So far, easily the best new show of the television season. Everything works in the pilot. Introducing a new cast is hard. THE NEW GIRL pulls it off effortlessly. You like this group right from the jump. Jake Johnson and Damon Wayans Jr shine.
The trio of guys feel like they're real friends. The chemistry is there. Zooey Deschanel might be the weak link of the cast which is saying a lot since she generates her share of laughs.
The writing is good. The direction is great.
I'm sold on this.
Thursday, September 29, 2011
WORK SPOUSE
Finished this script by Geoff Barbanell and Arland DiGirolamo.
This is a classic example of a great concept with poor execution. The pitch is high-concept enough to get meetings. A jealous husband takes a job at his wife's company to compete against her work spouse.
However, once you read the script, you quickly realize this writing pair cannot pull it off. Script needs a page one rewrite.
Again, the plot is just too predictable and the jokes are non-existent. A great script will build upon its concept. A poor one relies on the concept to do all the work.
Story involves Steve, a failed baseball player stuck in the minor leagues at 36. His wife however is doing nicely at her company, working with Barry who appears to be the perfect man. However, complications ensue when Steve learns that Barry is secretly trying to steal his wife away from him.
This could've been a great commentary on work-place relationships. Instead, it relies on low-grade humor and subplots that go nowhere. Barry's in-laws are set up to be a plot complication. They're never developed. Barry's failure in life isn't really addressed. The whole baseball angle is wasted.
In fact, you start to wonder what Barry's wife ever saw in him in the first place.
Definite pass on the writers.
This is a classic example of a great concept with poor execution. The pitch is high-concept enough to get meetings. A jealous husband takes a job at his wife's company to compete against her work spouse.
However, once you read the script, you quickly realize this writing pair cannot pull it off. Script needs a page one rewrite.
Again, the plot is just too predictable and the jokes are non-existent. A great script will build upon its concept. A poor one relies on the concept to do all the work.
Story involves Steve, a failed baseball player stuck in the minor leagues at 36. His wife however is doing nicely at her company, working with Barry who appears to be the perfect man. However, complications ensue when Steve learns that Barry is secretly trying to steal his wife away from him.
This could've been a great commentary on work-place relationships. Instead, it relies on low-grade humor and subplots that go nowhere. Barry's in-laws are set up to be a plot complication. They're never developed. Barry's failure in life isn't really addressed. The whole baseball angle is wasted.
In fact, you start to wonder what Barry's wife ever saw in him in the first place.
Definite pass on the writers.
PERSON OF INTEREST
Caught the pilot of the new CBS series from J.J. Abrams and Christopher Nolan. With such an impressive pedigree, you would expect something fresher and exciting.
Jim Caviezel does a nice job in the lead role. He knows how to deliver the deadpan line and his eyes are capable of expressing deep emotions.
However, as with the case of most procedurals, the plot is basic. It doesn't really grab you. Michael Emerson might have been great in LOST but he might be a one-role actor. Here, he just doesn't bring any weight to the part. You need someone like a Gene Hackman-caliber actor to pull it off.
You need a much more complicated plot to match the technology employed in PERSON OF INTEREST. Hopefully, the story becomes more compelling as the series plays out. If not, the show won't be around long.
Jim Caviezel does a nice job in the lead role. He knows how to deliver the deadpan line and his eyes are capable of expressing deep emotions.
However, as with the case of most procedurals, the plot is basic. It doesn't really grab you. Michael Emerson might have been great in LOST but he might be a one-role actor. Here, he just doesn't bring any weight to the part. You need someone like a Gene Hackman-caliber actor to pull it off.
You need a much more complicated plot to match the technology employed in PERSON OF INTEREST. Hopefully, the story becomes more compelling as the series plays out. If not, the show won't be around long.
Monday, September 26, 2011
DJANGO UNCHAINED
This is the western that Tarantino wants to make? He should've gone for an epic instead.
What has happened to Quentin lately? If you take DEATH-PROOF, INGLORIOUS BASTERDS and now this, you can see the talent level drop off considerably from PULP FICTION and KILL BILL. Gone are all the memorable supporting characters. Gone are the insanely cool lines of dialogue.
