Needs Another TRAINING DAY

Article first published as TRAINING DAY Review on Seat42F.

Continuing the spate of television series adapted from films, CBS premieres TRAINING DAY tonight. Set fifteen years after the film of the same name, but still in that universe, obvious because they name drop one of the main players from the movie, the plot is very similar. A straight-laced rookie is sent undercover to expose the corruption of a veteran cop as they work the very dangerous, drug-laden streets of Los Angeles.

This time around, Bill Paxton (Edge of Tomorrow, Big Love) is the grizzled veteran, Detective Frank Rourke, who has no problem blowing up gang houses and shooting the perps with foam bullets. He is a bit more moral than Denzel Washington’s version, who had a different name, as Frank is shown to have a code that he lives by, and that includes protecting some innocents. But other than that, he is still the rule-flaunter who dates a whorehouse madam (Julie Benz, Defiance, Dexter) and doesn’t give a crap about his fellow officers.

The newbie is also similar to his counterpart, played by Ethan Hawke on the big screen, the entry point for the audience into this world. Kyle Craig (Justin Cornwall) is a noble man who wants to succeed within the existing system. This TRAINING DAY gives him added plot by having him determined to avenge his father, Frank’s former partner, and he also has a loving woman waiting for him at home, Alyse (Lex Scott Davis). But yeah, from the same mold as Hawke’s role.

I’m a bit confused about why this is a sequel to the movie. Despite the race switch, the relationship and story for the two leads is so similar to that of the film that it’s eerie. Deputy Chief Lockhart (Marianne Jean-Baptiste, Without a Trace) even comments that she doesn’t want Frank to be the next officer like Washington’s Alonzo, so the characters acknowledge the parallel, but that feels forced, not organic. I can’t help but feel the series would be better served to make these the same two lead roles, rather than setting it in an established world they’re not likely to make much use of.

Of course, since this is a broadcast television cop show, there are more than just two officers on the team. We’ve got Rebecca Lee (Katrina Law, Arrow), whom Frank rescued when she was a child, and Tommy Campbell (Drew Van Acker, Pretty Little Liars), a former pro-surfer, to round out the squad. They’re present probably because that’s the more typical format, and CBS doesn’t like to break format. Which is why TRAINING DAY won’t be anything special, this show clearly being a case-of-the-week procedural, with only a little bit of serial story tossed in.

Honestly, aside from the ugly lighting, TRAINING DAY doesn’t feel all that much different from a slew of other shows. I know I say this a lot in crime show pilot reviews, but that’s because so many of the non-cable fare is so similar. Adding an already-recognizable title doesn’t change that, and actually makes me less interested than a more original project.

I didn’t enjoy the TRAINING DAY movie, either, for the record. But at least it had an engaging story, something we hadn’t seen as much before, and with some gripping performances. Paxton seems to be phoning it in, having fun, but not making use of his range the way he has in other projects. Cornwall is serviceable in the role, but not stand-out. The ideas and complexity of the story are watered down, the best parts removed to make way for the repetitive structure.

With trite dialogue, gratuitous action, and unnecessary redeemable qualities for Frank, who would be far more interesting without them, though admittedly the series would have a more limited believable run, mixed with a predictable, too-familiar formula, this is not a series that is must-see.

TRAINING DAY premieres tonight at 10/9c on CBS.

"End" of MARVEL'S AGENTS OF S.H.I.E.L.D.

Article first published as TV Review: 'Marvel's Agents of S.H.I.E.L.D.' - 'Beginning of the End' on Blogcritics.

After a slow start doing mostly case-of-the-week stories, ABC’s Marvel’s Agents of S.H.I.E.L.D. has really ramped up through the spring. Necessary, given the events of Captain America: The Winter Soldier.

The season finale, “Beginning of the End,”  is the climax of that arc, a battle between Phil Coulson’s (Clark Gregg) S.H.I.E.L.D. team and John Garrett’s (Bill Paxton) Hydra men. It’s got plenty of action, but also takes the time for some really satisfying character interactions, resolving hanging threads, and revealing yet another character thought dead is still alive. The costs are high, but as expected, the good guys win.

