Category: TV Sci-Fi (Page 9 of 81)

A slightly lighter than usual end of week movie news dump

Well, at least I hope can get this done nice and quick because I’m really looking forward to making a Manhattan very soon. Forgive me if I miss something huge.

* As per Nikki Finke, the early box office returns for “Inception” are looking good.

* Though I was a big fan of “The West Wing” while he worked on it, my one complaint with Aaron Sorkin’s abandoned TV classic was that it was a bit rosy in how it viewed politics and politicians. Currently flying high as the screenwriter of the upcoming docudramas, “The Social Network” and “Moneyball,” he was almost the Gene Roddenberry of political drama in imagining a relatively ideal world that could be, but probably never would be. I don’t think excess positivity is going to be an issue in his movie directorial debut, as he’ll be covering the John Edwards mega-debacle. To think I contemplated voting for/volunteering for the egocentric jerkwad who, had he succeeded, would have sunk a party and a nation on the altar of his ego.

John-Edwards-NYC

* I don’t think I’ll really know what I think of Ryan Reynolds’ CGI-aided Green Lantern costume until I see it in the movie.

* Things have been hopping over at our sister site, Bullz-Eye.com. Earlier in the week Will Harris, with a little assistance from one or two other people who will remain nameless, took a look at 25 cinematic swan songs from film acting greats. Very cool (except for seven of them, which I’m unable to judge). Also, today, Will had a chat with his friend and rising young star, Dileep Rao, currently being seen in “Inception.”

* There may be no justice in the world, but Roman Polanski’s next movie is already being prepped, and it sounds good. It’s the film version of the London/Broadway hit play “God of Carnage.” Being as it’s a dark comedy/drama, it sounds right up Polanski’s alley. Also, Polanski’s 1994 film version of Ariel Dorfman’s “Death and the Maiden” was one of the most seamless stage-to-film translations I’ve ever seen.

* My high school history teacher, who was also a saxophone playing jazz fan on the side, always used to say that of all the rock music figures, the one he was sure wouldn’t last beyond another couple of decades in terms of popularity was Janis Joplin. Her super-gritty style was just too of the late sixties moment, he theorized. Indeed, she seems to be one of the less popular of the rock superstars of that era today. Well, director Fernando Meirelles of “City of God” and Amy Adams — a top-flight actress who is way cute to be playing the weather-worn Joplin  — will be hoping to disprove that theory with a new biopic.

* Okay, so we’ve got “Pride and Prejudice and Zombies” so why not Cain and Abel with Vampires (and Will Smith)?

* I like the sound of this: Stanley Tucci, who obviously gets along very well with Meryl Streep, will direct her and Tina Fey in a mother daughter comedy.

Grindhouse
* The Playlist apparently wants to make me happy. First, they report that the long-awaited DVD of the pre-prepared exploitation double-bill, “Grindhouse,” as it was originally presented in theaters is coming this October. Second, Joseph Gordon-Levitt is apparently planning to appear in some kind of a musical. Interesting.

I’m just annoyed that I missed his rendition of the Donald O’Connor “Make ‘Em Laugh” number from “Singin’ in the Rain” on SNL last year and it’s gone from Hulu for some reason. Moment of rank and utterly baseless speculation here: Could a team-up with fellow three-namer Neil Patrick Harris be in the cards? “Dr. Horrible and Dr. Horribler” perhaps? Forget I said that.

I’ve joked about “gender wars” at the box office, but this is ridiculous.

This is, of course, a highly unofficial trailer via /Film’s Russ Fischer for ‘The Expendables.” And I’m pretty sure guerrilla editor Garrison Dean is kidding.

(He also did some funny — if you’re a Firefly fan — eighties style fake openings for the canceled but never quite dead Joss Whedon series.)

Anyhow, for the sake of equal time, here’s the “Eat, Pray, Love” trailer.

True Blood 3.4 – Smell The Memories

Tonight’s episode kicks off with Sookie trying to make her new werewolf pal, Alcide, feel a little less crappy about having gotten his ass kicked in Lou Pine’s were-bar. Alcide’s pissed that his brethren would indulge in vampire blood and sad about the departure of his fiancée, the latter feeling only slightly less shoehorned into the script than it did in the previous episode. Sookie obviously felt guilty about the way she was laying hands on Alcide, but one suspects that the guilt only lasted until the phone rang and Bill dumped her. I know he’s doing it because he thinks it’s the only way to save her life, but the effect it’s having on Sookie is clearly traumatizing the poor girl. She gets into a debate with Alcide over what Bill said, why he said it, and what it all means, but it’s quickly made obvious that the last person who she ought to be talking to about her situation is a werewolf dealing with his own relationship problems. Thank God the guy’s got some semblance of restraint, but come the next morning, things somehow end up even more tense between them, with Alcide accusing her of being a doormat and Sookie demanding that he take her to his ex-fiancee’s engagement party. Yeah, ‘cause that’s an event every guy wants to attend…

Alcide’s sister, Janice, sure knows how to offer a compliment, telling Sookie that she’s cute and sweet, but only after admitting that she’d’ve settled for a two-bit hooker to get her brother’s mind off his ex-fiancee. Between what Janice said and what Sookie heard her thinking, it appears there are some serious parallels between the relationships of Sookie and Alcide, insofar as how long one should suffer through first love before realizing that it might not be worth all the trouble. But I digress, when I should be pointing out how Janice made Sookie look like Joan Jett’s hot little sister. (Marjorie Kase suggested that I throw a “Sandy from ‘Grease'” reference into my write-up. I’m guessing this is a reference to the “tell me about it, stud” transformation.) Unsurprisingly, Alcide isn’t exactly pleased to hear the news about Debbie’s situation, but he nonetheless agrees to help Sookie get into her party…which we’ll get back to discussing in a little bit.

