In Media Resonates

If you get one shot, make it real.

Real Steel, 2011

Director - Shawn Levy

Screenplay - John Gatins, from the short story Steel by Richard Matheson

The premise of Real Steel is one that begs immediate skepticism.  With a Rocky meets Transformers conceit (not to mention a plot device that bears a life-size resemblance to those nifty Rock ‘em Sock ‘em Robot toys), Shawn Levy’s robotic take on boxing’s future had quite a lot to prove and, somehow, it did just that.

Real Steel isn’t the entertaining yet forgettable action blockbuster that everyone was likely expecting; as a matter of fact, it’s quite good.  Set in the not too distant 2020, the film takes place in a world that has grown weary of human boxers and - thanks to technological advancements - now pays to watch mechanical contestants take to the ring.  Charlie Kenton (Hugh Jackman), a former boxer himself and owner of one of these robotic fighters, already struggling under debt, is abruptly reunited with his estranged eleven year old son Max (Dakota Goyo).  It is Max who discovers Atom, a discarded sparring bot, and convinces Charlie to help him rebuild it and hopefully restore it to fighting condition.

Like all successful science fiction, Real Steel works because of its genuine, human core.  Yes, the robot battles make for entertaining spectacle (the film’s Oscar nomination for visual effects was absolutely warranted), but the heart of the story lies in the father-son dynamic.  Charlie is a man trying to relive his past while grasping for meaning in his future, struggling to be a father when he simply doesn’t know how.

As Max, Goyo is satisfyingly spirited and stubborn.  His interactions with Atom (particularly a neat little scene where he teaches the robot to dance) are filled with a youthful joy that is delightful to watch.  As Bailey, Charlie’s longtime friend and owner of the boxing gym out of which he operates, Evangeline Lilly is appropriately pragmatic.  The friendly flirtations between her and Charlie are well played by Jackman and Lilly, and the slow-burning romance is nicely understated. 

Real Steel isn’t going to change the way films are made, but it’s a finely acted, solid picture with a big heart and, yes, the robots are cool too.

Looks Do Kill.

Nikita

2010-Present, The CW

Developed by Craig Silverstein, from the character created by Luc Besson

Today’s entertainment industry is a world of remakes, reboots, and reinventions. The CW’s espionage drama, Nikita, manages to be all of these things. Technically, Nikita is a remake of the 1997-2001 USA series La Femme Nikita which in turn is a remake of the 1990 French film Nikita which itself was remade as the 1993 American film Point of No Return starring Bridget Fonda.

Where Nikita, now in its second season, differs from its predecessors is in its choice to move the storyline forward in time. While Nikita is essentially the same woman as represented in previous incarnations - a criminal abducted and trained by Division, a secret government agency, to become an assassin - executive producer Craig Silverstein opts to begin the series with Nikita having escaped from her employers. This time around she’s on a mission to take them down.

Action star Maggie Q (Mission Impossible 3, Live Free or Die Hard), who studied in Hong Kong under the tutelage of Jackie Chan, channels the title role to perfection. As lovely as she is deadly, she is the living embodiment of the series’ tagline ‘Looks Do Kill,’ as effortless in her line delivery as she is administering a swift roundhouse kick.  The supporting cast is an array of television and film veterans that includes Shane West, Lyndsy Fonseca, Xander Berkeley, Melinda Clarke, Aaron Stanford, and Devon Sawa.

Nikita’s quest for revenge, or perhaps redemption, is what makes this re-imagining of an oft-told tale worth another go-round.  The missions are exciting, the action is expertly choreographed and performed, and the story layers nicely week after week, developing into an epic saga that could easily run for a few solid seasons without losing steam. It’s a tale that’s been told, but a fresh new spin has rejuvenated the concept and transformed the series into an action packed event.  Maggie Q is a rockstar as the title character, a thrill to watch in her adventures as she attempts to bring down the organization that wronged her.

There Are No Clean Getaways.

Drive, 2011

Director - Nicolas Winding Refn

Screenplay - Hossein Amini, from the novel by James Sallis

Brimming with conflicting morals, doomed romance, and moody cinematography, Nicolas Winding Refn’s Drive is a true study in neo-noir filmmaking, a master class in style and pace.  Adapted from James Sallis’ novel of the same name, the film is both slow and exciting, moments of brooding contemplation offset by action-packed car chases and violent murders.  Refn’s painstaking technique, evident in every frame, soundtrack selection, and line of dialogue, makes for a tense thriller that builds toward an emotional, unforgettable finale.