If you watch Marvel fare for the action, “Beginning of the End” has plenty of that. Coulson, Antoine (B.J. Britt), May (Ming-Na Wen), and Skye (Chloe Bennet) storm the compound, guns blazing. Ming gets to take out her frustration with the traitorous Ward (Brett Dalton) in hand-to-hand combat, which the more experienced agent wins. Deathlock (J. August Richards) shows his powers of destruction. Even Skye, traditionally not a fighter, pulls a gun and acts tough. These are special agents tasked with protecting the world and they show it.

But the dynamics are far more interesting. Ward himself, a part of the main team for most of the freshman year, has unresolved feelings for Skye, and both Skye and May take Ward’s turning very personally. The conversations they have, sometimes during the battle, allow the characters to put into words what they’ve been going through. The cast is forever shaken up, and even though the seeds have been planted for a possible Ward redemption (which I honestly hope they don’t pursue), he’s not one of them any more, and this hurts emotionally, viewers and characters alike.

Coulson is experiencing a similar thing with Garrett, his old buddy. Garrett has gone completely crazy, unlike Ward, which makes him easier to hate. However, there is still the lingering ghost between them of their camaraderie. This influences the scenes they have together, even after Coulson terrifically blasts him into ashes in a pure Joss Whedon twist. It’s these relationships, carefully built to show depth in only a few episodes, that makes the proceedings mean so much more.

The best dialogue in “Beginning of the End” is between Coulson and Nick Fury (Samuel L. Jackson), whom Coulson and movie-goers know is alive, but not most others in the world do not. Their banter in observing Garrett is great, but the explanation as to why Fury brings Coulson back to life (because he’s an Avenger) is even better. Marvel doesn’t just make superhero stuff, it breathes complexity into those people, and with terrific, memorable one-liners, these moments in which personality is exposed remain firmly ensconced forever in one’s head, which is what all TV strives for.

There’s an emotional sequence with Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge) too, who begin the finale at the bottom of the ocean. Fitz sacrifices everything for Simmons. The duo have a wonderful bond, but no romance has been pursued between them. One wonders if that will change now that they’ve been through this, and Fitz has been willing to give himself up. He may be permanently damaged; something that could make for rich drama next year and more growth for him, but because Simmons is present for this, let’s hope some of the change rubs off on her.

Unlike most televison fare, “Beginning of the End” gets every detail right. Most shows hit certain notes, but miss others. Marvel’s Agents of S.H.I.E.L.D. frequently leaves viewers without complaint. The dynamics and relationships are well served, and the writing is snappy, but the direction deserves credit as well. Who didn’t get excited when Fury shows up at an unexpected moment to pull Fitz Simmons to safety? Or when Coulson finds the big gun? Or when Patton Oswalt returns in a different role (a clone, perhaps?) after being killed off a few weeks ago? There are so many little things that can be picked out and celebrated, which form a cohesive, unimpeachable whole. Quality-wise, it’s one of the strongest entries on network television, even if it is the popcorn genre.

This continues even in the trademark Marvel end tags. Garrett’s resurrection may be deliciously sabotaged, but Raina (Ruth Negga) escapes and most fans will never see coming whom she goes to. Toss in a shot of Coulson that proves he’s crazy like Garrett, maybe just keeping it reigned in a little better, casting the future of the new S.H.I.E.L.D., which he has been put in charge of, in doubt, and there’s plenty to anticipate over the summer, getting us excited for the sophomore presentation.

Marvel’s Agents of S.H.I.E.L.D. has been renewed for a second season, which will air as two mini-seasons next fall and spring, with Marvel’s Agent Carter in the middle to avoid repeats and off-weeks, on ABC.

Agents of S.H.I.E.L.D. Keep "Turn"ing

Article first published as TV Review: 'Agents of S.H.I.E.L.D.' - 'Turn, Turn, Turn' on Blogcritics.

SPOILER ALERT: This review contains spoilers for the film Captain America: The Winter Soldier.

