Glee - Season 2

Glee's three writers sort of killed the Three Glees theory when they stated that they basically all work on different parts of the various episodes, usually focusing on certain characters they tend to write well, and more or less credited themselves for the different scripts randomly. And with the absence of an actual explanation for why the show is so directionless and inconsistent, the only conclusion is that it's just a directionless and inconsistent show. I liked Glee despite myself throughout most of the first season, but it all came crashing down pretty hard in the second. Some episodes were generally enjoyable, and the show is still usually fun when somebody is singing. But a lot of it was really bad, and the way it ignored or maybe just forgot about certain character traits or stories to serve whatever stupid idea they had for that week made it hard to ever give them the benefit of the doubt. Chuck is another show that tries to be both a comedy and a drama, and often fails at both. But that show still knows what it is at its center, and it builds around a familiar cast. Glee just does whatever the hell it feels like, and that makes it really easy to turn on it when things go wrong. And they tended to go wrong often enough that it soured me on it to the point where I won't be back next year.

I'm not really sure where to start. The main character, Will, has always sucked, and he sucked even more this year when they couldn't decide whether he was a flawed but earnest teacher, or a saint who will do anything for anyone, or an out-of-touch, scheming imbecile. It's not really the actor's fault, but he doesn't exactly save it either. The kids are pretty much the same group they were before, but only the most important ones like Rachel and Kurt really get much to do - the second season is where shows are supposed to branch out and give more of the characters significant stories to work with, and while they do this a bit with Brittany and Santana (when the former isn't so stupid that she believes Jane Lynch in Grinch makeup is Santa Claus), too many of the original Glee kids still feel completely neglected by the whims of the writers. They tried to mix things up with the faculty by having a particularly mannish woman play the new football coach (how many small town schools hire people exclusively to coach athletic programs, anyway?), but their handling of that was one of their biggest bungles, and they basically forgot she existed weeks ago. Emma's OCD is a plot that refuses to go anywhere, and possibly worst of all, they basically butchered Sue Sylvester. I said last time that her absence from an episode was palpable, but this year it was actually a relief. They can't decide whether she's evil or just strangely motivated, and for every step she takes forward in real characterization she takes two steps back with another tired scheme and familiar monologue. Jane Lynch is still great, but even she can't save this writing.

So the show can't really do anything with its characters, meaning all it has is the stories and the music. The plot follows the same basic pattern as last year with not much to mix it up despite the obvious knowledge that the club is going to make it farther this time, but probably won't win the championship because it's only the second season and a lot of this show is still about failure. The show still has some interesting themes, the problem is it just doesn't explore them enough, with it being too focused on reinforcing the road to Nationals and Kurt's gigantic gay bashing/private school/first boyfriend subplot. And the music - well. I don't know. They tried some original songs in a couple episodes, and they weren't really terrible compared to the other generic pop they sing, but I didn't really feel their significance to the kids' stories. They sing songs about stuff they know, but the stuff they know doesn't amount to a whole lot. A lot of the cover choices are fine, even if they're misapplied (when Finn has a religious crisis he sings "Losing My Religion", even thought that song isn't about losing your religion), but it's the performances that are more problematic. It's not the voices, because everyone on the show can sing, even if only a few of them regularly get the chance to (It seems like more than half of Tina's performances were humorously interrupted), but just the arrangements are boring. The show originally captured everyone's attention with "Don't Stop Believin'", when they took an old song and made it interesting with a capella backing vocals. Even the mash-ups in season one, which were deployed too frequently, were occasionally interesting. But the vast majority of the performances now are just standard recreations of a familiar song, backed by a full, conveniently omnipresent band, and without much to separate them from the original recording. It's not like they never mix it up, but they should more. The show just seemed lazier this year, and while it may be content to sit around and keep doing what it's been doing and rake in money from ads and music sales, it's going to have to do so without me this fall. Big loss, I know.

