This week ABC will premiere its long-awaited Once Upon a Time spinoff, while the third season of New Girl heats up with a brand new episode. And just in case you were wondering, it involves a cat being neutered. Here are the other shows you need to be recording this week.
New Girl, FoxThe third season of Fox's critically acclaimed comedy of twenty-something LA singles is back with an all new episode. And yes, the plot does involve Winston taking his cat out for one final hurrah before having the poor defenseless creature fixed (as in permanently!). Only in La La Land would any of this make sense. New Girl airs Tuesdays at 9 PM ET on Fox.
Nashville, ABCWhy is ABC's Nashville one of the most strangely addictive dramas on network TV? Well for one, having Connie Britton in your cast, whose last show, Friday Night Lights, was the best drama to come out of network TV in decades (yet one that no one watched), certainly does help. Maybe just a little. Nashville airs Wednesdays at 10 PM ET on ABC.
Once Upon a Time in Wonderland, ABCAlready one of the biggest fantasy dramas on network TV, ABC's Once Upon a Time is being spun-off into a brand new series that follows the same Alice from the Lewis Carroll books. Will Wonderland be as big of a hit for ABC as its parent show? Well when you consider the fact that Tim Burton's poorly-reviewed Alice in Wonderland from 2010 made a billion dollars (it's in 3D, Mommy!), you see why an Alice-themed TV show is such a slam dunk. Once Upon a Time in Wonderland premieres Thursday at 8 PM ET on ABC.
Boardwalk Empire, HBOMost of HBO's period mob drama takes place in Tampa this season, with Nucky Thompson (Steve Buscemi) trying to secure new business opportunities. You think people from the Sunshine State are wacko now? Wait until you see how nutty they were in the Prohibition era! Boardwalk Empire airs Sunday at 6 PM ET on HBO.
Hello Ladies, HBOOne half the creative team that brought The Office to America (not Ricky Gervais) tries to find love in that sun-drenched pillar of fakery and pretension, otherwise known as Los Angeles. He may have signed up for more than he bargained for, but at the very least, there'll be a ton of laughs along the way. New episodes of Hello Ladies air Sunday nights at 7:30 PM ET on HBO.
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Jersey Shore Star Gets A Life: Jenni "JWoww" Farley just landed a recurring role on the long-running soap One Life To Live, which is re-launching on April 29th on Hulu, Hulu Plus and iTunes thanks to The Online Network. She will play Nikki, a bartender hired at the trendy nightclub Shelter, and can mix an Alabama Slammer as well as she can flirt with customers. As Shelter’s newest barmaid, club owner Blair Cramer (Kassie DePaiva) knows that it’s best to keep an eye on Nikki so things don’t get out of control. [Via Press Release]
Scorsese Heads to TV: Miramax and Martin Scorsese have teamed to develop a television series based on Scorsese’s 2002 movie Gangs Of New York (which was released by Miramax). The series will focus on organized gangs at the turn of the century and shortly thereafter in America, not only in New York but in other cities such as Chicago and New Orleans and the birth of organized crime in America. "This time and era of America’s history and heritage is rich with characters and stories that we could not fully explore in a two-hour film," Scorsese says. "A television series allows us the time and creative freedom to bring this colorful world, and all the implications it had and still does on our society, to life." [Deadline]
Grey's Anatomy Hires One Tree Hill Alum: A new doctor is coming to work in Seattle. One Tree Hill alum Hilarie Burton has signed on for a recurring guest role on Grey's Anatomy as a craniofacial specialist who visits Grey Sloan Memorial Hospital to work on a case. She'll make her debut in early May. [E!]
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Once Upon a Time Spinoff Castings: Sophie Lowe and Michael Socha has just been cast as one of the three leads in ABC‘s possible Once Upon A Time spinoff presentation, Once: Wonderland. OUAT creators Eddy Kitsis and Adam Horowitz focused the presentation in pre-curse Wonderland and the story is told through the point of view of Alice (Lowe), who is surrounded by two major characters, The Knave of Hearts (Socha), a sardonic adventurer, a man of action, a loner and a heart-breaker; and Amahl, described as exotic, soulful and optimistic. Additionally, Peter Gadiot has been cast as Alice's mysterious love interest, Cyrus. Production is slated to begin April 7 in Vancouver, immediately following the season wrap of OUAT. [Deadline, THR]
Dads Casts New Wife: Vanessa Lachey has just joined Fox’s six-episode multi-camera comedy series Dads. She is now a regular after a recent recasting. From the creators of Ted, Dads centers on two successful guys in their 30s, Eli (Seth Green) and Warner (Tommy Dewey), who have their lives turned upside down when their nightmare dads (Peter Riegert, Martin Mull) unexpectedly move in with them. Lachey will play Camilla, Warner’s (Dewey) wife and, the mother of their two children (replacing Erin Pineda in the role). [Deadline]
From a Partner to a Friend: David Krumholtz (Partners) has joined NBC’s Brenda Forever pilot. He will play a close friend of Ellie Kemper's Brenda, a 31-year-old who does her own thing. He’ll appear as a guest star in the pilot, but if the project goes to series, there’s a good chance he’ll be back. The potential series would consist of stories from Brenda Miller’s past and present, creating a unique portrait of how a chubby, awkward but incredibly confident 13-year-old grew up to be the woman she is today. [TVLine]
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Patrick Harbron/The Online Network]
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As a bearded hysterical Matthew Fox once said “We have to go back.” A simple phrase that proved inexorably memorable. The wish to go back in time — to relive the better days to prevent the worse — is universal. It’s a wish fueled by nostalgia and regret that makes up such a sorrowfully large component of man’s core. And it’s a wish that is right at the center of Safety Not Guaranteed a movie that tries very hard to do justice to its powerful theme.