I can’t thing of a single case of synergy working as well as what Marvel Studios has going on right now. Besides two films a year, it has an hour-long weekly series on ABC, and more coming to Netflix. Last fall, when Thor: The Dark World hit theaters, the connection to Agents of S.H.I.E.L.D. was minimal. But this week, Captain America: The Winter Soldier fits right in between two episodes, and has a huge impact on the show by necessity, given that the movie, an intense political thriller co-starring Robert Redford, blows up the universe the studio has spent years carefully crafting.

Last week’s Agents of S.H.I.E.L.D. focuses on the hunt for a mole, an arc that plays out over several weeks, then caps off with a quick scene featuring Nick Fury (Samuel L. Jackson) being attacked in D.C. Captain America picks up that ball, basically uncovering a huge conspiracy that results in Hydra, which has been covertly operating within S.H.I.E.L.D. for decades, dismantling the good guys’ organization as it goes public. This week’s S.H.I.E.L.D. shows us what is happening with our cast while the events of the movie are going down, and their scramble to save their own lives as Hyrda attempts to kill off any significant S.H.I.E.L.D. agents who could stand in their way.

Is it fair to ask fans to see a film opening weekend just to keep up with a TV show? It’s true that the Hydra plot unfolds within the series, too, so perhaps the movie isn’t required, but the higher-level stuff about the story is presented on the big-screen, including the exposure and explanation, as well as the fate of Nick Fury, while the show is a smaller-scale story, so it is best consumed in order of air date and release date.

I think Marvel will not only get away with this, but do it again in the future, assuming Agents of S.H.I.E.L.D. keeps running. While it’s an inconvenient to see the movie in a limited window, most of the fans of the franchise will do so anyway. Besides, it is exciting ton be caught up in a multi-platform tale, allowing the universe to become much more epic than is possible in keeping things separated.  The show gets me excited for the movie, which in turn gets me excited for another episode of the show. So it only makes sense to keep the relationship going, and the weekend’s box office returns back up that viewpoint. I just hope it will translate into bigger ratings on TV, as the series has not quite lived up to expectations.

In the latest episode, “Turn, Turn, Turn,” The Bus is hijacked by Victoria Hand (Saffron Burrows) at The Hub. Victoria believes Coulson (Clark Gregg), and possibly his team, are Hydra. Coulson is immediately convinced that Victoria is Hydra, and confused by shifting allegiances. It doesn’t help that Coulson’s best friend in the gang, May (Ming-Na Wen), is exposed as reporting to Fury behind Coulson’s back, further clouding Coulson’s view of the situation. With the dynamics of S.H.I.E.L.D. shattering around him, Coulson rescues his pal, John Garrett (Bill Paxton), and decides to take a stand on Victoria’s home playing field.

The entire hour may be more melodramatic than the movie, but the writers effectively manage to keep us guessing as to who the villains are. For much of the installment, Victoria does look to be evil, especially given the red streak in her hair. But it’s a shocker when Garrett comes out as Hydra, and even more so when one of the central cast, Grand Ward (Brett Dalton), joins him.

Some may have seen this coming because, after all, Ward used to work for Garrett. Others may wonder if Ward is playing the long game, getting in with Garrett just to stop him, though Ward’s murder of Victoria Hand in the final moments of “Turn, Turn, Turn” would make that hard to swallow. Whatever ends up happening, it’s clear Ward has done things the rest of the characters will not approve of, and could very well be permanently separate from the rest from here on out.

There aren’t many television shows that would take their golden boy and make him a villain, in the first season, no less. Agents of S.H.I.E.L.D. is absolutely correct in doing this because the stakes set in the film demand sweeping changes in the show’s make up, too. While it would be safe to keep the group at the heart of the series intact, turning one is even more bold than killing him off, certainly telling viewers they cannot trust anyone or anything again. Given that Joss Whedon, the brilliant bastard who gave us Buffy the Vampire Slayer, Firefly, Serenity, and Dr. Horrible’s Sing-Along Blog, is behind this only makes it seem more likely that Ward’s defection is for real, as Joss is good at plucking the heartstrings and getting his fans to grieve.

