Month: January 2013 (Page 9 of 10)

Justified 4.01: Hole in the Wall

SPOILER WARNING: This post will appear following a new episode of “Justified.” It is intended to be read after seeing the show’s latest installment as a source of recap and analysis. As such, all aspects of the show up to and including the episode discussed are fair game.

It’s that time of year, Justified is back. And now with 100% more Patton Oswalt! But we’ll get to that potentially controversial decision in a moment. Let’s start with the man himself, Raylan Givens.

“Hole in the Wall” eased us back into the saddle with a “crime of the week” scenario. Raylan gets a call from a Nashville bail-bonds(wo)man, Sharon Edmunds, who he “had a drink” with at a law enforcement convention a while back. Sharon offers him three grand to haul in a bail-jumping murderer, Jody Adair (played by Chris Chalk, who you may recognize as Tom Walker from Homeland and Gary Cooper in The Newsroom).

Perhaps the most interesting part of the Adair plot was the ways in which the character mirrored Raylan. Both men do as they please with little thought of the consequences, rationalizing their actions with claims that their motivations are pure and that they’re essentially good people at heart. The only difference is which side of the law they’re on. Adair killed two heroin dealers in a robbery gone awry, but says they deserved it and that the world is well rid of them. Plus, he only did the job because he needed money to see his kids. Now think about why Raylan sneaks away to catch Adair while on Uncle Sam’s clock: he wants to begin squirreling away money for his kid. Sound familiar? Not to mention, you know, the show’s basic premise: that Raylan is a lawman who plays by his own rules but is “justified” in doing so.

The irony reaches its peak when Raylan chastises Adair for refusing to take responsibility for his actions. “You run into an asshole in the morning, you ran into an asshole. You run into assholes all day, you’re the asshole.” Once again, sound familiar? It seems we’ve never heard a character on Justified own up to what they’ve done or who they are. It’s always someone else’s fault. But Raylan lacks self-awareness to such a degree that he can tell Adair “you got no self-awareness” with a straight face.

Meanwhile, the seeds of a serial storyline were planted beginning with a flashback to 1983, when a parachutist fell out of the sky in front of the Givens house, a few bricks of cocaine in tow. Couple that with the episode’s ending: Arlo killing a man who overheard he and Raylan speak about the remnants of the incident, a driver’s license and bag stashed inside a wall, and it’s not difficult to tell what the season’s big mystery will be.

The beginnings of that mystery were expertly woven into the episode’s A-story through the recurring theme of fatherhood. Adair and Raylan, two men engaging in varying levels of wrong in order to do right by their kids, served as a contrast to Raylan’s own father, who’s put his own needs in front of his son’s for as long as we’ve known him. The question raised by that contrast, then, is whether there was ever a time when Arlo put his child (or his wives) first, before he was the selfish criminal we see today. It’s a question that will be answered as the truth about Waldo Truth, the man who fell to Earth (the parachutist, not Bowie), is uncovered. Was that flashback the moment Arlo Givens “broke bad?”

Now onto the man who will always keep me coming back to drink at the Justified well: Boyd Crowder. Soon after his appearance he laments to Ava that “no one ever said running a criminal enterprise would be this hard.” She responds that “they left that part out on career day.” The chemistry between Boyd and Ava continues to be tremendous thanks to both the phenomenal work of Walton Goggins and Joelle Carter and the writers who put all that sharp dialogue in their mouths.

Boyd’s issue in the premiere is a drop off in his oxy sales. One of his former pushers, Hiram, has seen the light at the “Last Chance Holiness Church” by the snake-handling Pentecostal preacher Bill St. Cyr. Hiram claims people aren’t getting high anymore because they’re finding Jesus in a tent in the woods, and tells Boyd that he has neither the shipment of oxy or the money from selling it. Hiram says he flushed that “poison” down the toilet. Boyd is unmoved by the conversion, and insists that Hiram has one night to get him his money.