Party Down

Co-created by Paul Rudd and Veronica Mars' Rob Thomas among others, Party Down is a pretty fantastic little comedy that didn't last nearly as long as it should have, which probably makes its twenty great episodes seem all the better. It's about a catering crew led by Ken Marino's Ron, staffed mostly by actors who are either trying to make it big or have already given up on that dream. Adam Scott is Henry, an old coworker of Ron's who's returned to tend the bar after quitting acting. Lizzy Caplan is Casey, a comedian/actor who ends up in a casual hook-up relationship with Henry. Martin Starr is Roman, a nerdy writer of "hard sci fi" who has his eyes on Casey. Ryan Hansen is Kyle, a dim-witted actor/model/musician who has a bickering friendship with Roman. Jane Lynch is Constance, an older former actress that shares a kinship with the similarly blond Kyle. She's replaced in the second season by Megan Mullally, an irritating-yet-likable divorced mother of a young aspiring actress. You see how I chained all the main characters together like that? Pretty good stuff.

What's sort of interesting about Party Down is how there isn't a single scene where the characters aren't working their jobs, with two qualified exceptions. They screw around all the time, but every episode takes place entirely at the event they're catering, as their personal lives and disagreements boil over and affect their work. The writers do a solid job of mixing together wacky catering hijinks with longer term character development, in a way that serves both while sacrificing neither. There's a certain level of sadness to most of the characters that is a central jumping off point for the humor, a dichotomy that you often find in the best TV comedies. Everybody's frustrated with their careers and their distant ambitions and their love lives, and it leads to some pretty entertaining explosions of emotion and resentments that are played out in pranks and sabotages.

It's also just a well-acted show, with the main cast doing a terrific job and surrounded by a veritable revolving door of recognizable comedic talents. It's Starz so they're allowed to get away with a lot, though some episodes are definitely dirtier than others, such as one centering on an orgy that never seems to really get going. the tension between Henry and Casey is the main focus of the show for the most part, though Ron's hilariously pathetic life gets a lot of attention too, and no main character ever really gets short shrift. I would have liked to have seen where they'd go with a third season this year, but the show does a pretty great job with the time it has and ended up closing on a solid moment of hope without getting too sweet about it. Maybe if it had a little more in the way of people with swords stabbing and screwing each other it could have lasted longer, but what it is still ended up being pretty special.

Glee - Season 1

Initially, I really wasn't interested in Glee at all. I tolerate musicals better than some people do, but the whole high school/super diverse cast thing really didn't appeal to me. It wasn't until I heard more about some of the stuff working under the surface that I gave it a shot, and turned out to be pleasantly surprised. It's sort of like a guilty pleasure that I don't feel too guilty about. It's kind of bubbly and cheesy a lot of the time, and when it actually gets series it's often overly dramatic. But the show definitely has an edge to it, one that starts with its villain, Jane Lynch's Sue Sylvester, who I put on my characters of the decade list despite only having 13 episodes to work with. They do make strides to humanize her, especially near the end of the season, but she's still a great foil to Will and antagonist of the student body, and the glee kids in particular. The show just couldn't work without her, as her absence in a recent episode was eminently glaring as it leaned heavily on the melodrama.

So yeah, you're going to need some tolerance for sappiness and the convenience of musical numbers and that the cast is a bunch people in their early-to-mid twenties playing high school sophomores and that one of the male leads is clearly auto-tuned in nearly every song. The good still outweighs the bad in my opinion. It's often bitingly funny, even in scenes without Lynch. The chemistry of the whole cast is pretty strong. There are a lot of cases where the more dramatic stuff actually works. It tackles a variety of issues in a pretty respectful way. The song selection isn't always perfect, but usually pretty good, and the cast is extremely talented. Yeah, they're lip syncing their own performances, but that's how this stuff works. They get some good guests like Kristin Chenoweth and Neil Patrick Harris, and it's just enjoyable week in and week out. It definitely walks a fine line every time out, but I don't think they've really stumbled yet. I'm definitely interested in seeing more.