“Turn, Turn, Turn” is pretty good on its own. It’s not The Winter Solider quality, but it may be the best episode of the series thus far because of the major changes that occur and the level of mystery that invades the proceedings, keeping us guessing on the edges of our seats right up until the ending credits and its chilling Hydra logo replacing the familiar one. I’m very much hoping that the future entries are just as unpredictable, and that Joss was just playing the broadcast-network game with safer stories previously, having been burned by risky storytelling on multiple occasions before. If it should maintain this level, a little lower budget, and thus not quite as impressive as the movies, but still very good, it should have a bright future, at least in terms of earning the audience’s love.

Agents of S.H.I.E.L.D. has five episodes left this year, and has not yet been given a renewal or cancellation notice. Tune in if you’re the least bit interested in what Marvel can do with a second, expanded, very different season, made necessary by the excellent “Turn, Turn, Turn.” It airs Tuesdays at 8 p.m. on ABC.

Hatfields & McCoys bring History alive

Premiering to record breaking numbers for cable, it is clear that the History Channel has a hit on its hands with the new miniseries Hatfields & McCoys. It's not too late to catch the six hour saga, as it continues to repeat. And catch it, you should. This is what the History Channel should do more of! Bring the stories of the past alive in well scripted, well produced drama. In this goal, Hatfields & McCoys succeeds admirably.

That's not to say the series is perfect. At times the dialogue seems hokey, though it could be authentic to the time. And sure, dramatic license is taken to spice up historical events. But the core here is a true story, and watching a series such as this will not only entertain, but enlighten the viewer to an important chapter of America's tale. That is a laudable feat.

Hatfields & McCoys stars Kevin Costner (Dances With Wolves, Swing Vote) as Devil Anse Hatfield and Bill Paxton (Big Love, Twister) as Randall McCoy. Starting out as friends during the Civil War, tensions begin when Devil deserts to return to his family. This is an act Randall, a god-loving loyalist, cannot wrap his head around. It may be a minor incident, with no death involved, but it's the start of a deep misunderstanding between two honorable men, as each holds different priorities the other cannot comprehend, both of which are just.

If only that were the end of things. But then a pig is possibly stolen, and the hotter heads in both clans stir trouble. Not seeing the harm in minor clashes, Randall and Devil do not act to bring order to the families they head until it's too late. Then, as the body count rises, and the offenses continue, both are caught up in the battle themselves. Each insult must be answered with another. Not every cousin and brother can be kept in line. It's easy to see, without demonizing either party, how things spiral out of control, until it becomes nearly impossible to stop the feud. Of course, there is an end point, but for those who aren't history buffs, you'll have to watch to find out what the final straw is.

To keep Hatfields & McCoys interesting for six hours is no small chore. To accomplish this, an entire host of supporting characters are introduced in the two clans. It's hard to keep track of who belongs with who at times, making one long for the simple two-color system modern sports teams utilize in creating jerseys. They are all from a similar area of the country, and live similar lives, so by sight, there is no difference. And some of these players are taken out before they get the chance to do anything truly notable. But each adds to fleshing out the world, and keeping things moving, as well as providing a felt cost as the body count rises.

Among those who make an impression, in no particular order: Uncle Jim Vance (Tom Berenger, Inception, October Road), the war-loving Hatfield; Perry Cline (Ronan Vibert, The Borgias) as the McCoy's sleazy lawyer cousin; 'Bad' Frank Phillips (Andrew Howard, Limitless, Burn Notice), who serves as a mercenary for the McCoys to avenge a personal grudge against Uncle Jim; Levicy Hatfield (Sarah Parish, Mistresses), Devil's supportive wife; Judge Wall Hatfield (Powers Boothe, 24, Deadwood), who thinks the legal system will sort things out; Cap Hatfield (Boyd Holbrook, Milk, The Big C), a half blind sharpshooter; Cotton Top (Noel Fisher, Shameless, The Riches), a Hatfield who is mentally stunted; and Sally McCoy (Mare Winningham, Mildred Pierce, Grey's Anatomy), Randall's slightly insane wife. Each of these actors do a wonderful job, and deserve as much credit as the two leads for selling the miniseries so well.