All this allows for the introduction of the newest player for Boyd’s team, Colton Rose, an old Gulf War buddy. Boyd brings Colton along to Hiram’s as a tryout for Team Crowder. It turns out Hiram did have the money from the oxy sales, but lied to Boyd so that he could donate it to preacher Billy and the church. Once they’ve got the cash, Boyd tells Colton to “take care” of Hiram, which his friend takes to mean putting a bullet in his skull. Boyd claims he simply wanted Colton to untie the man, but I think Harlan’s criminal mastermind was intentionally ambiguous in using the phrase “take care.” He wanted to see what his old friend would do, and got exactly the result he wanted. For the moment, the Boyd vs. preacher Billy plot seems disparate from the main Raylan plot, but I’m sure everything will come together as the season wears on. Even if it doesn’t, Boyd’s doings are sure to entertain. He’s one of the most captivating characters on television today.

As for that other major introduction, Patton Oswalt as Constable Bob, so far, I’m a fan. Sure, he’s over the top, but so is the show’s source material (the crime fiction of Elmore Leonard). Justified has always managed to blend in humor without straying too far from its roots, and I trust that the writers will use Oswalt as more than just comic relief and ultimately better the show. I mean, come on, don’t try and tell me “Hole in the Wall” didn’t benefit from the inclusion of Constable Bob’s “go bag” and his “when this shit goes Road Warrior, I’m ready” line.

Check out the preview for next week’s episode below and follow the writer on Twitter @NateKreichman.

The Light from the TV Shows: A Chat with Lorenzo Lamas (“The Joe Schmo Show”)

For someone who’s best known for his work in prime-time soap operas (“Falcon Crest”), syndicated action series (“Renegade”), and straight-to-video shoot-’em-ups (including the “Snake Eater” trilogy, among many, many others), Lorenzo Lamas is a pretty funny fellow, and he gets a chance to show that side of himself – along with several other sides, to say the least – when “The Joe Schmo Show” returns to Spike TV tonight at 10 PM / 9 CST. Lamas took some time to chat with Bullz-Eye before and after the show’s panel at the winter Television Critics Association press tour, and he talked about how much fun he’s having showing off his comedy chops while also taking time to delve into his life and times up to this point.

Bullz-Eye: Well, I was able to watch the first two episodes…

Lorenzo Lamas: Oh, yeah…? How did you like it? What did you think about it?

BE: It was great. I liked the first season, but I never actually saw the second season. But this looks like it’s right on par with what the show’s been like before.

LL: From what I gather, the guy they cast for this “Schmo” is a lot different than the first guy. And what I’m gathering is that…the first guy was just a really great, friendly, open, more innocent kind of guy. Like, a real Joe Schmo, y’know? [Laughs.] Whereas I found Chase to be a very analytical, intelligent, not quite as naïve guy.

BE: Yeah, he seemed like a sweetheart, but he also seemed like a guy who really wanted to win, too.

LL: Yeah, really competitive. Absolutely.

BE: So how did you find your way into this? Did they approach you, or was there a casting call and you heard about it?

LL: You know, John Stevens and I had done something last year together – a pilot for an action show, a hybrid that was part reality, part scripted – so we met on that project, and then when Sharon Levy talked to John about doing this version of “Joe Schmo,” John says, “Well, what do you think of Lorenzo Lamas?” So he kind of brought it up to Sharon, and then Sharon asked, “Does Lorenzo do comedy?” Because the whole idea is this 10-day-long improv where everyone’s in character and they have to really stay in character. So John called me and said, “I’ve got something that’s kind of out of left field, but…would you be interested in doing this show?” And then he kind of formulated a pitch to me. And I had just finished doing “The Eric Andre Show,” and I loved it. That was improv, too. I did one episode, then they brought me back and did another episode. I’d just finished doing it, so I said, “You know, John, I think this might be meant to be…” Because prior to that, I’d also done a couple of episodes of the Nickelodeon show “Big Time Rush.” I played Doc Hollywood, who’s a bigger-than-life character, almost slapstick comedy. And I’ve been enjoying that. I’ve been enjoying the change, wrapping my mind around just…not doing action, y’know?

