Hung - Season 3

When I heard that Bored to Death and Hung got canceled at the same time, I felt slight disappointment at the former and a bit of remorse at the latter. Hung's second season didn't do much for me, but the show has some likable elements and I thought I ought to at least see how they ended things. I blasted through the third season in one sitting using HBO's on demand service, and I found it to be mostly enjoyable. It doesn't give itself a proper conclusion and there are a few annoying elements, but it was possibly the best year the show had. There was a definite arc, the story had definite stakes, and there was some really strong character work. Plus Tanya seemed less awful this time. Not a bad note to go out on.

After having a falling out with Lenore last year (right?), Ray and Tanya need a way to get their business going again. They manage to finagle a loan and start up a wellness center for women as a front for their prostitution business; Tanya runs classes and talks to the women, then setting them up for Ray's "private consultations". He then proceeds to have sex with lots of women for money. What a good show to be talking about on Christmas. Anyway, Lenore is still angry and has a number of attempts to get her cut of the profits, including finding a second guy to make money with and trying to stick Ray's ex-wife in the middle of things. There's a nice back and forth, and it actually felt like people had a purpose this season and had things to fight for. Also we get a lot more of Lennie James' pimp character, and any scene he's in is a good one. Anne Heche doesn't have much to do besides be put upon, and her kids are even less of a factor than before. But they don't really get in the way, and the show is pretty strong based on its decent humor, the competent plotting, and Thomas Jane's once again totally affable performance. There's no proper ending this time, but they did a good job with fixing the show in the time they had.

The Thin Red Line

The only thing crazier than how many recognizable actors there are in this movie is how many had their scenes cut completely during the editing process, including Martin Sheen, Gary Oldman, and Mickey Rourke. War movies have a funny away of apparently attracting attention from everyone in the business, as The Thin Red Line was released the same year as Saving Private Ryan, which itself has an extensive and extremely famous cast. I thought it was less distracting here though, except for the scene near the end where George Clooney shows up to give a speech than Sean Penn narrates over.

The Thin Red Line is overall a more painterly and less action-oriented war film than Ryan, focusing more on the internal lives of the soldiers than the combat they take part in. I think they're actually pretty good companion films. Ryan is in the European theater and wears its heart on its sleeve, Line is in the Pacific and a bit more introspective and detached. Ryan begins with one of the most famous war scenes ever made, a gigantic, loud, violent slaughter. Line begins with a soldier played by Jim Caviezel resting on an island with some natives, and there's a full 45 minutes before anyone is in real danger. They're both gorgeous movies, Ryan with its color correction and perfectly chaotic action, Line with its more natural cinematography and focus on wildlife, and intricately pieced together battle scenes.

This is the first movie by Terrence Malick that I've seen (hey, he's only made five), and I was very impressed by his work, though I'm not sure how much I'd like his other stuff. The way intense fighting punctuates and breaks up the long periods of slow moving or still scenery with minimal dialogue creates an intriguing contrast, but a film of nothing but the latter might be tough to handle. Of course, I have no idea if any of his other movies are like that, other than to say I get the impression that that's what The Tree of Life might resemble.

In any case, The Thin Red Line is not a perfect war movie, but I do think it is a great one. There are many brilliant and captivating scenes, and even when things slow down, it's still very nice to look at. If there's one viable criticism, it does seem a bit scattered at times, as it sort of lacks a central figure, and instead bounces from soldier to soldier, letting them narrate their thoughts in turn. The performances are generally very good, even if none of them are terribly substantial. John C. Reilly gets what I think is a single scene of dialogue, and certain characters will pop in at a certain point and then just disappear completely, like the parts played by John Cusack and John Travolta. Nick Nolte might have the most dialogue as an impassioned Lieutenant Colonel, though Penn and Caviezel probably have the biggest parts from a screen time perspective.

