L.A. Noire

Review at Player Affinity

Fringe - Season 3

I realized during this season that Fringe is actually the best drama currently on a network, at least as far as ones I watch. It's actually gotten to a point where it might be the only one I watch at all when this Fall comes around, unless something new looks enticing. How pathetic is that? Not to be insulting towards Fringe, but it's just not consistently good enough to be the best hour-long show airing on one of the five most watched channels. Still, season three was their best job yet, and while it got into some really oddball material as it wore on, is still featured a compelling central story and some of the best acting by a whole cast on TV. And though I doubt the show will make it past its fourth season, I'm definitely going to be sticking with it until it does end up getting axed in favor of something starring a sassy doctor or whatever.

When the show came back last year, it began with what was probably the best single stretch of episodes it has had yet, bouncing back and forth between the two universes at the core of its plot, exploring regular Fringe-style mysteries with the bonus of fleshing out an interesting alternate view of how the world could be and an exciting running story featuring a couple of mismatched Olivias. After that resolved the show slowed down a bit, and had a couple of clunkers here and there, but also some really outstanding stuff as well. You can make a comparison between Fringe and another show produced by JJ Abrams, Lost, when you look at what it does well and what it sometimes doesn't. I really liked the weird sci-fi stuff on Lost, but a true resolution of a lot of it was ignored in favor of really wrapping up the characters well, and Fringe also succeeds when it puts the burden of its stories on the strong central figures at its core. Olivia, Peter, and especially Walter are all heavily damaged people with unbreakable links between them, and when that's the focus, it's often a much better series than when it's just some weird pseudo-science thing going on.

Even worse is when the show goes quasi-mystical on top of that, as it did with a somewhat misguided arc near the season's end, and in a few places they may have taken it too far. But I guess when a show gets bumped to a bad time slot and its ratings continue to dwindle - the writers forget about pleasing everyone and just try anything that comes to mind that seems like it could be cool. Not everything is, but enough works out that the experimentation is always interesting. It hasn't yet produced the kind of fevered genius that say, Dollhouse's imminent cancellation brought about, but it's clear from the season finale that they're not afraid to try things. In some ways it was a bad episode, using a cop-out to explain a season-long riddle and resorting to a couple tired pulp sci-fi cliches. But it also showed what works about the show on a very basic level, reestablished their skill at creating whole new settings out of nothing, had some more great character work, and had a great final moment that hints at a potentially mind-bending season four. I've always wished that Fringe could have more fun with itself, and they definitely showed signs of that here. If they combine that with a less wishy-washy stance on science versus fantasy and more consistent writing, it could really earn that best network drama title.

Also, here are my recaps for the episodes when I was filling in this season:
Os
Stowaway
Bloodline

Fringe - Season 2

Fringe's first season got better as it went on, and luckily the second was more consistently like the end than the beginning. There's still a mix of random monster-of-the-week episodes along with the more plot-relevant ones, but they tend to do a better job of tying the former kind in with the overall story, and it's a bit more balanced. Fringe is still fun when it's just creating a mini-mystery with an unusual sci-fi twist, I just happen to think most of the important episodes are better. The continue to develop the alternate universe and establish it as a source of trouble, and the show is at its most fascinating when it's the focus.

What's interesting to me is how they treat some often quite-pulpy science fiction ideas with all the seriousness of a police procedural. I'm sure it's something that's been done before with shows I haven't seen, but it's that mix of influences that gives it a unique feel among what I watch. It doesn't matter if an episode is about people going murderously insane because someone's been removing pieces of their brain it works because it gets treated as seriously as any regular crime. There was a couple weird things though. Somehow an episode from the first season got lost in the shuffle and wasn't aired until the middle of the second, but it was totally out of place because a dead character just showed back up out of nowhere. At that point, it's better to avoid confusing the audience and just stick it on a DVD. And with all they're doing with Walter, it's taking away from the effectiveness of still portraying him as a wacky mad scientist. If you're going to turn him into a real tragic figure with a painful past, you're not going to get as many laughs having him do things like eat Twizzlers while performing an autopsy. You can't have it both ways.

Still though, most of that stuff was really great. They show how Walter's actions led to troubles with the other universe, and in a way he's kind of responsible for everything that happens in the show. He performed the experiments with strange drugs on Olivia and the other kids, he was the first to cross between worlds and cause the problems that make them want to come over here. A lot of it is hard to blame on him, but the whole show is sort of about him trying to atone for his past transgressions. He's by far the most interesting figure in the series, which is a good because a show that relied on Olivia all the time just wouldn't be very good. I'm not going to blame Anna Torv because she was a lot more fun as her alternate self, but compared to the other main characters she's pretty boring. The finale was interesting if not able to fully capitalize on what they built up, and leaves a few cliffhangers that should be a lot of fun to watch play out in the Fall.