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Blu Tuesday: Car Chases, Psychos and Bank Robbers

If the new year is anything like the one before it, 2013 should be a great time to be a Blu-ray fan. Of course, that doesn’t mean that there won’t be a few bumps along the way, and you needn’t look any further than January for evidence of that. Though there are a few exciting titles to look forward to this month, just like the theatrical release schedule, you’re going to have to wade through a lot of crap in order to find any gems.

“Hit and Run”

It’s hard to imagine “Hit and Run” getting as large of a theatrical release as it did (or even one at all) without the involvement of Bradley Cooper, not only due to his box office drawing power, but because his amusing, against-type turn as a dreadlocked ex-con is about the only good thing the movie has going for it. Clearly inspired by “Smokey and the Bandit,” the action rom-com is mostly just an excuse for Dax Shepard (who also wrote and co-directed the film) to make a movie with his wife (Kristen Bell) and Hollywood friends. But despite a somewhat promising premise, it gets stuck in first gear and never really recovers. With the exception of Cooper and a cameo by Jason Bateman, the movie is almost completely void of laughs (Tom Arnold is particularly awful as a dim-witted U.S. Marshal), and the car chases aren’t nearly as exciting as intended. Fans of Cooper will no doubt be curious to see the actor in such an unexpected role, but while it’s certainly good for a couple of laughs, “Hit and Run” is more miss than hit.

Blu-ray Highlight: Apart from some deleted scenes, the only other bonus material on the disc is a trio of featurettes (on the cast, cars and the movie’s love story) that each run just over two minutes long. In other words, they’re a complete waste of your time.

“House at the End of the Street”

Jennifer Lawrence is still really young, so “House at the End of the Street” likely won’t be the last bad movie of her career, but it doesn’t make her decision to star in this bland “Psycho” wannabe any less tragic. No one that talented should be forced to slum it in a subpar horror movie, especially when her time could’ve been better spent making the next “Winter’s Bone” or “Silver Linings Playbook.” Though it’s nice to see Elizabeth Shue back in front of the camera as Lawrence’s protective mother, her character is perhaps the most one-dimensional of the bunch (and that’s saying something), while just about every scene featuring Max Thieriot is the equivalent of watching paint dry. Putting aside the bad acting, choppy editing and major plot holes, my biggest problem with “House at the End of the Street” is that it doesn’t even respect its audience, to the point that director Mark Tonderai provides false information in order to protect the big twist, even though he didn’t need to. Any movie that resorts to that kind of tactic is a lost cause in my book.

Blu-ray Highlight: “Journey Into Terror” is a pretty decent making-of featurette (at the very least, it offers an explanation as to why Lawrence would consider doing a movie like this), but it hardly qualifies as must-see material, and it’s the only extra on the disc.

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App of the Week: Hundreds

Developer:

Semi Secret Software LLC.

Compatible with:
iPhone (optimized for iPhone 5)

iPod Touch

iPad

Requires:
iOS 5.0 or later

Price:

$2.99 (on sale)

Available here

In what has been a surprisingly deep week of quality apps, hopefully signaling a new year of the same, it was a tough task picking one to spotlight. There is one, however, making some serious noise and gaining quite a following from sites like Kotaku who already name it their, admittedly pre-mature, game of the year.

It’s called “Hundreds”, and if you give it a minute it would like to take over your life. How? Well, like so many other great puzzle apps, it starts with a simple idea. In this case, it is taking a grey circle (or circles) with the number zero in the center, and pressing down on it while the number grows until it reaches a hundred (in the case of multiple circles, the numbers must collectively add to be a hundred). With me so far? Good, because this is where it gets fun. You see, while holding down on a circle it turns from grey, to red. Should that red circle touch pretty much anything, you lose. At all times you must be aware of the location, numbers within, and size of your circles to try to find the right balance of when to manipulate what circles where. It’s an idea very easy to grasp from just a quick video demonstration.