It's hard to say whether the somewhat disjointed nature of the film is entirely intentional, or a result of Malick having to trim about 40% of his original cut, or if the full thing was even worse with the additional characters. I didn't really mind the movie being this way, because it was an engrossing experience while watching it. It does result in a slight feeling of dissatisfaction though, especially in retrospect, not having a real central plot to grasp onto. I guess war though can be a pretty existential experience, and this is about as existential as war movies can get. In that way, it's sort of a masterpiece.

Buffy the Vampire Slayer

Buffy the Vampire Slayer is a pretty bad teen horror comedy that is notable for two reasons. Obviously, it led to the much better and more successful television series and media franchise with the same title. Also, it stars some surprisingly talented actors, and features an abnormally large number of people in bit parts who would later go on to reasonably big careers. There's a pre-multiple-Oscar-wins Hilary Swank as a vapid high schooler, a pre-being-more-famous-than-he-should-be David Arquette as a punk-turned-vampire, and even a pre-Good-Will-Hunting Ben Affleck as a basketball player with one line. There's an early Stephen Root performance as a school administrator, and Thomas Jane apparently played someone named Zeph. Paul Reubens and Rutger Hauer play powerful vampires, Luke Perry found time to play a deadbeat who finds himself thrust into the sidekick/love interest role while he wasn't filming 90210, and Donald Sutherland is Merrick, a Watcher like Giles who is immortal for some reason. Star Kristy Swanson is practically the least currently famous person in the cast.

But anyway, I'm getting away from the movie, which was not very good. The script is credited to Joss Whedon, and while apparently several changes were made, I read the comic that was based on the same script, and a whole lot of it is the same, particularly the dialogue. The fact that the film is so amazingly unfunny despite using a lot of the same lines as the decent comic further proves something that was revealed in Alien Resurrection - as fun as Whedon's dialogue can be, in the hands of the wrong director and cast, it can be disastrous. Without the right attitude, it comes off pretty awkwardly, much more like somebody reading a script than talking. With the right talent it shines, but otherwise it can be bad. Buffy is the only character shared between the movie and show, and Swanson's interpretation just doesn't work. She's a pretty blond, but that's pretty much the extent of her similarity to Sarah Michelle Gellar's version. Buffy begins the series as a fairly normal teenage girl, but there's always that snarky undercurrent that kept her interesting right from the start, and the Buffy here is just too much the stereotypical popular high school student. Reading the comic in the show's voice showed how the material could have worked fine, but they just go another way with it that fails.

And with the dialogue failing so badly, a lot of the comedy gets shifted to the physical side of the movie, which just doesn't work either. There's a certain cheesiness to the martial arts action on the show, with some obvious stunt doubling and overly elaborate movement for simple results, but the tone makes it seem like an old action movie rather than a big joke, which is what it is here. There's hardly any real fighting at all - Buffy does some flips and hand springs and a limited bag of tricks, but any time there's actual physical scuffling it's just incompetent. Reubens' character was probably supposed to be intimidating, but it doesn't work because he's god damn Pee Wee Herman, and the best we get out of him is a weird piece of anti-comedy where he is apparently killed by repeatedly fails to actually die. Hauer's character's evilness is also told more than it's really shown, and the role is a major waste of his innate menace as an actor. And the changes made to Merrick and what the Watchers are for the movie add up to a whole lot of nothing.

I watched it because I wanted to see the background of what causes Buffy to move to Sunnydale and let the series begin, but some cuts to the script remove a couple pivotal events anyway, and the few people besides Buffy who are mentioned in the series that appear aren't really the same characters, so it doesn't serve that purpose well. It was pretty much just a waste of my time, even if the movie was shorter than a two-part episode of the show. There are no real likable characters, it's not funny, it's not scary, it's not exciting. And it's not capable of building an ironic cult following because something that was actually good grew out of it. All it can be now is a curio for fans of the series. Without Fran Rubel Kuzui the Buffy franchise probably wouldn't exist, and she deserves some credit for that. But the film she actually made was poor.