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.

Fringe - Season 1

The premise of another crazy sci-fi show from the creator of Lost got me excited for Fringe, though it didn't turn out as good as I expected. Still, it was mostly enjoyable from week to week, and improved noticeably in multiple ways as it got closer to the conclusion of its first season. We already know a second is on the way so apparently it was successful enough, and I hope it continues to grow into something really interesting as it goes on. The main reason to watch it at first was just to hear the voices of John Noble from the third The Lord of the Rings movie and Lance Reddick from The Wire every week, who I could listen to talk for hours, but you can't blame the show for not having intriguing stories, just maybe not exploring those concepts to their full potential.

Most episodes follow the same basic formula. There's the cold open that shows the mystery of the week unfolding, which usually has an interesting hook and is often simply the best made scene in the show, then special agent Olivia Dunham and her ragtag team bounce back and forth between decent detective work and decent supernatural medical stuff for a while until they catch the bad guy in time for a few minutes of character development and hints at a continuous plot. Seemingly unrelated cases do sort of come together into one large conspiracy by the end, and there's a solid conclusion to some dangling plot threads along with a couple twists and revelations in the last episode.

I think the problem with the show is that it just doesn't go far enough with its big ideas. JJ Abrams gets credit for making his crazy nerdy ideas more mainstream-friendly than some other creators of televised speculative fiction, but they lose something in that translation. The show has a pretty bad habit of explaining anything close to a complex idea in an overly simple way that treats the audience like a bunch of morons, and if that's what it takes to keep most people watching, then that's a shame. I guess it's nice not having to worry about making it to another year, but the bigger fan base ends up also being less passionate. Anyway, Fringe is mostly worth checking out.

The Lord of the Rings: The Return of the King

This is the one that got all the awards and the highest praise and is my personal favorite, but I'm not sure if it's really deserving of all that. It certainly wasn't head and shoulders above the other two enough to win eleven Oscars when they averaged three. All those awards were probably appreciation for the feat of the trilogy as a whole, which I'm fine with, since the Academy so often seems to pick the better story over the truly deserving winner. I still really love the movie, and it's the biggest and grandest of the trilogy. It also happens to be the only film I saw for the first time after reading the book version first. There's fewer changes than the last time, though still some notable ones. Some bits are cut, like the Riders of Rohan being escorted around a blockade by strange men of the forest and most of the real dramatic thrust of Eowen and the development of her relationship with Faramir. There's one key detail that I feel they lost a lot from by having to cut, and it's removal was sort of necessary after cutting the Barrow-Downs from the first movie. Since the Hobbits just get their swords unceremoniously handed to them by Aragon instead of finding them in a tomb, they would be less justified in explaining why Eowyn was really able to kill the Witch King. It's not because "Hur hur no man can kill you but I can because I'm a woman", it's because Merry's sword had some magical essence and was able to break the spell that made the king invulnerable when he stabbed him with it.

I'm also not a huge fan of how Denethor and Gimli are handled. Throughout the movies Gimli is more of a comic relief than he ever was in the book, and it's brought to a head here when his presence in the Paths of the Dead turns them into a joke rather than a spooky setting. Look, he's trying to blow away the ghostly hands and wincing when he steps on any of the absolutely insane number of skulls that litter the place! Seriously, where are the rest of the skeletons? And Denethor is transformed from a depressed, grieving father who has seen doom coming for a long time into a crazy old man who is able to run about half a mile while completely immolated so he can jump off something and look all cool. Wow, I'm really complaining a lot here. I really do like a movie, and moments like Pippin's song as men of Gondor ride to their deaths and the riders charging into the Battle of Pelennor Fields are some of my favorites in any film. They really went all out with the effects for the battle to make up for the main characters not really being there, and it's still an exciting spectacle to watch. The only real change in Frodo and Sam's part of the story is Sam getting sent away for a while, which is another case of adding dramatic tension so there's more of it, but it doesn't have a major effect on the story. When the two stories finally converge at the end is suitably dramatic and epic, and you really feel the love the members of the fellowship have for each other. After the final conflict ends, the movie takes its time ending, and more or less culminated with the departure at the Grey Havens. I was surprised at how much that scene moved me this time, when it hadn't as much before. I can't think of why it would affect me differently now, all I know is that it did. Peter Jackson's adaptation of J.R.R. Tolkien's greatest work is far from perfect, and I can't say that most of its departures were that well considered. Still, it was an admirable effort, a labor of love, and definitely worth watching.