Ryan Gosling is a striking leading man.  As the film’s unnamed driver, he is quiet and contemplative, captivating to watch as he silently takes in his surroundings.  As interesting and impressive as his fellow castmates are, it is on Gosling’s shoulders that the film’s success rests squarely.  He doesn’t disappoint.  Gosling has proven his diversity in recent years and this is perhaps his best performance to date.  It is through him that we experience the dark and complicated world of Drive and Gosling’s superb portrayal will no doubt make viewers more than willing to come along for the ride.

Gosling’s Driver is man of many trades, a Hollywood stuntman that also works as a car mechanic while moonlighting as a getaway driver.  He finds, however, that he has perhaps bitten off more than he can chew when he becomes involved with his neighbor (a superb Carey Mulligan), a star-crossed romance that leads to entanglements with the mob and inevitable jobs gone wrong.

The star-studded cast features Bryan Cranston, Albert Brooks, Oscar Issac, Christina Hendricks, and Ron Perlman, all of whom fit nicely into Refn’s noir-influenced Los Angeles.  The cinematography lingers at unexpected angles, shadowy yet sharp, capturing the tensity of the action and the emotion of the characters.

Expertly crafted in every way, Drive is a stylish film that demands your attention and holds on tight long after the credits have rolled.

To solve the toughest crimes, hire the smartest criminal.

White Collar

2009-Present, USA

Created by Jeff Eastin

In just a few short years the USA network has become a formidable entity of top notch entertainment.  Their much promoted tagline, “Characters Welcome,” has proved a guiding star toward inventive, quality entertainment.  In the fall of 2009, White Collar joined USA’s ever growing list of original programming and quickly established itself as one of the slickest, smartest, and ultimately fun series currently on air.

The series follows thief extraordinaire Neal Caffrey (Matt Bomer), who upon being caught by FBI Agent Peter Burke (Tim DeKay) agrees to assist Peter in working with the FBI White Collar Crimes Unit as a criminal informant in lieu of returning to prison.  It’s a position that comes with limited freedom and a short leash; Neal’s every move being monitored by an FBI secured ankle bracelet that he must wear at all times.

From its very first moments, White Collar establishes itself as a crime solving caper of the finest variety and, having just aired its third season finale, shows no signs of slowing down anytime soon.  Sure, in the beginning there were a couple hiccups.  I never really warmed up to Alexandria Daddario as Kate, Neal’s missing girlfriend.  This is perhaps less the actresses fault than the fact that we the audience were only ever witness to her actions via short glimpses and flashbacks.  It is hard to root for a love story that we’ve never seen.  Also problematic was the presence of Natalie Morales’ Agent Lauren Cruz, who - though a member of Peter’s team - never really clicked with the rest of the cast.  By season two, however, Morales was gone and Daddario’s storyline has since come to a close.

What remains is a wonderful ensemble cast that has superb comic timing and excellent chemistry.  The undeniable heart of the show lies in the reluctant partnership and eventual close friendship of Neal and Peter.  This odd coupling makes for great moments of comedic bickering, but also clever plans that utilize both Peter’s FBI training and Neal’s first-hand criminal expertise to solve cases.  Bomer is charming and suave (and rocks a fedora like no other) and DeKay is appropriately by the books and mannered.  Over three seasons it has been interesting and impressive to watch these two talented actors formulate not only an effective working relationship, but also a personal friendship based on admiration and trust.

Surrounding White Collar’s very dynamic duo is a colorful collection of characters that have helped to establish the series as having one of the most interesting ensembles on television.  Tiffani Thiessen shines as Peter’s wife, and sometimes cohort, Elizabeth; Sharif Atkins and Marsha Thomason delivery noteworthy turns as Agents Jones and Barrigan respectively, integral components of Peter’s team; and Willie Garson delights, and often steals the show, as Neal’s former partner in crime, and sometimes reluctant assistant to the FBI, Mozzie.  More recently, Hilarie Burton has cropped up as insurance investigator Sara Ellis.  Upgraded to series regular status this past season, Burton has integrated seamlessly into the classic rapport of the White Collar crew, and the romantic dynamic between Sara and Neal has proven truly effective.  Bomer and Burton’s chemistry all but shoots lighting rods across the screen.