Humorously the first level is a lone circle you must do nothing more to than press down upon until it grows to a hundred. It’s the game’s tutorial level as from there, it spends the rest of its 100+ levels exploring every possible way to throw the concept in your face, and torture you with the relentless difficulty it is capable of. As a fan of level design, I was blown away with the sheer, there’s no other word for it, audacity of the puzzles in this game. It’s clear the developers are overachievers, and they will leave you in stunned silence at the outset of most every level while you appreciate how difficult of a challenge you are facing.

By using random movements, dynamic obstacles, and good old constraints, “Hundreds” forces you not into a zen like state to best it, but rather an actively contemplative one. It gives you plenty of time to consider your next action, and its consequences, and then in the heat of making your move forces you to dynamically adjust the expectations of those actions. It’s like a pitcher giving the batter all the time in the world before politely asking if he’s ready to swing. Even then, he would have no idea what’s coming, and little time to adjust.

The word you’ll hear about “Hundreds” is addictive, and rightly so. It is addictive. Buy what impresses me most is the effortlessness of the entire experience. It’s a puzzle prodigy of sorts, in that it so easily does everything well that you forget the real effort being put into every aspect. Yet even down to the cryptic messages in between stages, there isn’t an idea here that wasn’t carefully considered and implemented.

In the end “Hundreds” may just be another addictive, clever mobile puzzle game in a, thankfully, long line of them. But that it never makes you feel like you’re playing something that has come before is the real joy of the game. “Hundreds” may not be one in a million, but it is equal or greater to all of those titles that paved the way, and is a constant joy, not to mention my app of the week.

007 One by One: ‘You Only Live Twice’

James Bond - You only live twice

Bullz-Eye is celebrating the 50th anniversary of the first James Bond film with look back at every Bond movie, 007 One by One, along with a series of features about the Bond franchise, all laid out in our James Bond Fan Hub.

As the worldwide spy craze peaks, the James Bond series settles in for the long, tongue-in-cheek haul with this often maligned but very enjoyable entry, introducing the world to both ninjas and the original Dr. Evil. It also might have been the final appearance of Sean Connery as 007, except that it wasn’t.

“You Only Live Twice” (1967)

The Plot

A United States space capsule is hijacked, killing one astronaut. Naturally, the Americans assume the Soviets are at fault and world war seems a real possibility. There’s only one thing for the level-headed English to do: Stage James Bond’s death and send him on an undercover mission to Japan to expose SPECTRE head Ernst Stavro Blofeld’s plot to dominate the world by partially destroying it.

The Backstory

With enormous success comes enormous pressures and change was very definitely in the air as “You Only Live Twice” began production. Now one of the world’s most bankable stars after the mega-success of “Thunderball,” Sean Connery was contractually on board for only one more film and starting to be seriously fed up with all the 007 insanity.

Behind the camera, original Bond director Terrence Young had had his fill and “Goldfinger” helmer Guy Hamilton was unavailable. Editor and second unit director Peter Hunt, who had been instrumental in the series’ creative success, badly wanted to helm the project, but producers Albert “Cubby” Broccoli and Harry Saltzman apparently weren’t ready for a first timer for Bond #5. Therefore, a new recruit was sought out to join the small fraternity of James Bond directors.

An old hand at period pieces and war films, Lewis Gilbert was hot off an Oscar nomination for a classic-to-be about a compulsive womanizer who could give Bond a run for his money. “Alfie” starred Connery’s good friend, fellow movie spy, and now award-winning box office rival, Michael Caine.

Lewis Gilbert also brought along one of the very few directors of photography who could have reasonably stepped into the very big shoes of series regular Ted Moore. Freddie Young had won the first of his four Oscars a couple of years prior for David Lean’s visually stunning 1963 70mm masterpiece, “Lawrence of Arabia.” For the sake of keeping things consistent, all the other key collaborators, were back on board in their regular roles, i.e., composer John Barry, credit designer Maurice Binder, and production designer Ken Adam. For once, they’d all have a nice budget to play with, too.