Colin Trevorrow’s feature debut attacks the idea from a few different angles. In fact quite literally. The story opens with the abrupt introduction of a so-called nutcase (mumblecore king Mark Duplass) who is planning a voyage back to the year 2001 via a time machine he has allegedly built. Of course no one believes him. Not the sour crass magazine journalist (New Girl's Jake M. Johnson) whose job it is to chronicle the missions of this lunatic. Not his timid lonely med-student tagalong (Karan Soni). And of course not the center of the whole expedition: Darius (Parks and Recreation star Aubrey Plaza) the listless friendless post-grad magazine intern who is plagued by overt apathy and a bridled remorse over her mother’s untimely death several years earlier. Not at first anyway.
Darius agrees to the out-of-town excursion primarily to escape monotony. Arnau jumps on the bandwagon to bolster his résumé but also to stay close to Darius on whom he has a very obvious and very uncomfortable crush. And Jeff (Johnson) is actually on a quest to reunite with an old summer flame from his much happier teen years. All three characters embody the theme being driven home by Safety Not Guaranteed as does — most of all — aforementioned oddball Kenneth (Duplass) whose journey back in time revolves around his own attempt to recapture the lost love of a former girlfriend.
The pulp is there. The problem is the film never truly figures out how to showcase its internal. We never learn enough even subtextually about Darius to understand or appreciate her character entirely. The same goes for Kenneth — who yes is supposed to be mysterious but is also supposed to be sympathetic. Instead he remains at the same distance from the audience throughout the film; we never really figure out if he’s off his rocker or someone who just looks at the world differently.
The film is often a fun one: it serves as a playground for traditional ideas on the well-tread territory of time travel. Time travel tropes are tossed around with a quirky humor and an emotional investment in the genre the way real world friends might discuss the hypothetical. All starring parties and their supporting cast members are endearing and funny. But the emotionality never hits the stride it seems to be going for.
We know that the stories of Darius Kenneth Jeff and Arnau are supposed to be painful. Unfortunately not enough attention is paid to building these people’s heartbreaks. They come off as a bit superficial. As such their separate emotional storylines linked only in spirit come off as a bit disjointed.
At points the film’s stars’ performances seem like less gripping versions of their television characters. The most winning scene actually comes from the cast newcomer Soni whose grief-stricken Arnau could well hit a nerve for a few viewers. Admittedly some might fault Soni and his character for borrowing from the well of racial stereotypes — but that argument aside his personal climax makes his character the movie’s most memorable strength.
Safety Not Guaranteed has plenty of good in it and will most likely keep a willing participant entertained from beginning to end. It’s fun funny and conducive to the plight of the nerd slacker artist or whatever type of outcast group you might fall into. Unfortunately the film never climbs to the point of being as powerful a movie as its contents could justifiably make it. To put it in apropos time travel terms: you can muster up as many gigawatts of linoleum as you can find but without that flux capacitor at the center you’re not really going anywhere.
Just as surely as the hippos and gazelles that populate the African savannah in Disney’s 1994 hand-drawn classic The Lion King must take their place in the grand cosmic scheme of things the best Disney animated movies have their own roles in the “circle of life” that the movie’s opening song of the same name written by Elton John and Tim Rice refers to. The films open in theatres and delight kids and adults alike before heading to the home-entertainment sphere where they find everlasting life by being passed down to future generations.
However every once in a while a beloved Disney title gets reincarnated on the big screen in a newer spiffier form. Such is the case with The Lion King itself which arrives in theatres for the first time in 3D in a limited run beginning September 16 before its release on shelves as a special Diamond Edition Blu-ray on October 4.