Role Models

I wasn't expecting a whole lot out of Role Models besides a few laughs, but it ended up about as solid as any comedy these days that dips into the same pool of actors. Paul Rudd and Seann William Scott make an unlikely leading duo, and in a way they were both just carrying their own half movies that crossed over a number of times, but I bought their friendly if undesired (on Rudd's part) rapport. Rudd co-wrote the screenplay with some of his longtime comedy buddies, and it was a nice mix of some smaller faces with more currently popular names. Rudd's as wryly funny as ever, and Scott continues to somehow be likable despite his general personality being something that would usually make me want to shove a fist in his face. After an unfortunate incident they're forced to enlist in a Big Brothers Big Sisters-type program run by the hilarious as usual Jane Lynch in lieu of jail time. Scott gets a problematic kid, Rudd is assigned McLovin cast as a LARP-obsessed dork, and hilarity ensues.

I had some issues with the story, as things run just a little conveniently parallel between the two characters and the ending is perhaps overly tidy and happy for everyone. I'm not quite sure it earns everything it tries to do. It's not a big issue though, as I liked most of the characters and it was funnier than I expected. Everyone I already mentioned does a fine job, Elizabeth Banks continues to be underutilized for how good she is at this stuff, and Ken Jeong provides his usual unique brand of bizarre comedy as the "king" of the LARP community. It's not always his words that sell the jokes, it might be just the way he touches someone's face or just a look he does. And despite the general vulgar tone of the film, it actually does a few things to change perceptions of the unusual topics it covers. Again, the clean ending undermines a bit of the realism in the story, but overall it was a solid, funny movie.

Characters of the Decade: Part 5

And we reach the thrilling conclusion. If there's one thing that astounded me, it's how many of these actors had a "Mc" in their name. This sure was a lot of work, but pretty rewarding. I hope it's been as enjoyable to read as it was to put together.

Dr. Horrible
Neil Patrick Harris - Dr. Horrible's Sing-Along Blog


"Oh, goodness, look at my wrist. I gotta go!"

Neil Patrick Harris is currently one of my favorite people in Hollywood, and this is the largest contributing factor. During the writers' strike Joss Whedon and a bunch of likable actors came together and made one of the most simply enjoyable things of the year a musical comedy about a sympathetic super villain. Neil makes you laugh, he sings, and in the end he's both a tragic figure and the true bad guy he always wanted to be. There's a bit of dissonance regarding how he intended to get the nice girl and take over the world at the same time, but watching him stumble through it was great.

The Joker
Heath Ledger - The Dark Knight


"How about a magic trick? I'm gonna make this pencil disappear."

The Joker has always been probably the most popular villain in comic books, appearing constantly in adaptations as well. But one thing Ledger did with the character before his unfortunate death was pretty unique: making him scary. There's always been something disturbing about him, because nobody has any idea what he really wants or how far he'll go for it. But with this movie, they took it farther than most people are used to and created possibly the most memorable villain ever in this sort of blockbuster. Unpredictable, darkly hilarious and sad that this is the last we'll see of that particular performance.

Kirk Lazarus
Robert Downey Jr. - Tropic Thunder


"Everybody knows you never go full retard."

I enjoyed Tropic Thunder quite a bit, but without Downey's performance it would have been pretty mediocre. The Lazarus personality itself is fine, but the character's unrelenting dedication to the role of Lincoln Osiris despite being stranded in the middle of the jungle is pretty amazing. Maybe a bit offensive, sure, but still comedy gold. And the jokes come not from him being a white guy pretending his black, but from just how great that black guy is at messing with people. Every moment he spends with Ben Stiller's character is worth watching more than once. Awesome stuff.

Lafayette Reynolds
Nelsan Ellis - True Blood


"Jesus and I agreed to see other people, but that don't mean we still don't talk time to time."

True Blood was much more enjoyable in its second season, but during the first it was pretty much Ellis' work that prevented it from being a complete train wreck. It can't be easy being a gay black man in the south, but Lafayette thrives there, not taking shit from anyone. He has a rougher go of it in the second season thanks to being kidnapped by vampires, and honestly putting him through it sapped him of a bit of his greatness, but he's still one of the few truly likable people on the show.

Walter Bishop
John Noble - Fringe


"If you were actually going insane, you'd likely have no idea what's happening. Take it from me."