The script, however, was an issue. The novel “You Only Live Twice,” was the last Bond book published in Ian Fleming’s lifetime and the story was problematic for more than one reason. For starters, it was actually the third and final installment in what literary Bond fans call “the Blofeld Trilogy.” EON’s original intent had been to film the books in their original order. That way Blofeld, who had been teased as a character starting in “Dr. No,” would get his long-delayed onscreen introduction in “On Her Majesty’s Secret Service” and finally suffer James Bond’s revenge in the follow-up, “You Only Live Twice.” Unfortunately, logistics made the ski chalet setting of “Majesty” impractical for the summer release EON and United Artists had their hearts set on.

The other problem was that the plot of Ian Fleming’s novel, which involved Blofeld setting up a lavish sanitarium for wealthy suicides, just didn’t seem to be the stuff of a James Bond movie. It also ended with Bond fathering a child with Kissy Suzuki. Only a few elements from the book would remain in the finished movie, most notably the Japanese setting, love interest Kissy, and friendly spy boss Tiger Tanaka.

There was also a problem with finding a writer. Richard Maibum, who had worked on every Bond up to this point, was deemed unavailable. A rumored screenplay by renowned author Kingsley Amis had been reportedly dismissed. Another script was commissioned by writer Harold Jack Bloom, but little of his work would remain in the finished film.

The final choice of screenwriter turned out to be an interesting one. Decades after his death, Roald Dahl remains one of the world’s most popular children’s writers with such film-friendly classics as “Charlie and the Chocolate Factory,” “Fantastic Mr. Fox,” “The Witches,” “Matilda,” and “James and the Giant Peach” all too his credit. He might have seemed a far likelier choice for writing an adaptation of Ian Fleming’s children’s book, “Chitty Chitty Bang-Bang,” the gig that was apparently keeping Richard Maibum busy. Nevertheless, Dahl had written his share of adult thrillers and had actually performed wartime espionage and been friends with Fleming. Scads of 007-inspired spy spoofs were upping the humor ante and this would be a somewhat more tongue-in-cheek Bond. Dahl’s dark sense of humor would be a plus.

The main thrust of the film’s new plot was apparently invented by Cubby Broccoli, however. Upon seeing a dormant volcano while scouting locations, he came up with the idea of using it as a giant villain’s lair. With the U.S.-Soviet space race at full swing, the Russian-Chinese split a topical news item, and terrorism on the rise, the idea of SPECTRE hijacking spacecrafts in order to start a world war on behalf of Red Chinese clients seemed like a natural.

The Bond Girls (Rule of 3 + 1)

Once again, 007 does the espionage nasty with three beautiful women on his Japan adventure. Shockingly, however, the movie’s main love interest is not one of them.

Ling (Tsai Chow) — This lovely lady of Hong Kong engages in mildly racist pillow talk with Bond and then reveals herself to be an accomplice in the spy’s elaborately faked death. Though her part is small, actress Tsai Chow was already a recording artists and a major star of the London stage in “South Pacific” and “The World of Suzie Wong.” Her very long film career would include parts in “The Joy Luck Club,” “Memoirs of a Geisha,” and the 2006 Bond reboot, “Casino Royale.”

Helga Brandt (Karen Dor) — The latest Bond villainess with preying mantis-like tendencies, the dangerous Ms. Brandt is the secretary/in-house assassin of the wealthy SPECTRE operative, Mr. Osato. She has her way with Bond, then fails at killing him. It’s only natural that she winds up a victim of SPECTRE’s signature approach to personnel management, which in her case means being fed to the CEO’s pet piranhas. Actress Karen Dor has enjoyed a very long career in German films and television that continues to this day. She also appeared in Alfred Hitchcock’s unsuccessful spy thriller, “Topaz,” and the modestly titled horror flick, “The Torture Chamber of Dr. Sadism.”

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