An audience of Mouse House devotees were treated to the first public screening of The Lion King in 3D at the Anaheim Convention Center’s multi-tiered arena on Saturday August 20 2011 as part of Disney’s fanboy-nirvana D23 Expo. Directors Rob Minkoff and Roger Allers took to the stage to introduce the screening at one point even offering a spirited rendition of the miniature musical number in which the comedy team of wisenheimer meerkat Timon (voiced by Nathan Lane) and gaseous warthog Pumbaa (Ernie Sabella) distract a band of evil minions by launching into a rapid-fire Hawaiian-themed ditty. One of the co-directors even kept the rhythm going by banging on the makeshift drum of an upside-down water jug.
Then the movie began and it’s gratifying to report that Disney’s 3D conversion of The Lion King is an excellent fittingly majestic bit of post-production wizardry. Of course part of what makes the 3D so enveloping is that Minkoff and Allers have already done such an expert job of creating visually layered 2D compositions that the addition of the third dimension is able to stagger those layers in a striking manner. For example the last shot of malicious Uncle Scar’s (Jeremy Irons miraculously delivering the best vocal performance in a cast that also includes the booming baritone of James Earl Jones) “Be Prepared” musical number features an elephant’s skeleton in the foreground and the sight of Scar and his hyena underlings bellowing the song’s final notes atop a craggy mountain in the background. In 3D the viewer can get happily lost in the amplified depth between the shot’s foreground and background action.
Naturally there are also more gimmicky less subtle uses of 3D. Pumbaa’s snout and two horns are repeatedly lunging right at the spectator and the smoke and dust kicked up in the wake of the wildebeest stampede that (spoiler alert for those who have been living under a rock for the past 17 years!) claims King Mufasa’s (Jones) life seemed to hover in the Anaheim arena’s air. Since perhaps the most eye-catching use of 3D is when a flying character seems to soar in the space between the screen and the audience (think of that fuzzy-butterfly-type creature that stole the show in Disneyland’s 3D attraction Captain EO) the winged movements of Mufasa’s avian adviser Zazu (Rowan Atkinson) make for some of the movie’s showiest 3D touches. But they also lead to my one quibble with the 3D here: because the “you can seemingly reach out and touch Zazu” effects are so attention-grabbing scenes that aren’t even dramatically centered on Zazu end up inevitably and distractingly being all about the snooty beaked majordomo.
As fans would expect though the film’s stirring hero’s-quest narrative arc and emotional grace notes register just as strongly in this new format. When young hero Simba (voiced as a cub by Jonathan Taylor Thomas) devastated by father Mufasa’s death crawls under the giant paw of his dad’s corpse a few D23 attendees behind me could be heard blowing loudly into their tissues. That’s another benefit of having this film in 3D: those dark glasses do a great job of hiding your tears.
Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
Carl Allen (Jim Carrey) is a drag -- a recent divorcee in a dead-end job who basically has one word for everything: “No!” Then one day he is dragged to one of those super positive self-help seminars that forces him to say “Yes” to everything or face dire consequences. Thing is it works. Need Viagra? Yes. Bungee jumping? Yes. A quick hummer by his over-sexed septuagenarian neighbor (Fionnula Flanagan)? Uh … yes? Carl’s newfound agreeable self gains him more than he ever imagined. He even finds the love of his life a kooky musician/amateur photographer named Allison (Zooey Deschanel). Of course all this goodwill does have its consequences and Carl learns some valuable lessons. Sound familiar? Hey if Liar Liar worked once why not go back to the comedy well? Jim Carrey is just his best when he’s in a comedy -- even quirky comedies such as Eternal Sunshine of the Spotless Mind. He is so at home in the shoes of this kind of loveable loser who gets to live life in broad strokes. He knows how to play for big laughs without going overboard. So from now on Jim just say NO to thrillers like The Number 23. In the top notch supporting cast Sasha Alexander is a deadpan standout as the Persian wife he orders online and veteran Terence Stamp is a hoot as the self-help guru who gets Carrey into his predicament in the first place. Also very amusing are his best buddies played by Bradley Cooper and a hilarious Danny Masterson. As his bonkers New Zealand-esque boss Flight of the Concord’s Rhys Darby is a riot as Carl's boss. Deschanel is kind of the “straight man” here but she’s handles it well if not memorably. Peyton Reed is a fairly reliable comedy director with mostly hits (Bring It On The Break-Up). He knows Yes Man exists as a vehicle for the Jim Carrey brand of comedy and lets Carrey hog the spotlight. The movie lives or dies on what Carrey can deliver and on that scale Yes Man is a hit. There are some bits that fall flat and might have been cut but for all its broad humor Reed manages to keep it grounded and in simple scenes between Carrey and Deschanel the movie even borders on sweet. In a season of dark drama on screen -- and off -- the antidote could well be this dumb but fun time killer. So is a little comic relief worth the $10 in the economic downturn? We say YES!
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.