Jack’s Back and Grissom’s Gone
Almost seven months ago, in my third post, I wrote about my disillusionment with American TV due to the current predilection for long running stories that were never allowed to reach fruition. I stopped watching US TV shows completely, going cold turkey (at the time I had a fifteen shows per week habit). But, like Michael Corleone, “Just when I thought I was out they pulled me back in”.
It’s no surprise that the series that drew me back in was NBC’s superhero show Heroes – as a long time comic book junkie, it was impossible to resist. I also tried a few of the other new series, notably Jericho, Shark and Justice. Sadly Jericho failed to make the most of its interesting premise and Shark relied too much on the star power of James Woods at the expense of original stories and interesting characters. Only Justice grabbed my attention, with its did-they-or-didn’t-they stories that kept you guessing until the very end and Victor Garber as a lawyer who made Shark look like a goldfish. Of the three, Justice was the one that got canned, go figure.
On top of the new shows I returned to some old favourites, though not quite to the level of my previous addiction. I’m currently watching seven ongoing series and trying some others when they pique my interest. So here’s what I’ve been watching in January.
24
“Day 6: 6am-12am”
Jack’s back, cue explosive action scenes and absurdist plot twists. I don’t know why most people watch this show but for me it’s seeing how far Jack will go to get the job done and what outlandish events the scriptwriters will conspire to throw at him. Already this time we’ve seen Jack take out fellow CTU agent Curtis Manning and Jack’s father and brother tied into events that have put nuclear weapons into the hands of terrorists. Not to mention the revelation that the man behind the events of Day 5 was Jack’s brother.
If anyone else had been released after twenty months as a Chinese prisoner they’d probably need help just walking but, after a quick haircut, shave and probably a manicure, Jack is still a match for any terrorist he comes across. Hell, he doesn’t even need to use his hands, he quite literally chews up terrorists and spits them out (luckily his Chinese captors never went to work on his teeth).
The idea of a nuclear detonation on American soil is the biggest threat the show has ever presented and the sight of Jack standing looking at a mushroom cloud in the distance is one of the most memorable images I’ve seen on TV this year. It makes you wonder how they could top it for Day 7.
Battlestar Galactica
“Rapture”
After over a month’s wait for the conclusion of the two-part story that began with “The Eye of Jupiter” this is something of a letdown. Yes there is plenty of action as Apollo and his team hold off the attacking Cylons and even a little tension when Adama aims Galactica’s nukes at the planet daring the Cylons to call his bluff but at the end of the day we don’t really learn much.
We get more talk of “the final five” without any revelations and Lucy Lawless gets decommissioned as Number 3. Yet the main purpose of the episode seems to be to return Baltar to Galactica.
“Taking a Break from All Your Worries”
At its best this series ranks as a high point in TV SF. Unfortunately this episode doesn’t present the series on top form. The interrogation of Baltar is excellent, with James Callis giving an exceptional performance as the ex-president pushed to his limits as Adama and company use any means to find out what he knows about the Cylons.
Where the episode fails is when it concentrates of the relationship of Lee and Kara. Both characters have been weakened by the recent affair, with the viewers’ sympathy firmly with their spouses. Apollo in particular has come across as a whiny wimp. This episode seems to be attempting to turn the clock back with both characters trying to mend their broken relationships. The main problem is that with everything else that’s going on, we don’t really care if they succeed or not.
Criminal Minds
“No Way Out”
In its first season this was a good show; this year it’s become a great show. The main reason for the improvement has been a more character-centred approach to the stories with the members of the team being fleshed out into more rounded creations.
This episode concentrates on Gideon as he has a battle of wits in a diner with Frank, a serial killer played by guest star Keith Carradine. Carradine’s character is no ordinary killer; as Gideon says he’s the “most prolific serial killer ever” and it’s a part Carradine clearly relishes. His scenes with Mandy Patinkin are a joy to watch, with two great actors going head to head. Their relationship recalls Kevin Spacey and Morgan Freeman in Seven and the episode even references that film when Frank says, “But you know what’s an even more interesting question? What the psychopath’s got in the bag, Jason.”
This episode marks a high point for the show and the story’s resolution leaves the way open for Carradine to return as Frank, something I for one would welcome.
CSI
“Leaving Las Vegas”
While this episode focuses mainly on Catherine as she heads out of town in search of new evidence when a man she testifies against is found not guilty, it’s Grissom’s impending leave of absence that is really the core of the episode. It’s not that Willows’ investigations are any less interesting than normal (it’s the usual clever murder mystery), more that Grissom is the heart of the show and you can’t help wondering how the series will survive without him.
