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24 8.18: What price paradise

Nickname change: President Buck Buck Brawwwwwwwwk will now be referred to by his original nickname of President I.M. Weasel. Because holy fuck, man, he is the sleaziest character this show has ever seen.

The thing is, I actually loved his scene with Novakovich, where he put the ambassador over a barrel and said, “Get back to the table, or you’re done.” It was vintage Charles Logan, done with a nod and that greasy half-smile of his. However, now that Jack Bauer nearly blew the lid off of everything using good old-fashioned detective work – with no small amount of intimidation – we learn that Logan’s plan, in full, was as follows:

1) Blackmail the Russian government into accepting the treaty
2) Tell President Taylor nothing about how he persuaded them to change their minds
3) Hope that his secret never gets out

Huh. I’m not sure he thought this through.

24-Ep817_Sc1721_6059

“So can you actually feel the weasel rays I give off when I’m this close?” “I’m sorry, I couldn’t hear you over the sound of my soul screaming.”

He didn’t consider that Dalia might find out on her own who killed Slumdog. He didn’t consider the fact that the Russians may sign this peace accord but they’ll never honor it, and eventually the truth about its bloody origin will spill. Lastly, he didn’t consider the one-man wrecking crew that is Jack Bauer, who was able to spoil his plan as soon as he hatched it. And since Logan kinda has a thing about Jack, what with Jack destroying his Presidency and all, he completely lost his objectivity when it came to silencing him. You’d think that Madame President would have noticed Logan foaming at the mouth like a rabid dog whenever he said Bauer’s name, since she has a much different relationship with Jack than Logan does – on account of being a good, honest person – and yet, she didn’t. And worse, she’s acquiescing to Logan’s suggestion that they continue with the treaty, even though Dalia Hassan will soon be sitting across the table from the people who killed her husband.

I call shenanigans. Allison Taylor would never, ever do that.

The nanosecond I.M. Weasel mentioned the Russian government’s involvement, the regular Allison Taylor, the one we saw every other week – the one who sent her own daughter to prison – would have sent Logan out on his ass. He says he recently became aware of their involvement, but who knows if that’s true? He wants to get back in the political game, and since his first step in achieving that goal was to blackmail the Russian ambassador to the UN (!), it’s clear that he cannot be trusted. That he’s trying to muzzle the best damn agent CTU has ever had should have been the smoking gun that he’s up to no good. And yet, Madame President went along with it. The one with the straightest moral compass of anyone on the show bought what Charles Logan, Charles fucking Logan, was selling. You have to think that Cherry Jones saw the script that day and said, “Oh, fuck me. I’m getting a lobotomy.”

And then Keifer Sutherland calmed her down by saying, “It’s all right, I’m getting one, too. I hijack a helicopter at the end of the hour.”

Look, I know that when Jack is all out of bubble gum, there is little stopping him. (“They Live,” holler.) But hijacking a helicopter? Do you know how easy it will be to spin that story to the public after they shoot him down? “Longtime dedicated Federal Agent, stricken with grief over the death of his Agent girlfriend, decided the Russians were responsible for her untimely demise. Film at 11.” No one will ask questions. His funeral party will consist of Kim and Chloe. Everyone else who ever cared about him is dead. Survived by daughter Kim, granddaughter Teri, and illegitimate son Jack-Jack.

At least they didn’t insist that Chloe lose her mind along with Jack. She warned him that she’d have to call in an air strike, and call in an air strike she did. Jack, wisely, flew straight to Manhattan, knowing that they wouldn’t dare risk shooting him down over New York. Still, there had to be a better way to get him back in play. Ooh, here’s an idea: how about keeping him in play? There are six hours left. It’s a sliver of time in the show’s history, but it’s an awfully long time for people to act completely out of character in order to service a bad plot idea. I don’t want to see “24” limp to the finish line again. Not on its final time around the track.

Tonight’s blog title comes courtesy of another mid-’80s English wuss rock band. What Price Paradise was the 1986 album by China Crisis, and is in tribute to Madame President selling her integrity down the river for disgraced former President I.M. Weasel. (I was thinking of using the Pretenders song “How Much Did You Get for Your Soul,” but my wife hates Chrissie Hynde.) She knew about the ‘disgraced’ part, right? Of course she did. So why did she go along with it, again? In the real world, both he and his weasel assistant receive a polite ‘no’ in response to their offer of assistance, and then their houses are burned to the ground while they sleep. Here’s hoping she gets a chance to right this wrong. Until then, I will refer to her not by the customary Madame President but by her first name, in order to show my contempt for the decisions she made this hour. As a bonus, I’ve included a link to the best fight scene in movie history, one so awesome that Trey Parker and Matt Stone re-created it shot for shot with two cripples. Enjoy!