Fringe has gotten better over time, but during its shaky beginning Walter was about the only thing going for it. He's fairly unrealistic, because I'm pretty sure there's never been an actual person with even close to the breadth of encyclopedic scientific knowledge he has, and you'd think some of that would go away after over a decade in an asylum. But he gets away with it because he's funny and weird and the plot needs him to know everything he does. John Noble is the kind of actor that's enjoyable to watch read a shopping list, so seeing him dissect mutated corpses and be kind of crazy is pretty fun every week. I'm not sure I actually care about the tragedies of his past, but it's okay with me that they're going with that.

Kenny Powers
Danny McBride - Eastbound & Down


"I've been blessed with many things in this life. An arm like a damn rocket, a cock like a Burmese python, and the mind of a fucking scientist."

Danny McBride's really come out of nowhere in the last couple years, and this is definitely his best character. I mean, anyone who can craft this big of an asshole and still make you want him to do well is doing something right. His unrelenting narcissism that masks his constant self-doubt is always classic, and watching him waver between stepping all over people and being stepped on himself provides laughter and sympathy at nigh equal levels. We haven't seen anything about the second season yet, but I'm looking forward to whatever new depths he can plumb.

Victor
Enver Gjokaj - Dollhouse


"Did I fall asleep?"

This is sort of a cheat, as Victor isn't so much of a character as a blank slate on top of which any number of real or fabricated personalities can be applied. But Enver Gjokaj is such a pleasure to watch chameleon himself into a role that I couldn't not put him here. Plenty of actors have range, but I'm not sure I've ever seen someone with quite his talents, as he jumps between dozens of unique characters over the course of the show and completely sells all of them. Characters being body switched and mimicking each others' mannerisms is a favorite gimmick of Whedon shows, but this is his bread and butter. In the span of maybe ten minutes he had to play both a serial killer and a slutty college girl, and did both with equal aplomb. Just a blast.

King Silas Benjamin
Ian McShane - Kings


"I will endure a party in the company of my choosing, but with none that sour the wine in my cup."

I've already pontificated on why Ian McShane is fantastic, but for all I knew Deadwood was a once-in-a-lifetime thing. Then I watched Kings and he did nothing but continue to impress. He doesn't get to swear nearly as much, but he's still a lot of fun to watch, especially with the increase in power from influential bar and brothel owner to sovereign king of a whole country. He bounces between saintly benevolence and fittingly biblical wrath like he was changing hats, and totally carries a show that would have been interesting without it, but not nearly as great.

Sue Sylvester
Jane Lynch - Glee


"I got a satellite interview. That's lingo for an interview, via satellite."

Sort of like Chi McBride on Pushing Daisies, Jane Lynch is what takes the almost impossibly joyful Glee and keeps it grounded in depressing reality. If Glee Club is what makes everything good happen in the world, Sue Sylvester is the source of all rot and decay. And that's why I love her. It's the depression she sprinkles all over everyone she sees that makes sure the show is watchable. Every story needs a conflict, and she is it. It helps that she's constantly cuttingly hilarious. The kind of character you could watch yell at people for longer than is probably healthy.

Alan Garner
Zach Galifianakis - The Hangover


"Your language is offensive."

It's not that I don't like Zach as a figure of independent comedy, I just think that more prominent roles in film and television means more of him in general, and that's definitely a good thing. There are some stand up comedians that simply should not take up acting, but Zach isn't one. And if this bizarre character leads to more, then it's definitely a good thing. I'm sort of out of ammo for things to say about Alan Garner, but there's really just not much about him that isn't funny. And uniquely funny, in ways that we haven't been seeing for years.

Colonel Hans Landa
Christoph Waltz - Inglourious Basterds


"I did have something else I wanted to ask you, but right now, for the life of me, I can't remember what it is. Oh, well, must not have been important."

Hey, at least the Golden Globes got one right. Basterds was amazing in ways I really wasn't expecting, and a lot of that was because of Waltz' magnificent, multilingual performance. I mean, how does he manage to be so menacing while being completely genial the entire time? It's unfathomable. There are a couple moments where the friendly smirk leaves his face, but they're very few and far between. And he ends up being surprisingly fallible for such an intimidating force. But that's sort of why he's great. He represents the Nazi party: nearly unspeakably evil, but in the end still just human.