While it’s only to be a four-week sabbatical at the moment, I get the feeling they are testing the water for a more long-term, maybe even permanent, absence for William Petersen’s modern day Sherlock Holmes. The arrival of a package addressed to Grissom that sits unopened on his desk implies that the model-making killer case that has featured in several episodes this season may not be over after all. Will its conclusion lead to Petersen’s exit? I hope not.
“Sweet Jane”
This episode marks the arrival of Liev Schreiber’s Michael Keppler, a character designed to fill the gap left by William Petersen. Thankfully, rather than creating a Grissom clone, the writers have gone the opposite route, making Keppler the anti-Grissom. Schreiber’s character goes more on gut instinct, trying to get into the mind of the killer in much the same way as a profiler. When Catherine calls him up on this he can’t see the difference. Catherine points out, in true Grissom style, that as CSIs they let the evidence tell the story.
This week also sees Ned Beatty making a guest appearance as deadly dentist Dr. David Lowry. Beatty is a terrific actor and his final confession, where he shows a total lack of remorse at killing a number of young girls over a forty-year period, is the episode’s highlight.
Grissom may be gone but thanks to two big name guest stars the show weathered the first episode without him well. We’re left wanting to learn more about Keppler and that has to be a good thing.
“Redrum”
While his first episode left me intrigued, Schreiber really won me over with this one right from his first scene. Getting chewed out by Undersheriff McKeen, over a working breakfast with Catherine and Brass, Keppler is more interested in the waitress getting his eggs wrong than what McKeen is saying. He’s clearly not a guy to suck up to the boss and it’s probably the only character trait he shares with Grissom.
Coming up with a plan to catch a missing murder suspect by using “reverse forensics” he convinces Catherine to go along. The only problem is the rest of the team have to be kept in the dark. It’s not long before Nick starts asking questions and, when he doesn’t get answers, he recruits the rest of the team for a little private investigation.
This episode sows the seeds of inner turmoil within the group, with Stokes no longer trusting Catherine even after she explains the reason for the deception. Is Grissom’s team breaking apart in his absence? We’ll have to wait and see.
One of the best things about the show is how, after the revelation that Grissom and Sara Sidle had a relationship at the end of last season, it hasn’t overplayed the storyline. This episode continues in that vein as Sara receives a bizarre gift from Gil in the mail. It’s a nice little scene that doesn’t get in the way of the main plot.
And once again we see that mystery package on Grissom’s desk, foreshadowing things to come.
The Dresden Files
“Birds of a Feather”
Imagine The Rockford Files crossed with DC Comics Constantine and you’ll have some idea what this show is aiming for. Harry Dresden is a wizard taking on paranormal cases and in this pilot episode he’s dealing with a monster in a kid’s closet. It’s hard to believe how dated this series feels. With its cheap look, underdeveloped characters, and clichéd performances, it would have felt right at home in the eighties.
As Dresden, Paul Blackthorne shows none of the charisma he brought to Stephen Saunders, the villain in the third season of 24. The British actor does a decent American accent but that’s about the only good thing I can say about his portrait of the annoyingly smug Dresden.
Expect this to have a short life span.
“The Boone Identity”
I like to give new shows a chance and rarely condemn them on one episode alone; unfortunately this second outing is even worse than the pilot.
This time it’s a young girl’s ghost Harry has to help find peace and to do it he has to find a body-hopping criminal. The outcome is never in doubt and we’re several steps ahead of Dresden as the dim-witted wizard takes forever to put the pieces together.
This is a BAD show with absolutely nothing to recommend it and I won’t be wasting any more of my time on it.
Heroes
“Godsend”
A welcome return after a six-week absence for one of the season’s best new shows; unfortunately most of the running time is spent going over things we already know.
Mind reader Matt fills his wife in on his abilities, indestructible cheerleader Clare jumps off the water tower again to show Zach what she can do after her Dad wiped his memory, and Niki fills her lawyer in on the fact she’s sharing head space with her dead sister.
This makes this a perfect jumping on point for new viewers (surely what it was designed for) but a little frustrating for those of us who’ve been there from the start. Luckily it does have something new to offer in the shape of Christopher Eccelston as the appropriately named Claude, who may be the key to saving the world. Claude, you see (or rather don’t), has the power to become invisible and he’s been appearing in Peter’s dreams.
Peter thinks he’s the key to saving the world but the fact that in the dream he’s seen laughing like a madman while Peter goes boom may suggest otherwise.
“The Fix”
Now this is more like it!