The series is great fun as a case of the week crime caper, but ultimately its true success lies in its ongoing mysteries, talented ensemble, and clever script.  Handsomely filmed and deftly paced, White Collar is not only a standout of the USA lineup, but of the scripted series landscape as a whole.

Poison, Drowning, Claw, or Knife. So Many Ways To Take a Life.

Trick ‘r Treat, 2007

Director - Michael Dougherty

Screenplay - Michael Dougherty

Though Trick ‘r Treat was never officially released theatrically, it garnered a fairly fervent following among horror aficionados during the two years it took the film to finally make it to DVD.  Written and directed by Michael Dougherty (who co-wrote X2) and adapted from his own short film Season’s Greetings, Trick ‘r Treat plays like a tribute to classic horror, an old school slice of Americana (horror style) the end result of which is only partially successful.

The film is actually very cleverly plotted, four main stories intertwining as a small town celebrates Halloween.  Classic horror tropes are toyed with (and turned on their head) to varying degrees of success.  We’re introduced to prank-playing children, a virginal young woman, a reclusive neighbor, among others, plus a creepy pint-sized spirit, dubbed Sam, that links them.

There are moments of pure, eery, horror glory, well framed and written, but they are offset by scenes that are not terrible, but annoyingly mediocre.  Trick ‘r Treat’s main fault is that it is a perfectly average horror film whose few shining moments illuminate the great horror film it could have been.  It is easy to see what Dougherty was going for and upsetting that he wasn’t quite successful.

The cast (led by Anna Paquin, Brian Cox, and Dylan Baker) is solid, plus Sam does prove quite the disturbing little creature.  Music is utilized effectively and the final scene is classic, but I was still left wanting by the time the credits rolled.  Dougherty’s creative mind is in the right place, though, and with rumors of a possible sequel floating around the web, I would definitely be interested to see what improvements he might bring to the table on his second go around.

The Ultimate Double Cross.

Ringer

2011-Present, The CW

Created by Eric Charmelo and Nicole Snyder

A hefty amount of media coverage was devoted to Sarah Michelle Gellar’s return to television which comes as no surprise considering the impact Buffy the Vampire Slayer still has on cult fandom nearly ten years since its final episode aired.  In Ringer, Gellar graces television screens as not one, but two characters, twin sisters with a rocky (to say the least) relationship.

Sadly, Gellar’s much buzzed about homecoming isn’t the triumph that many were no doubt anticipating.  It’s not that she is untalented; she is simply a wonderful actress who has made some terrible choices in projects and while Ringer is not quite dreadful, it’s certainly nothing special.

The premise - a down on her luck Bridget Kelly (Gellar) poses as her supposedly deceased, incredibly wealthy twin sister Siobhan (also Gellar) to evade the mob - is not without potential.  In fact, it’s the stuff sudsy soap melodrama is made of, the kind of juicy scenarios that could make for a fair bit of scenery chewing fun were everyone involved with the series not taking it so seriously.

The cast seems so intent on playing increasingly ludicrous situations absolutely straight.  This is a strategy that only works if the characters are well developed and the actors (and writers) give the occasional wink and nod to let the audience know that they are in on the joke.  It is unfortunate that neither of these factors comes into play, because the cast is actually quite the talented ensemble.  Joining Gellar are Ioan Gruffud, Nestor Carbonell, Kristoffer Polaha, Mike Colter, and Tara Summer, all of whom have delivered excellent performances in their careers, but here are rendered wooden by heartless dialogue and motiveless plots.

I wanted to like Ringer.  I even gave it seven episodes before I just couldn’t take it anymore.  I tuned in a couple weeks ago to see if the series had improved since I had stopped watching.  Sadly, I remained disappointed.  Sarah Michelle, you deserve better, and so do audiences.

I won’t talk! I won’t say a word!

The Artist, 2011

Director - Michel Hazanavicius

Screenplay - Michel Hazanavicius

There are many ways to tell a story; most of them include dialogue.  Michael Hazanavicus’ lovely The Artist, which hearkens back to the transition from silent film to “talkies,” for the most part does not.  Shot entirely in black and white and relying almost solely on the actors’ expressions and gestures (with a title card thrown in here and there), the film is nostalgic yet fresh, an interesting look back in time while continuing to push boundaries in terms of modern storytelling.