Arthur Mitchell
John Lithgow - Dexter


"Hello, Dexter Morgan."

And here's our final character, who debuted a mere four months ago. I've always known Lithgow from comedic work like 3rd Rock from the Sun, but apparently he's done dark before, and his return is nothing if not a triumph. He managed to remain a captivating villain even after he was humanized over the course of the season, but I'll never forget what a terrifying presence he was when we still knew nothing about him. And that butt wasn't a very pretty sight either. Even after we knew more though, he still managed to provide buckets of tension for good old Dex, and has ended up getting him better than anyone else to date.

Talladega Nights: The Ballad of Ricky Bobby

300 posts. I don't know if I should be proud or ashamed of myself.

Talladega Nights was much funnier than I thought it would be. I'm not sure why my expectations were low, I guess I just might be growing out of stupid comedies a bit, but it wasn't as dumb as I assumed. They could have just made fun of rednecks and NASCAR for a couple hours, but there were lots of clever moments and pretty good wordplay that made it quite funny in spots. Even when characters were just insulting each other, the specific insults were usually pretty darn good. It was especially great hearing it from Ricky's two kids, who were horrible brats in the beginning but ended up as articulate gentlemen.

Will Ferrell's schtick of picking a random, usually sports related profession and doing a movie about it is getting a little tiring, but he's been likable whenever I've seen him on the screen (I just realized I've never seen one of his movies in theaters, which is weird), and does a good job carrying this movie. John C. Reilly plays his sidekick and best friend, who's very dedicated but completely lacks common sense. Sacha Baron Cohen is also good as the villain to the story. They use the character as a simple excuse for a lot of French and gay jokes, but he provides a lot of amusement as well. The rest of the cast also does a pretty good job keeping things funny, including known names like Michael Clarke Duncan and Amy Adams. The dialogue is a strong point of the script if the pacing isn't. It felt like Ricky spent too little time doing well and too much wallowing in his own failure before recovering in the obvious return-to-glory storyline. Instead of spending time establishing the situation, there were some pretty drawn-out scenes that were strictly for laughs, although I suppose I can't fault a comedy for having those. In the end, I liked the movie quite a bit.

Walk Hard: The Dewey Cox Story

Before I talk about the movie, I'll mention I'm a little surprised that this basically bombed after the huge success of every other Apatow flick in recent memory, including two (Superbad and Knocked Up) just this year. I guess the subject matter isn't quite as universal, but there's no reason my dad and I should have been the only people in the theater when we saw it. Granted, it was a 1:50 show on a Wednesday, but most people don't work the day after Christmas. Oh well. Walk Hard's a little sillier, but still quite funny throughout. It's as straight up a parody as we've seen from the The Judd Apatow Sex Comedy Train, but unlike the other truly awful parody movies we see (seriously, anyone who's seen the horrendous trailer for Meet the Spartans knows what I mean), it's a genuinely funny movie in its own right that happens to closely follow the structure of the biopics it mocks instead of lamely copying popular scenes with no production value, idiotic gags, and tons of shitty pop culture references that are devoid of content or point. Jake Kasdan directed and co-wrote, and like Mottola with Superbad, he doesn't seem especially good or bad, and fits right into the groove with everyone Apatow works with.

Walk Hard packs scads of cameos by some very funny people, often playing famous musicians, like Jack White as Elvis or Jack Black, Paul Rudd, Justin Long, and Jason Schwartzman as the Beatles in a truly hilarious scene. John C. Reilly is known as a character actor, but he steps up as the lead very well, carrying the movie with ease and performing ably in the musical segments. There's plenty of mature (or is it really immature?) humor involving sex and drugs, like a great running gag with Tim Meadows trying to keep Dewey away from whatever he's using while at the same time making it sound really enticing. A couple gags from trailers didn't make it to the final cut, leaving me positive the DVD will be packed with some great stuff. Besides just being funny, Walk Hard is a movie about the life of musician, and there's a lot of different kinds of music performed, most of which is actually pretty good and sometimes funny as well, like the Bob Dylan parody. I would have liked to have seen it with a bigger audience, but Walk Hard was still quite an enjoyable experience.