This time we find out a little more about Claude as it’s revealed that Peter isn’t the only superpowered person he’s had contact with. Eccelston, thankfully not attempting an American accent, gives an enjoyably animated performance as Claude.
Recently, my favourite character, Hiro has become a little annoying. His quest for the sword to restore his powers seems a little silly and at odds with the SF nature of the rest of the series. He’s no less annoying in this episode but things are looking up as he’s delivered into the intimidating presence of his father, played by Star Trek’s George Takei.
The episode also sees a return to the series’ previously perfect cliff-hanger endings as Sylar comes face to face with an unsuspecting and unprotected Mr. Bennet.
Who’d have though seven days could seem so long?
Masters of Horror
“Right to Die”
One has to wonder what qualifications are needed to become a master of horror. The director responsible for this entry in the series is Bob Schmidt, a name that may not be overly familiar to horror fans. Schmidt directed Wrong Turn, an enjoyable backwoods cannibal movie, but hardly something that puts him on the same standing as horror legends John Carpenter or Dario Argento. Having said that, he does a good job on this supernatural tale.
When married couple Cliff and Abby are involved in a car accident that leaves Abby horribly burned, Cliff’s first reaction is to have the life support machines turned off to end her suffering. It becomes clear however, after she flat-lines, that Abby is due a little payback and the only thing stopping her from getting it is being alive. Cliff is forced to keep her alive because if she dies, so will he.
Martin Donavan gives a good performance as the philandering Cliff and the episode also features a hammy turn from Corbin Bernsen as Cliff’s sleazy lawyer.
Not the best the series has offered, but far from the worst.
“We All Scream for Ice Cream”
Tom Holland’s adaptation of John Farris’ short story has a very Stephen King feel to it. With flashbacks to events from the lead character’s childhood that have repercussions in the present day and a bad guy dressed as a clown, this feels like It lite.
Thankfully Holland manages to craft plenty of suspense from the somewhat flimsy story of an ice cream seller who comes back from the grave to get revenge on those responsible for his untimely (if accidental) death.
This also ranks as one of the grossest episodes as his method of revenge is to dissolve the culprits into puddles of ice cream. Yes I know it sounds silly and it is, but it’s to Holland’s credit that he pulls it off as well as he does.
All in all another middling episode of a disappointing second season.
“The Black Cat”
The high water mark of the second season, but that should come as no surprise given that it reunites the Re-Animator team of director Stuart Gordon and actor Jeffrey Combs. This time these true masters of horror turn their attention to Edgar Allen Poe’s oft-filmed tale.
Rather than just doing the story as it’s been done before they’ve entwined it with the life of Poe, creating something far more enjoyable than a straight adaptation. Combs plays Poe as a drunken poet compelled to sell lurid tales of death to make ends meet and care for his sick wife. When he finds himself unable to write, his wife’s cat becomes the focus of his rage.
With a plot that twists and turns so that you don’t know where reality ends and the fantasies of the increasingly unhinged Poe begin, this is as fine a crafted piece of horror as the series has ever put out. Combs is in great form as Poe and it’s thanks to his superb performance that the episode works so well. He’s done madness and obsession before but he’s never been quite as convincing as he is here.
Stuart Gordon is one of the most underrated horror directors and one of the few that improves with age. While Carpenter’s and Argento’s best work is behind them, Gordon is still making great films like 2003’s King of the Ants and it comes as no surprise that he handles this period piece so well. As with his best work, it manages that fine balance of comedy and horror that few directors achieve.
“The Washingtonians”
After the high of “The Black Cat” comes the ultimate low. Peter Medak is another director who seems under-qualified to be called a master of horror. Perhaps someone out there considers Species ll a classic.
George Washington was a cannibal who liked eating children and was responsible for a cult who continue such practices today. That is the essence of the story. Is it a horror story? A satire? A comedy? A spoof? A comment on current US politics? No, in the inept hands of Mr Medak it is one thing and one thing only - a mess.
With performances that range from dull to the truly awful this is much like passing a traffic accident - you don’t want to look but once you have you can’t look away. It seems unfair to single out a child for special attention but Julia Tortolano’s performance as the youngest member of the family terrorised by the Washingtonians is so mind blowingly bad I feel it’s a public service to warn any potential viewers.
If there is a season three, one hopes the producers will be a little less free in selecting directors. Perhaps a questionnaire, starting with “Have you ever made a good horror film?” That one would have weeded Mr Medak out.
Next month another show I’ve gone back to returns - Lost is back, plus all the usual suspects.