Scott Pilgrim Vs. the World

By the time I saw this movie my Scott Pilgrim fandom had waned slightly, not because of anything in particular, but just because the novelty had worn off a bit. Still, it's a very entertaining property, and Edgar Wright managed to strike a perfect balance between faithfully bringing Bryan Lee O'Malley's unique vision to the screen while changing enough to keep it fresh. I think the books and the movie both have their own strengths, the comics obviously have more time to spend developing secondary characters and the setting whereas the movie rushes through that a bit, but it also helps towards the end where it builds to a natural climax and exciting conclusion instead of the weird vibe I got from the final volume. It's a good companion to the books, and also stands well enough on its own for someone who's never read them to still enjoy the heck out of it, even if some of the background comes off as shallow.

Visually, it's one of the most kinetic and unique things I've ever seen. Wright is constantly playing with reality, having scenes warp and distort to fit the mood, and the editing is intensely in tune with whatever is being seen or heard. It calls a lot of attention to itself, but it works for the type of story it is, frantically racing from scene to scene, musical performance to martial arts fight, and it creates an atmosphere of giddy energy. All of the bands sound pretty much how they should, and the use of music to accentuate the mood or a fight (or even be a fight itself in one instance) is effective. There's also a ton of video game crap all over the place, tons of borrowed sound effects and musical cues and a few visual elements that pull you into the strange version of Toronto the film is creating and are also a nice bonus activity for nerds to spend their time identifying. The movie is primarily a comedy, and it's very funny, but what's impressive is how well the action works. The movie combines the weird gaming sensibility with some genuinely entertaining fight choreography, and while the stunt doubling is occasionally obvious, they're still very well produced scenes and I'm confident in saying they're actually the best action scenes I've seen this year. Fast, exciting, and you can actually see what's going on the entire time. It's an impressive feat.

The movie also works because almost everyone is right for their parts. Michael Cera actually doesn't fit how I pictured Scott Pilgrim acting in real life, as he's usually much closer to his completely awkward and shy persona. But that version of Scott manages to work in Wright's film, and he's surrounded by a pretty great supporting cast. A lot of the faces are recognizable elsewhere, as they pretty much got as many hot young people with talent that they could find. The evil exes in particular stand out, the twins are pretty much gone before they can do anything, but Matthew Patel is extremely weird, and the other actors who I actually know all do good jobs. Thomas Jane as a member of the vegan police was a bizarre but welcome cameo, and Bill Hader has a great narrator's voice. Kieran Culkin is a standout among Scott's friends as his awesome gay roommate Wallace. It might have been a good idea to tidy up the parade of Scott's acquaintances and merge a few parts just to make it easier to keep so many minor characters straight, because I'm not sure how manageable that is without prior knowledge. Still, it was fun seeing everyone so well realized in live action form. Not my favorite movie this year but certainly one of the most fun, and it continues to show how much skill Edgar Wright has with putting pure joy on film.

Hung - Season 2

I didn't really genuinely start liking this show until the second half of the first season, and it doesn't do very much to keep that momentum this time around. Despite not knowing anyone who really enjoys the show or even watches it, it's getting a third season. I'll keep watching because the show still has its good bits and I've grown quite fond of Thomas Jane's depiction of a down-on-his-luck Detroit dad. There's less focus on his business as a prostitute this season, and more general worrying about the economy, dealing with the likely loss of his job, and trying to rekindle something with his ex-wife.

Even when he is seeing a client, there isn't much going on with it. Jemma last year was a unique and interesting situation for him to deal with, and the only one who isn't a one-note joke this season is Francis, who ends up sequestered in her own subplot with his friend Mike. It's really shifted away from the show it was supposedly supposed to be, as the creators try to say something about everything and it just becomes less tightly plotted than it should be, which is an issue when you only have five hours to do everything you want to in the season.