Of course, there is a love story. How can there not be? Johnse Hatfield (Matt Barr, Hellcats, Harper's Island) is a player, who falls for Roseanna McCoy (Lindsay Pulsipher, True Blood, The Beast), a sweet girl. Their families refuse to let them be together, even though the young ones argue a marriage will help prevent an all out war between the clans. Surprisingly, love does not win.

As compelling as the story may be on the surface, it's a little hard to reconcile the presented soulful, truly good Johnse with the one who is eventually seduced by wicked cousin Nancy McCoy (Jena Malone, Sucker Punch, Life as a House), and then has four more wives later in life, as the ending scroll tells us. This feels like it might be the most twisted away from reality plot, done to further the television expectations.

Luckily, any weak points in the script, besides being overlooked because of the fantastic acting, are overshadowed be spectacular production value. Settings and costumes look great, and the music, when it doesn't veer into melodramatic territory, really helps set the tone. There is a lot to praise here, and the overall impression is very impressive. Look for some Emmy nods later this summer, and perhaps even a few wins.

If you missed it the first time, check out Hatfields & McCoys, currently running on the History Channel.


If you like my reviews, please follow me on Twitter! Article first published as  Hatfields & McCoys bring History alive on TheTVKing.com.

Big Love takes us "Where Men and Mountains Meet"

     It ended with the wives. Of course, it had to. After five seasons, HBO's Big Love finished with a startling, powerful climax, and with a family held together by deep love, no matter what judgments society makes about them. I do not know what most viewers' reaction is to the death of patriarch Bill (Bill Paxton) yet, but I thought that, combined with the group hug and remix of the original theme song, is the perfect ending to a wonderful series. And the episode title, "Where Men and Mountains Meet"? Epic!

     Bill has to die. That's the only way the series could have satisfactorily wrapped up his story. I did not care for the story arc of Margene (Ginnifer Goodwin) being underage when she married Bill, and thus, am disappointed that Bill's name is so blemished by the incident. Having had plenty of time to accept the bad twist, though, Bill is in a corner where, if he had lived, he would surely have tarnished his name, likely served jail time, and lost his senate seat. But killing Bill off right after his triumphant stand for polyagmy in the senate and his huge turnout at his Easter Sunday services, he is a martyr and a hero, rather than a man who would spend many years trying to rebuild himself, if he ever could.

     In retrospect, Bill's death is much less of a surprise, when considering the points mentioned in the preceding paragraph. The weight of what was about to happen hit me moments before shots rang out on the lane. But there was no way I can think of to predict the method of Bill's murder ahead of time. While the seeds for such were laid, they were done so subtlety, it wasn't even on the radar as a possibility. For Bill to die senselessly at the hands of his neighbor, Carl (Carlos Jacott), upset over things that had nothing to do with Bill, is a shocker. I would have assumed Alby (Matt Ross) would do it, or at least a fanatic upset over Bill's political actions.

      But Alby's plot wraps up early, arrested as Bill held a gun to him in the courthouse at the end of the previous episode. Bill has already won the Juniper Creek battle.

     And what of Bill's vision of Emma Smith (Rebecca Wisocky)? This is a turning point for him. While debatable what exactly changes in Bill during that sequence, it is apparent Bill is undergoing some type of revelation. I like to think that he is realizing the power one woman had in the founding of the church, and through that, accepting Barb's (Jeanne Tripplehorn) holding of the priesthood, which he affirms as he dies. It is hard for Bill to change his beliefs, but he has done so a number of time, most notable embracing 'the principle' after living in a monogamous marriage. Accepting that women are not separate but equal, but instead, true equals, is his last transformation he needs to undergo.

     Barb's embrace of the priesthood is a major conflict point in this final season. Had the show continued on, I am fairly confident this season would have ended will Bill and Barb separating over their disagreement. Instead, as an ending is imminent, Barb rejects her new religion to return to her family. I don't believe she is rejecting her convictions or ideas, nor do I think that she intends to end the fight with Bill. But her family is more important than her self, and so she returns to the fold. I think Bill would have eventually welcomed her as a priest holder into his church, and in the end he did. She becomes, seemingly, the leader in his stead. She was always the true driving force in the marriage anyway, and in the end, that is revealed to all.