Breaking Bad 3.5 – Escalate This!

This, my friends, was one hell of an episode, offering up multiple moments which will almost certainly inspire me to say the same of future episodes. Arguably the best of those moments came when we were made privy to a sight which both yours truly and Bullz-Eye.com editor-in-chief Jamey Codding have been waiting to see since January…but we’ll get to that later.

First, it’s time to flash even farther back.

How completely surreal to have the episode start off with footage from the first episode of “Breaking Bad.” I can’t say as I ever really considered the origins of the R.V., except to figure that, since Walt hadn’t given Jesse a whole lot of money to buy it in the first place, it was simply as good as he could find. With the benefit of hindsight, however, it’s pretty damned easy to imagine that a dumb-ass like Jesse circa Season 1 would have a little trouble coping with a sudden cash influx like the one Walt handed him. Some of the shit Jesse was spouting during the scene was pretty hilarious, as was the bit where the gang re-entered the real world at daybreak with one of them puking in the VIP Parking space. It was particularly nice to see Combo resurrected, even if only for the duration of the pre-credits sequence: in addition to reconfirming just how tight Jesse and Combo used to be back in the day and revealing Combo’s crucial role in the fruition of the Walt ‘n’ Jesse partnership, it also showed that, all things considered, he was probably lucky to have lived as long as he did. (Best moment: when Jesse groans that he only has about $1400 left and Combo hopefully suggests, “Waffle House?”)

Oh, if you’re wondering about the song they played in the strip club, it’s by the Teddybears and it’s called “Rocket Scientist,” but as of this writing, it ain’t available on iTunes. Sorry ’bout that, but at least you can hear it again by clicking below:

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Family friendly “Dragon” grazes the keister of “Kick-Ass”

We have another apparent photo-finish at the box office this weekend. Despite my confidence Thursday night that “Kick-Ass” would be the top film this weekend and probably come out in the middle-to-high end of the $20-30 million range suggested by all the prognosticators, the film appears to have come just shy of doing either.  For now.
Aaron Johnson and Chloe Moretz in
The “actuals” that will come out sometime tomorrow could change this. However, with an estimate of $19.75 million, the somewhat controversial hyperviolent “hard R” superhero action-black-comedy  is currently within $250,000 of being beaten by the $20 million estimate for the crowd-pleasing, PG-rated 3-D family film “How to Train Your Dragon”. That’s actually still good, if  you can ignore the expectations game.

However much the schadenfreude brigade plays up the gap between expectations and box office reality, the $30 million film from director Matthew Vaughn (a producer earlier in his career) is clearly going to be very profitable for Lionsgate. The man who started his career as Guy Ritchie’s producer and who since has proven himself to be, in my estimation, the vastly better filmmaker (I haven’t seen “Kick-Ass” yet), should be applauded for bringing an action film like this on what is, by Hollywood standards, a very low budget for an action film. I think that is especially so in the home video long haul as the “Kick-Ass” cult will undoubtedly grow, at least among fanboys of all ages. It’ll also be interesting to see if the film develops legs or sinks-like a stone theatrically, as many genre films do. Next weekend will tell that tale.

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Maximum Miramax

If you’ve been reading the various hard-news entertainment blogs and sites over the last few days, you’ve no doubt noticed the continuing drama of the sale by Disney of Miramax, the “mini-major” studio which once bridged the gap between indie and mainstream filmmaking. The studio was pretty much the creation of mogul brothers Harvey and  Bob Weinstein, who famous named it after their parents (Mira and Max Weinstein). Now, they may well be poised to reclaim the studio they once sold to Disney and ran for them, before leaving to start The Weinstein Company in 2005.