The premise is fairly simple.  Silent movie star George Valentin (Jean Dujardin) struggles to maintain a purpose in an industry that is crossing over to talking pictures.  A chance encounter with a young actress Peppy Miller (Bérénice Bejo) ends up skyrocketing her to superstardom as Valentin’s own career begins to decline.

Dujardin is a charming leading man.  The film rests, more or less, on his shoulders and, from tap dancing to swashbuckling to grinning his heart out, he never disappoints.  Every bit his equal, the lovely Bejo shines as Peppy Miller while the supporting players all seem to be having a grand old time, John Goodman as a studio executive, James Cromwell as Valentin’s devoted valet.  Much credit must also be given to the adorable Uggie who, as Valentin’s Jack Russell Terrier, all but steals the show from his human counterparts.

The Artist is a clever, fun engagement, but also serves as an interesting study of changing times, how art is effected by the era in which it is created and thus the technology of the period.  Slick performances and impeccable style make for a classy, classic, film that is engaging and heart-warming.

Now the story of a wealthy family who lost everything.

Arrested Development

2003-2006, FOX

Created by Mitchell Hurwitz

On paper, Arrested Development might not sound that interesting.  The initial premise is rather simple: wealthy George Bluth Sr. (Jeffrey Tambor) is arrested and imprisoned for fraud, leaving his honorable, level-headed, son Michael (Jason Bateman) to salvage the business while trying to keep up with the eclectic, pampered, Bluth clan.  It’s a premise, however, that is brilliantly executed, from the quick-witted writing to the smart performances from a phenomenal cast.  Arrested is - quite possibly - the best comedy that television has ever seen.

Narrated by Ron Howard (who also serves as a producer), this chronicle of the Bluth family and their efforts to stay relevant (and rich) in the aftermath of George Sr.’s imprisonment is, quite simply, hysterical.  These characters, most of which are in essence horrible people, are fascinating to watch as they grasp at straws to stay afloat as life as they knew it is torn from their privileged fingertips.  The family dynamic is so well executed in both writing and performance that, no matter how heightened the reality of the situations become, the relationships themselves are hilariously believable.

At the center of all the mayhem is Jason Bateman’s Michael, who with son George Michael (a young, bright Michael Cera) serves as the series’ moral compass as he tries to juggle a collapsing business and an impossible family.  Jessica Walter, Portia de Rossi, Will Arnett, Tony Hale, David Cross, and Alia Shawkat make up the rest of the dysfunctional Bluths.  Each actor brings their own special flair to their colorful roles.  Backing them up is a cast of extraordinary guest stars that is almost mind boggling, Charlize Theron, Liza Minnelli, Ben Stiller, Zach Braff, Ben Stiller, Jane Lynch, Tom Jane, J.K. Simmons and more turning up in cameos and recurring roles throughout the series’ three year run.

Arrested Development is a gem, a study in impeccable comedic storytelling.  It is no wonder that it has garnered such a fervent following, resulting in it’s much awaited comeback in 2013.  Count me among the many who will be welcoming the Bluths back with open arms.

A Man With a Secret. A Woman With a Dream.

Albert Nobbs, 2011

Director - Rodrigo García

Screenplay - Glenn Close and John Banville, from the short story by George Moore.

Period pieces are always tricky.  It seems rather easy, one might imagine, for a filmmaker to become caught up in the grandiose sets, the extravagant costumes, so much so that the story gets lost in it all.  In the case of Albert Nobbs, the opposite could not be more true.  The setting (19th Century Ireland) takes a backseat to what is a truly lovely character piece, but it also serves to inform the motivations of its central character.

A young teen woman dresses as a man in order to obtain a waitstaff position.  Thus the persona of Albert is born and, as the film opens thirty years later, we see Albert trapped in a prison of her own making.  Albert has acclimated to life as a waiter at a fancy hotel, saving nearly every paycheck, every tip, in hopes of one day earning enough to open a shop of her own.  The film’s premise strays little further from this simple premise, but Albert Nobbs’ true complexity lies in the title character, her struggle for self-sufficiency, friendship, love, and most importantly identity.

