportions. Virtually nothing of real note happened until the final quarter of the episode, and when things finally did get rolling, with the near-meltdown of the power plant, it still wasn’t very exciting. Even the one moment which should’ve been creepy – the shot of Carl’s body hanging from the ceiling of his living room – was ineffective, since the “Carl” at the plant was acting so mechanical and robotic that you already knew he had been replaced by a Terminator.

When Shirley Manson finally reared her head at the very last second to make a liquid-metal appearance that was even shorter than last week’s, it felt like a slap in the face to those who had just sat through the previous 50+ minutes waiting for her arrival. Better she should never have showed up at all.

A Chat with Naoko Mori of “Torchwood”

If you’re an Anglo-centric sci-fi fan, then I won’t be telling you anything you don’t already know when I say that “Torchwood” is one of the best shows of its type to come around in ages. Spun off from “Doctor Who,” the series focuses on the Cardiff branch of the Torchwood Institute, an organization which was founded in 1879 by Queen Victoria to research and combat alien threats to the British Empire. If you’ve never watched “Torchwood,” it’s time to start playing catch-up. Season 1 is already available on DVD, and Season 2 makes its DVD debut on September 16th.

In conjunction with the Season 2 release, we were granted the opportunity to speak to one of the show’s cast members: Naoko Mori, who plays computer specialist Toshiko Sato. Like everyone affiliated with Torchwood, Toshiko…or Tosh, as she’s more familiarly known…has gone through quite a lot in her time with the Institute, but she definitely had more than her fair shares of issues in Season 2. We spoke with Ms. Mori about how she came aboard “Torchwood” in the first place, asked what it was like working during James Masters, quizzed her on her favorites episodes of the show, and – perhaps most crucially – asked if she still gets secretly excited when she recalls how she had a role in “Spice World.”

Stay tuned for…

Naoko Mori 1

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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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