The TV landscape is filled with what seems like a never-ending stream of fresh programming. But whereas few shows are popular enough to be celebrated by critics, most float around for several seasons in obscurity maintaining a small but devoted following. Here's our pick of five shows – some popular, most not – you need to be watching this week.
The Biggest LoserTens of thousands of pounds have already been lost on NBC's long-running weight loss reality show, yet for 15 seasons (and counting) contestants on The Biggest Loser continue to shed insane amounts of weight. Okay, maybe some of them do gain it all back, point is it's inspiring TV. Episode three follows the contestants as they explore their creative side, when they're asked to work out using equipment won at auctions. Hmm...I wonder how much a Tony Little Gazelle (circa 2002) is going for these days? The Biggest Loser airs this Tuesday, October 29, at 8 PM ET on NBC.
Impractical JokersThe problem with every hidden-camera show of the last 10 years is that most of them starred Ashton Kutcher (zing!). Well, I'm happy to say that Impractical Jokers, truTV's hilarious prank show featuring four Staten Island-bred funnymen doing what they do best, not only takes over the mantle from Candid Camera, it flat-out bulldozes anything even remotely similar (i.e. Punk'd). Now if only one of these dudes even slightly resembled Steve Jobs, the Kutcher-starring biopic would have been worlds funnier. Oh wait – that was supposed to be a drama wasn't it? Double zing! Impractical Jokers airs Sunday nights on truTV.
Cutthroat KitchenEver find yourself skimming the tube some weekday afternoons and thinking to yourself, "Boy, there sure could be more cooking shows"? Well, thankfully, Cutthroat Kitchen is one of the few food-oriented reality programs that actually has a unique premise (the other 90 seem to always have some version of Gordon Ramsay verbally berating contestants). Basically, four chefs are given $25,000 in cold, hard American coin, which can be used to destroy each other in the kitchen. And if you thought only athletes like Mike Tyson became depraved when big money was on the line, wait until you see a couple of cooks go at it! Cutthroat Kitchen airs Sundays at 10 PM ET on the Food Network.
Alaskan Women Looking for LoveTired of the Fake Housewives of New Beverly County? Then catch up with some real woman who just happen to be in need of a man. And get this, they all just happen to reside in Alaska. That's right, that ice-covered oasis to the north (formerly known as Palinville) is littered with enough attractive young women for TLC to base a show on. That said, looks like there just might be hope for the hard-working young ladies of North Dakota! A man can dream...Alaskan Women Looking for Love airs Sundays at 7 PM ET on TLC.
Making MonstersEver wonder how all your favorite haunted house "scareacters" are made? Then you'll want to check out this week's Halloween-themed episode of Making Monsters on the Travel Channel. Put it this way, one of the creatures they construct from start to finish is described as a human eating zombie from hell. And no, his name is not Ted Cruz. Making Monsters airs this Sunday at 6 PM ET on the Travel Channel.
“My dick is going to get so wet tonight ” declares Costa the foul-mouthed ringleader of a trio of sex-starved teens in the opening moments of Project X the new “found-footage” comedy from director Nima Nourizadeh and producer Todd Phillips (The Hangover). Believe it or not this qualifies as one of his more charming moments in the film. All of 17 but blessed with an obnoxiousness lesser men would take decades to cultivate Costa (Oliver Cooper) is the perfect mascot for a film that makes no bones of its mostly prurient intentions proffering what is essentially a succession of debaucherous montages intermingled with uneven attempts at comedy and held together by the slimmest pretense of a plot.
Caustic as he is Costa at least exhibits something of a recognizable personality; the same cannot be said of his two cohorts the tubby dweeb J.B. (Jonathan Daniel Brown) and the earnest blank Thomas (Thomas Mann). None of them seem to enjoy much in the way of popularity at their high school located in the fictional suburb of North Pasadena but Costa has a plan to fix that. On the occasion of his 17th birthday Thomas whose parents have conveniently departed for the weekend reluctantly agrees to host a party that Costa promises will be a “game-changer” for their lowly social status.
Hardly a game-changer is Project X’s script co-written by Matt Drake and Michael Bacall which mostly treads a predictable teen-comedy path. At its outset the party appears to be a bust. Soon however hordes of eager revelers descend upon Thomas’ house and the event swiftly devolves into a festival of wanton hedonism that would impress Charlie Sheen. The orgy of booze drugs and sex is captured by Nourizadeh in one impressively slick sequence after another set to a vibrant soundtrack.