As Albert, Glenn Close is truly a marvel to behold.  From her careful line delivery to her manner of movement, Close brings to life a character that is inspiring and heartbreaking.  Every step she takes, every word she speaks, resonates with the electricity of a talented performer at her peak.

Mia Wasikowska (The Kids Are All Right) co-stars as Helen, a spirited maid who catches the eye of Albert’s affection and Aaron Johnson (Kick-Ass) appears as Joe, Helen’s lover and fellow employee of the hotel, who throws a wrench into Albert’s intended courtship. Also featured are Janet McTeer, in a truly excellent performance, and - in supporting roles - Brendan Gleeson and Jonathan Rhys Meyers.

The film is beautifully shot and, accompanied by a script co-written by Close herself, has the air of an old photograph come to life.  It is quiet and contemplative, sometimes the smallest moments delivering the biggest emotional impact.  As Albert obsessively counts her change every night before storing it beneath the floorboards, we feel her desperation, but also her optimism.  She is a character that, should they not be separated from her by a movie screen, the audience would be quick to embrace tightly and reassure that everything is going to be okay.

Albert Nobbs is quite the individual and the film is likewise unique.  Led by Glenn Close’s magnificent performance, it raises interesting questions about identity, how factors of class and gender drive people to define themselves, sometimes just in order to get by, but perhaps also to realize their dreams.

His Journey. Their Battle. Our Future.

Smallville

2001-2011, The WB, The CW

Developed by Alfred Gough and Miles Millar from characters created by Jerry Siegel and Joe Shuster

It seems like not that long ago that Smallville, a humble teen series on The WB emerged on the pop culture scene in 2001, a re-imagining of Superman’s small-town roots. Ten years, 217 episodes, and one network change later, Clark Kent is all grown up.

It had to end sometime. After all, it had been stated by the show runners numerous times that Smallville was about Clark Kent’s journey toward becoming Superman. Therefore then, as Clark came closer to his destiny season after season, fans knew that it wouldn’t be long before the series reached its inevitable conclusion. Having had its fair share of highs and lows (the numerous dreaded filler episodes come to mind), Clark is ultimately forced to face what has always been his greatest enemy, his self-doubt, the writers’ selection of apocalyptic villain Darkseid as the final season’s big bad giving Clark’s inner battle a physical manifestation.

Smallville’s principal cast has gone through numerous changes as the series has progressed (Tom Welling being the only principal cast member to appear in all ten seasons, with Allison Mack’s Chloe Sullivan coming in a close second with nine), but the series has always found a strong core group of actors from which to build it’s saga from season to season. The always reliable Welling has matured nicely from awkward teenager to heroic young man and it’s hard to imagine a more perfect Lois Lane than the lovely Erica Durance, who has crafted a truly funny, heartfelt character. As playboy Oliver Queen (who moonlights as masked hero Green Arrow), Justin Hartley compliments Clark, both as an ally in battle and as a close friend. Perhaps most notable is Cassidy Freeman’s exquisite portrayal of Tess Mercer, whose rocky journey from villain to hero has made her one of the series’ most dynamic characters, a tribute to Freeman, who only arrived on the scene in season eight.

Everyone knows that Clark Kent becomes Superman, that he will eventually wear a red cape and become an international hero, that he will fall in love with Lois Lane, take a cover job as a reporter at the renowned Daily Planet, and that his ultimate foil will be the very sinister, very bald, Lex Luthor (series standout Michael Rosenbaum).  Still, the beauty of Smallville is not where the story is headed, but in the events that take the characters there.  It is fun to see Clark balancing high school with developing superpowers, to wonder when his schoolboy infatuation with Lana Lang (the ever-underrated Kristin Kreuk) develops into his love for Lois (who doesn’t even arrive until the fourth season).  Stellar turns from the likes of Annette O’Toole, Margot Kidder, Dean Cain, Teri Hatcher, Helen Slater, Terrence Stamp as the voice of Jor-El, and most importantly Christopher Reeve himself, are fun nods to the mythos, a torch passing of sorts that welcomes these characters and stories to a new generation.

Smallville serves to prove just how sturdy the legs of Superman are. The series managed to stay afloat through slipping ratings, changing time slots, a network change (reborn on the CW network in its sixth season) and the infamous writer’s strike. It seems that no matter how difficult the battle became, Clark Kent managed to pull through, right to the very end.