I was disappointed with Tanya this season, too. She's very likable when she's put upon, but they tried to make her act much more aggressively this time, and just didn't do the work to make her still sympathetic in that situation. Lenore's the one who's supposed to be a horrible woman, and Tanya just doesn't wear it well. His kids are just sort of there again, and Ronnie just ends up as an unlikable shit when he really should be a pitiable character. I don't know. It's stuck between being a comedy and a drama, and does neither particularly well. Still, it's watchable enough that I don't want to give up on it. I guess that's something?

Hung - Season 1

So the only reason I watched Hung was because the second season was going to air between two things I already intended to see, and I thought I might as well fill that gap. The first season ended up being a decent enough if unexceptional comedy, sort of like Entourage in that it never makes me laugh that much but it just has that element of being totally watchable enough that I don't feel like changing the channel. Unlike Entourage though, the lack of laughter is less because only one character is actually funny and more because it tries to be serious just as much as it doesn't. It's the story of a middle aged man trying to put his life back together, and it's more concerned with being true to that than shoving in a ton of jokes. In a way I respect that, even if a bit more focus on the comedy would have made it more enjoyable.

So Thomas Jane of the mostly garbage movie I reviewed a few days ago plays Ray Drecker, a history teacher and sports coach in a poor Detroit school who decides to try to make some money off his huge penis after his house burns down and his kids move back in with his ex-wife. He starts a "happiness consultant" business with a woman he's bumped into a few times which basically consists of Ray being a prostitute for lonely women, and they sort of bumble through it for a while until the season ends. Ray has this odd, old fashioned personality that I came to enjoy quite a bit, and provides the human center of a comedy that sounds like it could be over the top but in truth seems very grounded. He wrestles with success versus loyalty, wonders about his son's sexuality, and just comes off well as a sympathetic figure. It's not a great show, but I like it.

The Punisher

I watched The Punisher knowing it didn't have a good reputation, but still hoping it would be a decent revenge movie. Unfortunately, the decent revenge stuff was hampered by a hard-to-like protagonist and one of the worst initial premises I've ever seen in a film. The original Punisher comic started with a normal guy named Frank Castle's family getting killed after they witness a gang execution, and him taking the law into his own hands. Not terribly brilliant, but it works. What happens in the movie does not work. Castle is an ex-soldier and undercover FBI agent, and after a gun deal he oversees goes south and a dumb criminal gets killed, his dad played by John Travolta (who's completely unconvincing as a ruthless gangster) decides to take it out Frank and his entire family. This obviously makes no sense since he was hardly responsible for what happened and killing a lawman and his extended family would result in a huge crackdown from the government, though fortunately for him it never happens for no reason and Frank Castle has to... yep, take the law into his own hands.

I could go on about how terrible this opening is, but there are other things I have to cover like how Frank's neighbors in his new slum apartment are annoying and add little to the story, how Frank's kind of a giant dick who pathologically lies to his son (before he dies) and gets a bit too sadistic with his actions when he claims to be only punishing criminals rather than getting revenge, and how inept everyone Travolta sends after our less-than-intrepid hero is. Hired assassins announce their intentions and show up at his heavily fortified apartment completely unarmed, packs of goons fail to make sure he's dead (which guarantees he'll survive) and search for him effectively, if you don't pay attention it might be a pretty enjoyable action movie, but once you do it falls apart like it was held together with chewing gum.

I did enjoy the eventual punishment for the most part, although it was hard to stomach what happens to Travolta's wife with Castle not being aware that she probably deserves it and essentially doing to the bad guys exactly what they did to him. I've been watching Hung and like Thomas Jane quite a bit on that, but he can't do a whole lot with what he has here. He was given a tough road to hoe with the material, and try as he might he just can't make Frank likable. Really, the cast isn't terrible at all, but nobody in the film comes off very well. You have to lay the blame on the director and writers. They changed the details of the origin for no reason and definitely for the worse, and fail to make anybody sympathetic on top of that. It wasn't awful, but it really didn't do anything well enough to make it worth seeing.