With DJANGO, Tarantino comes up with his most boring idea yet. The slave-turned-bounty-hunter would be cool if there was more action in it. Instead, we're given this long, drawn-out, tedious plot that doesn't twist nor turn one bit. It's simply about Django searching for his wife and once found, freeing her.
Tarantino has chosen to ignore all the things that make westerns cool. The gunplay is pedestrian. There isn't any town that needs saving. The hero isn't battling the bottle.
Look for the film to suffer a quick death at the box office and tarnish Tarantino's star.
What has happened to Quentin lately? If you take DEATH-PROOF, INGLORIOUS BASTERDS and now this, you can see the talent level drop off considerably from PULP FICTION and KILL BILL. Gone are all the memorable supporting characters. Gone are the insanely cool lines of dialogue.
With DJANGO, Tarantino comes up with his most boring idea yet. The slave-turned-bounty-hunter would be cool if there was more action in it. Instead, we're given this long, drawn-out, tedious plot that doesn't twist nor turn one bit. It's simply about Django searching for his wife and once found, freeing her.
Tarantino has chosen to ignore all the things that make westerns cool. The gunplay is pedestrian. There isn't any town that needs saving. The hero isn't battling the bottle.
Look for the film to suffer a quick death at the box office and tarnish Tarantino's star.
Sunday, September 25, 2011
BRIDESMAIDS
The film has a lot of laughs in it. The opening was priceless. Kristen Wiig is a shining star. She easily carries the movie.
Much of the comedy is over-the-top but that's the state of the genre these days. Wiig makes the most of it and pushes the boundaries as far as possible in the vomiting/shitting in the dress shop scene.
Chris O'Dowd did a nice job and grounded the film in reality in his scenes.
Paul Feig should have reined Melissa McCarthy and Sam Hamm in a bit. They're so far over-the-top that their scenes become unbelieveable. A lot of the film is guilty of this.
Much of the comedy is over-the-top but that's the state of the genre these days. Wiig makes the most of it and pushes the boundaries as far as possible in the vomiting/shitting in the dress shop scene.
Chris O'Dowd did a nice job and grounded the film in reality in his scenes.
Paul Feig should have reined Melissa McCarthy and Sam Hamm in a bit. They're so far over-the-top that their scenes become unbelieveable. A lot of the film is guilty of this.
Saturday, September 24, 2011
MONEYBALL
Why hasn't Bennett Miller directed more? The film is enjoyable and a lot of credit has to go to his guiding hand. I'm willing to see anything written by Aaron Sorkin because I know the dialogue will be razor-sharp and intelligent.
Jonah Hill shines in his role. He's got an instant chemistry with Brad Pitt and their scenes together form the heart of the film.
Robin Wright-Penn and Philip Seymour Hoffman are wasted here though. That's a big complaint I have. If you're going to bring in this caliber of actor, give them something to do.
Another complaint is, several big scenes lead to nothing. For example, take the scene where Pitt wheels and deals to land Rincon in a trade. That scene is great. However, is Rincon a missing piece? We never learn if he's vital to the season. There's a lot of scenes like this which is why I cannot rate the film up there with Sorkin's last effort - THE SOCIAL NETWORK.
An entertaining movie but ultimately, not a great one.
Jonah Hill shines in his role. He's got an instant chemistry with Brad Pitt and their scenes together form the heart of the film.
Robin Wright-Penn and Philip Seymour Hoffman are wasted here though. That's a big complaint I have. If you're going to bring in this caliber of actor, give them something to do.
Another complaint is, several big scenes lead to nothing. For example, take the scene where Pitt wheels and deals to land Rincon in a trade. That scene is great. However, is Rincon a missing piece? We never learn if he's vital to the season. There's a lot of scenes like this which is why I cannot rate the film up there with Sorkin's last effort - THE SOCIAL NETWORK.
An entertaining movie but ultimately, not a great one.
Friday, September 23, 2011
PRIME SUSPECT
There's really nothing earth-shattering about this pilot. However, Peter Berg's direction zips the episode along and Maria Bello shines in every scene. Plotwise, the episode is blah but the acting is top-notch. The great thing is, it doesn't feel like a procedural even though it is. The crime itself barely registers as the pilot instead focuses on the strained relationship between the tight unit of detectives and Bello.
How far can that go is the question that remains? Pilot's good enough to make me want to find out.
How far can that go is the question that remains? Pilot's good enough to make me want to find out.
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