ARROW Shoots Mostly Straight for Fifth Time

Article first published as Blu-ray Review: 'Arrow - The Complete Fifth Season' on Blogcritics.

The fifth season of the CW’s Arrow comes with much anticipation for long-time viewers, and it’s now available to own. Beginning shortly after the death of Laurel Lance, fans know we will get to see Oliver tested. We’re not sure if he will try to rebuild a new team or fall back to his bad habit of shutting people out. In these twenty-three episodes, we get into the makeup of the lead character, and see how he has matured in the way he deals with events.

Changes

Oliver (Stephen Amell) has changed over the years. He doesn’t deal with setbacks the same way he used to, showing that growth arc. It was not long ago that Oliver had to be convinced not to be a lone wolf. He has now matured. The Complete Fifth Season brings that to glorious fruition as he adds four new members to his vigilante squad. (Later, four becomes five with the inclusion of Dinah (Juliana Harkavy).) Oliver has to trust these people, let them in. And he can’t take years to get to know them the way he did with Diggle (David Ramsey) and Felicity (Emily Bett Rikards). Almost surprisingly, he does.

That trust doesn’t come without its complications. Each of the four, Curtis (Echo Kellum), Rene (Rick Gonzalez), Evelyn (Madison McLaughlin), and Rory (Joe Dinicol), have their own pasts and demons. Two of them don’t make it through the season with the team. It doesn’t go smoothly for the others, either. There are a lot of added complications with these new characters, as well as subplots for them. They nicely expand the universe without taking away from the core of the show.

Mr. Mayor

What we see of Oliver expands, too, as he now spends his days as mayor of the city. Obviously, it isn’t easy for a superhero to also have such a demanding day job. Arrow doesn’t always handle the balance realistically, at times minimizing the time he spends in the office. But there are certain situations that get very interesting with Oliver’s dual role.

It makes sense to include Thea (Willa Holland) and Quentin (Paul Blackthorne) in this thread. Adding Adrian Chase (Josh Segarra) to the mayor’s side of the story is a good decision, too. Although, ultimately, I wish they hadn’t gone the way the writers did with Chase. Not that I have a problem with what Chase represents, just that I wish it had been someone else.

Tying Up the Past

A big element of Arrow has long been flashbacks to his life during the five years he was missing, just prior to the series’ beginning. These usually end up dragging down the show, and so it’s great to know that The Complete Fifth Season contains the last of them. As fascinating as Anatoly (David Nykl), the main addition to these sequences this year, is, like in past years, Arrow spends too much time on this subplot. By halfway through, one is just waiting for it to end. Unfortunately, the conclusion, which was full of promise since it needed to connect to the pilot, didn’t land all that well.

This is in stark contrast to the excellent ending of the main story. This season cleverly brings back a lot of characters from years past, many who died, and things are tied together satisfactorily. There is real emotional heft in these installments. I’m glad the show will continue, but this definitely feels like the end of a major chapter of Arrow.

Bonus Features

Arrow – The Complete Fifth Season comes with a slew of extras. One featurette focuses on the new team, appropriate and solid, and at about ten minutes, a good length. Another tackles the primary villain from this season, as it should. There is a gag reel and deleted scenes. I usually complain about including last year’s Comic Con panel instead of the most recent one. However, it works here because there are plenty of tidbits that aren’t just about this season.

The final featurette concerns Arrow‘s 100th episode. This also happens to be the show’s contribution to a four-show crossover. In my opinion, this is the weak link in the event because much of it takes place in a fantasy world Oliver and friends are trapped in. This might have been appropriate for such a monumental episode of Arrow. Having to tie it into the crossover story waters it down. The result is something pretty disappointing. It’s easy to see why when you think about all the elements going into it.

Conclusion

In all, though, this is a strong season of Arrow. There are great new characters, a few surprising twists, and a clear evolution of an aging series. Arrow – The Complete Fifth Season is available now.

ARROW Finds Target

Article first published as Blu-ray Review: 'Arrow - The Complete Fourth Season' on Blogcritics.

Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.

The CW’s Arrow is coming back for year five soon, so let’s take a look at the WB release of The Complete Fourth Season, available now. The four-disc set contains all twenty-three episodes of the run (of course), plus a handful of bonus features.

