Winter has come and the New Year will be rung in soon. That means something else is on its way: another new season of Justified. Its season premiere is on Jan. 7. What better way to tide yourself over until spring than to watch one of the best shows on television?
If you are going to be new to the show, I would suggest binge-watching on Amazon. Trust me. It's worth doing. The show has some of the best dialogue and acting that I have seen.
Where Justified really excels, beside its main core of characters, is the casting of the peripheral ones. People like Margo Martindale and Neal McDonough. Though they were the main villains, they brought such a level to their work that they were far from being cardboard cut outs like someone from, say Walker, Texas Ranger. They bring in people that you might not even associate with dramas, like Mike O'Malley and Patton Oswalt. I was stunned at the work that O'Malley put in as the sadistic hit man from his season.
The show, while already great, did something that I really liked last season: It allowed its secondary characters like Tim Gutterson (Jacob Pitts) and Rachel Brooks (Erica Tazel) to spread their wings and tell their own stories and not just appear for two minutes and snark at Timothy Olyphant's Raylan Givens. Gutterson's dialogue with Colt Rhodes (Ron Eldard) in last season's finale was a thing of beauty.
I'm really interested in seeing where this season goes with Givens and his frenemy, Boyd Crowder (Walton Goggins). Givens has gone to a really dark place, walking away while the Detroit Mob rubbed out one of their own. Crowder is also in a very bad place, having seen his dream of buying a home and living a semi-respectable life with Ava Crowder (Joelle Carter) snatched away at the very last second. This season also marks the return of Dewey "You Mean I've Got Four Kidneys?!?!" Crowder (Damon Herriman), which should send all fans of the show into paroxysms of joy. The human cockroach, Wynn Duffy (Jere Burns) -- he who has seen about five people shot around him without suffering a scratch -- will also be great to see. Burns can convey so much with just the mere arch of an eyebrow and he may be the only criminal who does not fear Givens (even after having his gun pointed right at his forehead).
On the law enforcement side,besides Gutterson and Brooks, I'm always giddy to hear what Art Mullen (Nick Searcy) has to say. I'm hoping there's also a good arc involving Mullen and his pending retirement.
I could write about 10,000 words about this show, but figure that this season might be over by the time I finish. Instead, I leave you with this: Get ready to return to Harlan, everyone.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Steven Soderbergh's crime-drama "The Limey" and Alexander Payne's high school satire "Election" led the pack of (relatively) low-budget, high-expectation projects as nominations were announced Wednesday for the 15th Annual Independent Spirit Awards, honoring, yes, indie film.
"The Limey" and "Election" received a field-best five nominations each. Hollywood blockbusters such as "Toy Story 2" and "The Green Mile" received zippo. (They're not indies.)
With the studio heavyweights excluded, a variety of films that failed to garner tremendous box office during the 1999 film season found redemption as the Spirit nominations were handed down. David Lynch's "The Straight Story", a simple yet powerful film about an aging man's trek across country on his lawn mower, earned four nominations. Kimberly Peirce's controversial "Boys Don't Cry" also received four nods -- including ones for best lead actress (Hilary Swank) and best supporting female (Chloe Sevigny).
The five films slated to do battle in the main best-picture event are: Payne's "Election," Soderbergh's "The Limey," Lynch's "The Straight Story," Allison Anders and Kurt Voss' "Sugar Town", and Robert Altman's "Cookie's Fortune".
Awards will be handed out in Santa Monica on March 25 -- the day before the Oscars. The Spirits are sponsored by the Independent Feature Project/West.
The following is the complete list of nominations for the 15th annual IFP/West Independent Spirit Awards:
BEST FEATURE "Election" "The Straight Story" "The Limey" "Cookie's Fortune" "Sugar Town"
BEST FEMALE LEAD Diane Lane, "Walk on the Moon" Janet McTeer, "Tumbleweeds" Hilary Swank, "Boys Don't Cry" Susan Traylor, "Valerie Flake" Reese Witherspoon, "Election"
BEST MALE LEAD John Cusack, "Being John Malkovich" Richard Farnsworth, "The Straight Story" Terence Stamp, "The Limey" David Strathairn, "Limbo" Noble Willingham, "The Corndog Man"
BEST SUPPORTING FEMALE Barbara Barrie, "Judy Berlin" Vanessa Martinez, "Limbo" Sarah Polley, "Go" Chloe Sevigny, "Boys Don't Cry" Jean Smart, "Guinevere"
BEST SUPPORTING MALE Charles S. Dutton, "Cookie's Fortune" Luis Guzman, "The Limey" Terrence Howard, "The Best Man" Clark Gregg, "The Adventures of Sebastian Cole" Steve Zahn, "Happy, Texas"
BEST DIRECTOR Alexander Payne, "Election" Harmony Korine, "julien donkey-boy" Steven Soderbergh, "The Limey" David Lynch, "The Straight Story" Doug Liman, "Go"
BEST SCREENPLAY Kevin Smith, "Dogma" Alexander Payne and Jim Taylor, "Election" Audrey Wells, "Guinevere" Lem Dobbs, "The Limey" James Merendino, "SLC Punk!"
BEST FIRST FEATURE ($500,000-plus budget) "Being John Malkovich" "Three Seasons" "Boys Don't Cry" "Twin Falls Idaho" "Xiu Xiu the Sent Down Girl"
BEST FIRST FEATURE (less than $500,000 budget) "The Blair Witch Project" "La Ciudad" "Compensation" "Judy Berlin" "Treasure Island"
BEST DEBUT PERFORMANCE Kimberly J. Brown, "Tumbleweeds" Jessica Campbell, "Election" Jade Gordon, "Sugar Town" Toby Smith, "Drylongso" Chris Stafford, "Edge of Seventeen"
BEST FIRST SCREENPLAY Tod Williams, "The Adventures of Sebastian Cole" Charlie Kaufman, "Being John Malkovich" Kimberly Peirce and Andy Bienen, "Boys Don't Cry" Anne Rapp, "Cookie's Fortune" John Roach and Mary Sweeney, "The Straight Story"
BEST CINEMATOGRAPHER M. David Mullen, "Twin Falls Idaho" Lisa Rinzler, "Three Seasons" Anthony Dod Mantle, "julien donkey-boy" Jeffrey Seckendorf, "Judy Berlin" Harlan Bosmajian, "La Ciudad"
BEST FOREIGN FILM "All About My Mother" (Spain) "Run Lola Run" (Germany) "My Son the Fanatic" (England) "Topsy-Turvy" (England) "Rosetta" (Belgium-France)
DLJ DIRECT TRUER THAN FICTION AWARD (for documentaries) Owsley Brown, "Night Waltz: The Music of Paul Bowles" Nanette Burstein and Brett Morgan, "On the Ropes" Michael Camerini and Shari Robertson, "Well Founded Fear" Rory Kennedy, "American Hollow"
MOVADO SOMEONE TO WATCH AWARD (for new directors) Dan Clark, "The Item" Julian Goldberger, "Trans" Lisanne Skyler, "Getting to Know You" Cauleen Smith, "Drylongso"
MOTOROLA PRODUCERS AWARD Pam Koffler, "I'm Losing You" and "Office Killer" Eva Kolodner, "Boys Don't Cry" and "Hide and Seek" Paul Mezey, "La Ciudad" Christine Walker, "Backroads" and "Homo Heights"