This week’s Marvel Agents of S.H.I.E.L.D. feels largely like a retread of the pilot episode. But without the fantastic J. August Richards adding heart to the monster of the week, things feel pretty cold and distant, which is especially disappointing considering the baddie of the week has the power to create fire.
The episode opens on a bustling street in Hong Kong where a street performer is doling out low-rent magic tricks to a crowd of semi-interested on-lookers. The magician turns up the heat and reveals that he has fire powers. But calling them "powers" is a little generous, considering he has the pirokinetic ability of a human bic lighter. The magician is approached by a sultry woman who takes special interest in his cigarette lighting abilities, but she turns on him in what is probably the most obvious kidnapping in human history.
The magician, named Chan Ho Yin, was being watched by S.H.I.E.L.D., and his disapearence sets of some alarms. It turns out that the folks at The Rising Tide were the ones who leaked the information to Chan's kidnappers. All eyes turn to Skye, who denies involvement. The team tracks The Rising Tide hacker to Austin where Ward gives him a chase, only to lose him after the guy employs some nifty hacking on the city's street lights. The Hacker get’s home only to find Skye there, who starts to berate him about stealing S.H.I.E.L.D info. The two then do the most logical thing to do when an impossibly powerful multi-national security force is searching for you, it's obviously time for a quickie. When the deed is done, Melinda May is waiting right behind the door, just as Skye is looking for her shirt in a terribly obvious reveal. Skye is in big trouble with Coulson and the gang, and she tries to pretend that they're only friends, as if that would make tipping off a rouge hacker okay.
Centipede is revealed to be behind the kidnapping and they inject the human bic lighter with the Extremis serum from the first episode, believing that his fire ability will stop the drugs' unfortunate side effect of blowing people up. Chan's powers multiply and he becomes more of a human blow torch. Centipede then steal his blood platelets (which were controlling his powers) resulting in some nasty burns. Chan then begins attacking both S.H.I.E.L.D. and Centipede agents, so Coulson must make the tough decision of killing him... though they didn't try all that hard to save him in the first place. I'm starting to think that Coulson likes to skip all the moralizing and just kill the "out of control good guy turned bad guy of the week" just so he can get back to his jet sooner. Lola needs a good buffing anyway.
An angry Coulson meets with Skye and demands to know what she's hiding. It turns out she joined S.H.I.E.L.D. to learn what happened to her parents, information that was redacted by none other than S.H.I.E.L.D.. For some reason, she's still allowed to be a S.H.I.E.L.D. agent after all of this. I guess Coulson lost his common sense when he got stabbed by Loki.
Agents of S.H.I.E.L.D. is still resting on the fact that action and superhero name checks are a suitable replacement for actually creating interesting characters and compelling stories. Everything about this episode was terriby bland. Everyone's decisions and actions ring false, and the show makes impossible to emphasize with anyone. It's trying to be a show for everyone, but it's failing at entertaining anyone.
Best Quips and Other Observations- "Oh crap. They gave him a name."- "Scorch" is such a lame name for a superhero. It's a shame Chan got so attached to it.- Even lamer than Scorch is Centipede. Really? You named your terrorist organization Centipede? Watch out for their fearsome sister-organization "Gentle Bug."- Couldn't Coulson just shoot the guy in the head when he snuck up on him instead of purpously blowing him up? How is that "minimizing the damage"? Thats actually increasing the damage... by a lot. - Just how long was Melinda May waiting behind the door while Skye and generic hacker guy were getting it on? Was she just waiting there listening? That's kinda creepy.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.
November 08, 2002 7:57am EST
In his feature film debut Eminem is Jimmy Smith Jr. a poor aspiring rapper living in a trailer park on Detroit's 8 Mile Rd.--the city's perimeter road which separates it from the 'burbs or more specifically the blacks from the whites. After breaking up with his girlfriend Janeane (Taryn Manning) Jimmy nicknamed "Rabbit " heads back to the trailer park to live with his mom (Kim Basinger) a lush with a penchant for bingo. He gets a day job in a factory so he can save enough money to get back on his feet but at night heads to the Shelter a hip-hop club where the city's best rappers "battle" each other in 45-second rounds of verbally abusive rhymes. Even though his friends including Shelter MC Future (Mekhi Phifer) believe in him Rabbit suffers stage fright and freezes like a deer in the headlights when it comes to competition time. But he realizes his entire future--and getting out of Detroit--rests on making it in the hip-hop world and cutting his own demo. To do so Rabbit must first find his voice and win a coveted battle. The battles whether you like hip-hop or not are worth the price of admission alone.
According to Eminem whose real name is Marshall Mathers III this film is part real and part made-up. But his character gets a complete Hollywood makeover here and it's glaringly easy to discern fact from fiction. 8 Mile's Rabbit for example is concerned with gun violence (Eminem was arrested twice in 2000 for weapons violations for which he received probation). And when a coworker starts harassing one of Rabbit's gay coworkers he breaks into a defensive rhyme: "Why you f***ing with the gay guy G? You're the one with the HIV." Audiences longing for a compassionate and caring version Eminem won't be disappointed. In his big screen debut Eminem is convincing and hardly afraid to show a soft and vulnerable side. He's a rapper and lyricist at heart however and his spiels often take on a cadence similar to his rap style. As Rabbit's buddy Future Phifer is solid and their relationship on screen is believable and endearing. Brittany Murphy is also great as the skanky Alex whose plan is to get out of Detroit by sleeping with all the wrong people. Basinger however delivers a bland performance as the drunk mom whining about her teen boyfriend's lack of sexual prowess.
Director Curtis Hanson scored Oscar nods for Best Picture and Best Director and won Best Adapted Screenplay in 1997 for the drama L.A. Confidential which is one reason there is more than a bit of buzz surrounding 8 Mile. The film is good but it's not Oscar worthy. Hanson paints a gritty and realistic portrait of the Murder City circa 1995 but the film's problem lies with the story written by The Mod Squad scribe Scott Silver. For one week viewers get a voyeuristic peek into Rabbit's life: he beats people up works hard has sex gets beaten up and sometimes raps. It's a stagnant view that never seems to go anywhere. While we know what happens to his mom--she wins big at bingo washes her hair and does the groceries--we never find out what happens to Rabbit. We can't even assume the film leaves off where Eminem's career starts because it's not a biopic. But despite the weak story Hanson commands a strong performance from Eminem and showcases both the rapper's newfound acting abilities and his musical talent. Considering the film's strength lies in Eminem it's surprising there weren't more musical performances from the Grammy-winning rapper.