You also may have noticed Nikki Finke’s attempts to lay claim to the latest on the story and crudely and not very convincingly bash her competitors. THR writers Elizabeth Guilder and the man I always call “Jolly Carl DiOrio” may have been guilty of jumping the gun or overstating the case a bit since the negotiations do appear to be ongoing. Also, I didn’t get the e-mail alert of which she speaks and can only see the story I linked to, which duly notes Disney’s denial of the apparent scoop. However, right now it sure looks to me like they got the story essentially right  and it’s not like La Finke has never slightly overstated things on a news story herself — though she does get some very good, detailed inside dope, there’s no doubt of that. To Finke’s credit, she has left up the offending piece and not tried to hide the evidence of her being the mean girl much of her audience, but not me, wants her to be.

Anyhow, at a time like this, it might be appropriate to consider the compelling admixture of quality, marketing, and occasional appeals to a certain kind of middle-brow film snobbery that highlighted Miramax, courtesy of Mad TV, who bring you the ultimate Miramax trailer from the day.

It’s weekend box office time: “Kick-Ass” will kick..nah, forget about it

Easily the most ‘net hyped movie of the year not based on a Marvel superhero or collection thereof comes out this weekend, and while a monster hit isn’t expected, there will be some very long faces at Lionsgate if the comic-book adaptation “Kick-Ass” doesn’t collect at least about $20 million. I think they’ll be okay.

Kick-Ass

Indeed, if I were to bet, I’d expect the film to exceed expectations, if not this weekend, then later on in the run as the word of mouth among younger filmgoers gets out. True, as Jolly Carl DiOrio points out, it’s R-rating is a bit of a deterrent to the younger teens who’d no doubt love to see it but will have to come up with some clever maneuvers to check out this ultra-violent action non-super-powered superhero comedy any time too soon.

Of course, there’s more than a hint of controversy around “Kick-Ass.” It raised some hackles on its earlier British release and while getting mostly solid reviews, did so again stateside with a somewhat surprising one-star review from Roger Ebert. He seemed genuinely saddened and not amused by the spectacle of ultra-violence being meted out by, and later visited upon, the character of Hit Girl played by young superstar to be Chloe Moretz. Kenneth Turan, who’s often in the running for the title of the nation’s second most respected/well-known critic, admitted to being just a touch disturbed, but liked it and even declared it a pop-culture phenom. The interesting part is that Tarantino-negative Turan, who cites “Kill Bill” in his review, was utterly horrified by the violence in that film (the piece, or pieces, he wrote about it seem to have disappeared off the ‘net), while Ebert was beyond thoroughly amused.

It’s tempting for me to engage in a long speculation about other movies they’ve reviewed — a long time ago Ebert was somewhat similarly moved to anger by the finale of “The Dirty Dozen” but, much more recently, he defended, in amused but guarded fashion, “The Devils Rejects.”  But all there really is to say that what disturbs us, or doesn’t, and whether it does so in a good or bad way, is a highly individual and idiosyncratic matter and it behooves all of us critical types to remember that. Anyhow, whatever controversy there is will no doubt only feed the beast and expectations are for it to go from anywhere between $20 to $30 milliion this weekend and almost certainly taking the top  spot.

Death at a FuneralThe other major new release this week is Sony’s “Death at the Funeral,” a Neil Labute-directed remake of an identically-titled Frank Oz-directed British comedy from just a couple of years back with a primarily, but not exclusively, African-American cast. (Or, as Carl DiOrio would put it, the cast “skews to urban demos.”) Since the African-Americans in question are Chris Rock, Martin Lawrence, Tracy Morgan, and Danny Glover while Dominican-American Zoe Saldana, white dude James Marsden and little person Peter Dinklage make for a bit of added diversity, this R-rated comedy should play well with a reasonably broad audience.

Jolly Carl says “a debut in the high-teen millions seems doable.” Still, with possible strong showings for holdovers like “Date Night” and “How to Train Your Dragon,” the box office results could be close on Sunday. While the reviews are not at all particularly good, the original did better with reviewers but didn’t exactly make critics do handstands.

In limited release, we have actually too many interesting small movies to mention this week including the amusingly titled “Rosencrantz and Guildenstern are Undead.” (Shame the trailer isn’t as amusing.) However, “Exit Through the Gift Shop,” looks to be one of the bigger documentaries likely to come out for a while, while the social satire “The Joneses” with David Duchovny and Demi Moore is dividing critics in general, much as it divided our own David Medsker in particular. According to Box Office Mojo, it’s getting a relatively large first week for this kind of film with 192 screens.

The Joneses

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