To maintain the guise of an actual movie – and to occupy us between shots of topless beauties downing tequila and frolicking in the pool – Project X tosses in a few familiar tropes to push its story along: an unstable drug-dealer bent on revenge a buzzkilling neighbor seeking to end the night’s festivities prematurely a budding but hesitant attraction between Thomas and his childhood friend Kirby (Kirby Bliss Blanton). But the scenes are so hollow and contrived that you get the sense even the filmmakers don’t buy them and only added them to the film in a transparent ploy to forestall allegations of complete and utter vapidity. The efforts serve only to add a dash of the banal to the proceedings.
Project X’s natural forebears – R-rated teen comedies Superbad and American Pie – tempered their crudity and outrageousness with a surprising degree of depth and sincerity. Moreover they were actually funny. Project X is a shallow affair to be sure but a dearth of laughs is what ultimately dooms it. A belligerent little person who goes on a crotch-kicking spree after being tossed in an oven amounts to the film’s most sophisticated attempt at humor. More often it relies on recycled gags from previous films (including Phillips’ own library from Road Trip to The Hangover Part II) and Jackass-inspired mishaps.
The found-footage approach has proven to be a potent (if overused) tool in horror films but its utility in the service of comedy at least in the hands of Nourizadeh is limited. It mostly comes across as a needless gimmick good for marketing purposes but little else. Perhaps acknowledging as much Project X’s backup plan calls for an incessant raising of the stakes. As the once-innocuous gathering metastasizes into a fully-fledged riot one so dangerous that even the police dare not intervene the specter of parental disapproval gives way to the threat of incarceration and finally to the potential incineration of the entire neighborhood. The scale of the destruction is impressive – especially for such a (presumably) low-budget film – but like much of what precedes it almost entirely pointless.
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In the vein of Field of Dreams Astronaut Farmer is about building the seemingly impossible. Thankfully in this case it’s simply a rocket in the barn not a ballpark in a cornfield where ghosts of baseball heroes past can play the game. That is a bit far-fetched. Instead we meet Charles Farmer (Thornton) a man who was once on track to be an astronaut but was forced to leave NASA to save his family farm. He still wants to go into space however and so sets out to build a rocket inside his barn. By the time the movie starts the rocket is pretty much put together so we aren’t burdened with how he gets his supplies. All Charles needs now is 10 000 pounds of fuel which shoots up a big red flag with the government--a government that now considers Charles a threat--while the media look at him as a big story. But no matter the odds nothing can deter Charles from his dream to break through the atmosphere and orbit the earth. It’s refreshing to see Thornton as a loving father who wants to inspire his kids rather than make them go get him another beer. Of course Charles Farmer isn’t all sweetness and light—he’s an obvious eccentric whose obsession to launch into space effects the entire family—and it’s definitely a role right up Thornton’s alley. Virginia Madsen does an admirable job as the loving and supportive wife who nonetheless puts her foot down when things get out of hand while Bruce Dern plays the grizzled but equally supportive father-in-law. There’s also a supportive lawyer played by Tim Blake Nelson. In fact besides the big evil NASA chief (J.K. Simmons) and two bungling FBI agents (Mark Polish and Jon Gries) everyone supports Charles in his crazy dream. How could he fail? From the writing-directing team of Michael and Mark Polish (Northfork) Astronaut Farmer is pure old-school—an unassuming throwback to those feel-good movies of the ‘40s and ‘50s. In fact Thornton told Hollywood.com he considers this his “Jimmy Stewart” movie. While the Polish brothers based Charles Farmer on their own eccentric father and obviously harbor their own boyhood dreams of being an astronaut the guys still follow a nice and simple formula finding some good actors to carry it out and adding cool visual effects when they can. Yes the more cynical moviegoer may look at Astronaut Farmer as completely improbable and trite. But those willing to be taken back to a simpler time--when movies were about walking out triumphant--should find watching Astronaut Farmer a pleasant way to spend an afternoon.