     The story of the show is of the family. More importantly, it is of the wives. As the three ride down the highway in Barb's new car, even Nicolette (Chloë Sevigny) allows a smile to tug at her lips, however fleetingly. These three very different women have come together over the same man and the same values. The show ends with the three hugging and Bill's ghost watching on with pride and love. Even without Bill, they stay together. Their marriage isn't just about him. The car ride shows that, before the tragic ending, and reminds us of the powerful feelings shared between them.

     Nicolette gets the ending she deserves. With Barb, she finally accepts her own feelings. Her insisting she doesn't like touching, but allowing Barb to pull her into a hug, is the perfect in-character demonstration of this. Nicolette also gets to make up with daughter, Cara Lynn (Cassi Thomson). While the audience knows Nicolette's hurtful words to Cara Lynn are really directed back upon herself, Cara Lynn doesn't, until Nicolette basically shows her. Two years of plot pay off in that moment as daughter finally understands mother, and having accepted herself, Nicolette can accept Cara Lynn.

     Margene, I feel, is the weak link. So she leaves her little kids with Barb and Nicolette so she can go help poor people? I understand that Margene is young as Bill dies, and she still has much to accomplish with her life. But I just don't see her abandoning her children this way. Even if she took them with her, which doesn't seem to be the case, she wouldn't actually get much charity work done, so it would be a waste of time. Her ending is the most self-serving, and thus, the most dissatisfying.

 

     Not far away, another moving death, this one much easier to see coming, is playing out. Frank (Bruce Dern) sweetly holds wife Lois (Grace Zabriskie) in his arms as she slips into death courtesy some drugs Frank apparently injected her with. It is a shame it took such a tragic story as Lois's dementia to bring the warring pair back together. For most of the series they fought bitterly, both attempting to murder the other. Yet, in these final moments we see the real love between them that has existed for decades, and how their relationship must have been when it was new. It is a tear-jerking scene, and leaves Frank slightly better as a human being. Lois herself has already been redeemed, as she struggles with a disease wrongfully inflicted upon her.

     For those who question if Frank also has injected himself, so that he could die with her, as I first wondered, the series creators have insisted that no, Frank is not dead. He lives on. I really hope he isn't caught and arrested. He deserves jail time, but not for Lois. He actually treats her right in the end, and thus should gain a reprieve.

     Finally, Ben (Douglas Smith) ends up with Heather (Tina Majorino). As soon as Heather makes her first appearance after Sarah (Amanda Seyfried) left the cast at the end of the fourth season, it is obvious that Ben and Heather are going to be together. There is simply no other reason to bring her back. At first, the pairing is awkward. Then it isn't, because Heather has always been drawn to the family, so it makes sense she would marry to stay involved with them. Ben has only flirted with polygamy for the same reason any teen boy would - more women to sleep with. He can give it up for a woman he truly cares about, and he is protective of Heather, so love is not far behind.

     Going into this episode, I wanted to see all the supporting characters return in some form. Instead, I am very glad that didn't happen. Don (Joel McKinnon Miller) is around, and we get a glimpse of how Sarah and Scott (Aaron Paul) turn out, and that is plenty. Getting to its core is far more fitting than serving all of the debris that revolves around the family. I am also grateful that Tansy is only mentioned, after not being seen all season. Let's be honest; he recast was a mistake, though writing her out did feel awkward. As such, if the original actress could not be got, it's better not to see her at all.

     One last musing: I understand the final shot is of the wives living on together, and it is very appropriate. I had thought, and still think seeing the family reunited in heaven would have also been nice. I don't think my idea is better than what aired, but it would have made a good ending credits sequence, no? Ah, well.

     Thank you, Big Love for a big, loving story that was a thoroughly enjoyable experience.


Article first published as TV Review: Big Love - "Where Men and Mountains Meet" on Blogcritics.

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