Sam’s ready to kick his little brother’s ass for sneaking into his office, but in the process of trying to hunt him down, he stumbles upon his family’s van and learns that they’re temporarily camped out in his parking lot because of unpaid rent. Mom and Dad are less than thrilled at the news, but they’re not in any way surprised, either. Meanwhile at Merlotte’s, Jason tries to buy a round for his boys, but he ends up suffering pangs of jealousy over some young high school punk, while Sheriff Bud really is retiring, apparently, and he’s been given a pair of “dancing shoes” as a farewell gift. The revelation that Andy’s taking over the reigns of command pisses Jason off, though, sending him over to start some shit with the aforementioned young punk. Jason might’ve confused the kid with his “ten years from now” speech, but it actually made more sense than most of the things that’ve come of his mouth on this show. Also, Jessica’s working for Sam as a hostess…but not a waitress, owing to the fact that she’s forever trapped at the age of 17 and therefore unable to sell alcohol for all perpetuity (have these people never heard of a fake ID?)…but being out in the open leads her to be spotted by a former Bible-study classmate. Clearly, she’s got the hang of this glamoring thing, but too bad Hoyt got the wrong impression by only seeing the situation from a distance. So Hoyt’s jealous, Deputy Jones and Jason are both pissed, Arlene’s sobbing because the number of redheads employed by the bar has suddenly doubled…yep, it’s just another night in Merlotte’s. Oh, and by the way, Sam’s family is having a cookout in the parking lot. Son of a…

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Doctor Who 5.11 – The Lodger

Each season of the new “Doctor Who” has one or two “experimental” episodes – stories that just don’t feel like anything that’s come before. Thus far, most – if not all – of these stories have been successes. “Boom Town,” “Love & Monsters,” “Blink,” “Turn Left,” and “Midnight” have arguably been highlights in each of their seasons. It’s noteworthy that all but one of those was written by Russell T. Davies (and of course the one that wasn’t, “Blink,” was written by Steven Moffat). Davies seemed to be giving himself chances to think outside the [police?] box, and do something radical and different with the series on each occasion. I’m still not sure whether “Amy’s Choice” (which, like this one, was also directed by Catherine Moreshead) should be lumped into this group, but surely “The Lodger” is oddball enough to add to the list. So how does it stack up?

Well, it’s worth pondering why the story was made in the first place. For starters, it was very likely a chance to save some money. Aside from the episode’s climax, most of this tale is just people involved in seemingly everyday situations. But I think maybe there was more to it than just saving cash. Aside from “Boom Town,” the aforementioned stories were all designed to give the lead actors breaks. Given that this was the inaugural season of a new era for the show, it probably would have been a risky move to write the Doctor and Amy out for the bulk of a story, so instead what “The Lodger” does is remove Karen Gillan for most of the episode, while allowing Matt Smith the chance to chill out and just banter with James Corden (“Gavin & Stacey”) for an hour. Oh, and he also gets to play football, but since Smith has a history with the game, that probably wasn’t too taxing for him – the guy looks like he had a blast in that scene. Yes, for those of you who don’t know, Matt Smith once upon a time had dreams of being footballer, but a back injury led to him taking up acting instead.

Unlike Davies however, Moffat handed the oddball story over to Gareth Roberts, who has a long and winding history with “Doctor Who.” He’s one of “those” writers who’s been tied to it in one form or another for seemingly forever. I’m not familiar with the prose work he’s done over the years, so I can only really judge him on the scripts he’s written for the series, most of which haven’t been any great shakes. I quite liked “The Shakespeare Code” back when it was broadcast, but time hasn’t been too kind to my opinion of it. The following year he did “The Unicorn and The Wasp,” which I hated then, and hate only slightly less now. A recent viewing of it on BBC America led me to take it less seriously than I did a couple years ago, and hence, I was able to laugh at it a little more. The ending and the idea behind it is still pants though.

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The 2010 Primetime Emmy nominations are in!

Bright and early this morning…by which we mean 8:40 AM EST / 5:40 AM PST…the nominees for the 62nd Primetime Emmy Awards were announced by Joel McHale (“Community,” “The Soup”) and Sofia Vergara (“Modern Family”). It ended up being a worthwhile gig for one of them, at least, with Vergara pulling in a Supporting Actress nod for “Modern Family.” Maybe that’s why McHale seemed so stone-faced. (Seriously, did someone tell McHale that he wasn’t getting paid if he didn’t keep his smart-assery in line ’til after the nominees were read? The only time he cracked anything approaching a joke was when he preempted Vergara’s mangling of Mariska Hargitay’s last name.) Anyway, here’s a list of who got the glory…and, in the case of Best Actress in a Drama, who got the shaft.

Outstanding Comedy Series:

* Curb Your Enthusiasm (HBO)
* Glee (Fox)
* Modern Family (ABC)
* Nurse Jackie (Showtime)
* The Office (NBC)
* 30 Rock (NBC)

My Pick: “Modern Family.” There’s no question that “Glee” is award-worthy, but not necessarily as a comedy, which is also where “Nurse Jackie” falters in this category. I feel like “The Office” and “30 Rock” coasted in on their past merits this year, but “Curb” got a huge boost from the “Seinfeld” storyline, so it’s the only real competition here. Still, the buzz on “Modern Family” is all over the place. I can’t imagine it won’t bring home the glory.

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