Pity Mitch (John Francis Daley). It's his first day on the job at Shenanigans--a take on the nationwide-chain Bennigan's. The waiter who trains him Monty (Ryan Reynolds) is the same one he looks down on him. Monty shows Mitch the ropes as well as the cooks' genitalia. Sorry there's no other way to put it. See there's this game that the male employees play whereby...let's just say it's one of many unspeakable "games" they play that'll make you watch the film as you would a horror movie: your hands covering your eyes with just enough space between two fingers to catch a glimpse. And these are just Mitch's first moments on the job. Over the course of his shift he'll meet a twenty-something named Dean (Justin Long) who's trying to go straight--that is do something else with his life; a pushover (Patrick Benedict) whose timidity carries over to the urinal; and a veteran waitress (Alanna Ubach) who barks profane tirades about her patrons but not to them. People knock the MPAA's sense of humor but if they truly didn't have one this gross-out flick would be slapped with an NC-17 rating.
A film set in a restaurant falls squarely on the shoulders of its actors. Thankfully Reynolds and company make good carrying the film and its script of top-that one-liners and well shenanigans. Reynolds while now a bankable star in avenues other than comedy clearly has a knack for this stuff. His comedic timing and delivery are truly first-rate never more so than in Waiting excelling in the sheer vulgarity he has to shell out. Dodgeball's Long as Dean is downright earnest next to his buddy Monty but it's his role to defer to Reynolds' eloquent sarcasm. Of course this doesn't totally preclude him from joining in on the fun. He's just forced to take more barbs than he can dish out. Anna Faris (from the Scary Movie series) flies even more under the radar as Monty's ex the only one that stands in his way of proclaiming his prowess second to none. Also making pitch-perfect appearances as malevolent employees are fringe-sters Luis Guzman Chi McBride Dane Cook and Andy Milonakis with Anchorman's David Koechner as the manager.
Waiting is not the type of movie in which a separate director and writer is required--it's a package deal. That's because--and let's be honest here--a film set almost entirely in one location without a single stunt person or special effect doesn't need more than one voice. To this effect writer/director Rob McKittrick makes his first foray into each arena. Needless to say his directorial debut is almost a non-entity but that's more complementary than detrimental on a project like this. His stinging commentary on the other hand displays a comedic deftness that is worth keeping an eye on in the future especially if Waiting does any business at the box office.
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.
September 27, 2002 10:25am EST
Ben and JoJo Floss' daughter Diana is gunned down only days before her wedding when she accidentally gets in the way of a violent husband-and-wife dispute at a Cape Anne Mass. restaurant. Her fiancé Joe soon becomes a surrogate member of the Floss family and the three cope with their grief in various ways. JoJo attempts to avoid all the attention that is being paid the family and Ben throws himself--and Joe--into a commercial real estate venture that needs big-time developer Mike's support to succeed. Joe meanwhile combs through big bins of undelivered mail with postmaster Bertie in an effort to retrieve the 75 wedding invitations that had been sent. Bertie who in addition to her postal work also helps out in the local bar owned by her missing-in-'Nam-action beau is also grieving and soon she and Ben are a couple. As writer-director Brad Silberling's gentle drama unfolds it becomes clear that the film is a "hundred-whys" effort. For a start why is the film titled Moonlight Mile a lesser-known Rolling Stones song? It's never explained. And why does the film take place in 1973 when only the film's rollicking soundtrack and a passing reference to the Vietnam War evoke the era? These questions--and the many many other whys in Moonlight Mile--remain unanswered resulting in a film that falls as flat as a bad souffle.
The actors in Moonlight Mile for example are among the choicest of ingredients--three Oscar winners a promising newcomer and an almost legendary comic talent. So why is young Jake Gyllenhaal so bland as the sweet hero-fiancé Joe so opaque and passive suggesting nothing of a background education or professional aspirations? Why did talented Oscar winners Dustin Hoffman and Susan Sarandon agree to star as the parents except for the fact that each actor is given the chance to sink his or her teeth into an 11th hour set piece? Why do Oscar winner Holly Hunter (as the tough prosecuting attorney Mona who warns Joe Ben and JoJo that there's a good chance the perpetrator will get off lightly) and comic virtuoso Dabney Coleman (as gruff real estate developer Mike) squander their talents?
Part of the answer to all the whys Moonlight Mile raises can be found in Silberling's direction. He clearly knows the ingredients Hollywood seems to want these days: nice recognizable characters in emotionally wrenching situations; some resonance of a bygone period; a soundtrack that will help with the marketing; big-name leads and a compelling young star; a dash of unpredictability and feel-good ending. But as Silberling mixes up this all-too-familiar recipe his strokes create a thin watery batter that just refuses to rise above cliché. As a writer he knows the rules but he skirts wit irony humor and convincing raw emotion in favor of the formula raising more questions than he answers.