The end of season three found our hero, Oliver (Stephen Amell), and his gal, Felicity (Emily Bett Rickards), riding off into the sunset together. It’s no surprise that they will be drawn back home early in the season, as Arrow wouldn’t work without the whole team, which also includes Laurel (Katie Cassidy), Diggle (David Ramsey), and Thea (Willa Holland), in Star City. It’s also no surprise that the couple will go through their share of drama over the course of this run, as an hour-long series needs personal strife in order to keep it humming along.

Thus, season four is as much about Oliver and Felicity finding identities apart from one another as it is them finding a way to work together. While Felicity struggles to run the company she is now CEO of, Oliver jumps into a frantic election for mayor of the city. It’s good material for each to work with, even as long-time shippers will ache each time something comes between them, and the frequent additions of Felicity’s mother, Donna (Charlotte Ross), and employee, Curtis (Echo Kellum), are a delight.

A lot of the first half of this season is very obviously gearing up for the mid-year launch of spin-off DC’s Legends of Tomorrow. Several of the characters announced for that show (which was released on Blu-ray, Digital, and DVD a week earlier) are dead in the Arrow cannon, so in order to prevent that new program from being bogged down in origin stories, they must be brought back on Arrow. The result is lots of screen time having to be given up from the main arcs in order to accommodate this set up, though it isn’t too distracting, since these are mostly characters Arrow fans already care about.

Speaking of caring, a nearly year-long tease of Oliver at a grave provides a compelling mystery that propels the plot. By the time we realize who has been buried, there have been multiple false starts, but not enough to take away from the impact of the death. (SPOILER!) Press materials promising a return in some form do not do much to lessen the sting, at least at this point, and did not come to light until well after the fateful hour aired.

The main drag on year four is the same one that brought down years two and three: the flashbacks. Even as each subsequent present-day story gets better and better, Oliver’s journey leading up to the beginning of the series has become tedious and unimportant. While it does give some scant clues about the Big Bad this season, Damien Darhk (Neal McDonough), it’s not enough to be worth it. Hopefully, knowing season five will complete this arc will infuse the events with a new sense of urgency to make them less cumbersome in the upcoming installments.

The best bonus on this set is The Flash crossover episode. Arrow and The Flash did a two-parter in the fall, and while I suspect most of the audience is shared between the two, I appreciate that Arrow makes it easy for those who just watch this show to follow along. Three featurettes are more mixed. I think the one on Darhk is definitely appropriate, but cared much less for those on Hawkman and Hawkgirl, the most forgettable characters in Legends, introduced in this episodes in this set. There is also another regrettably truncated Comic Con panel, as well as some deleted scenes and a gag reel. So, overall, the amount of material included is fine, but the quality is a bit lacking.

Still, I definitely recommend checking out Arrow – The Complete Fourth Season, now on sale.

ARROW "Haunted" By Canceled Hero

Article originally written for Seat42F. 

 
It seems like Oliver (Stephen Amell) is no longer “Haunted” by his past on this week’s ARROW, as he finds a way to get along with everyone. This is a great example of how he’s changed, and how being in a relationship with Felicity (Emily Bett Rickards) has made him softer, in a good way. But not everyone is so lucky, as two dead characters destined for a 2016 spin-off deal with the aftereffects of their deaths in various ways, and a canceled DC television character crosses over.

Let’s start with Sara (Caity Lotz), who is on the loose and murdering people. Her bloodlust has her targeting Thea (Willa Holland), which makes sense because Thea killed her, even if Thea wasn’t in control of herself at the time. A run-in between the two leaves Thea hospitalized and Laurel (Katie Cassidy) feeling bad. But in the end, Oliver (with help) is able to catch Sara, and has a plan to restore her soul.

Enter John Constantine (Matt Ryan, Constantine). Having met Oliver in yet another pointless flashback, Oliver gets the hero who communes with the supernatural to come to Star City and help him rescue Sara’s soul. Constantine is a fun character who effortlessly slides into “Haunted,” serving an actual purpose, his appearance anything but gratuitous. Given ARROW’s penchant for touching the other side from time to time, I think Oliver should keep Constantine’s number handy, even though it seems a little weird he hasn’t been called or mentioned before. I feel like he needs an arc, not just a guest spot.

In the Constantine sequence, we see Oliver getting along with the abrasive man, giving him warm thanks for his help, even though Constantine isn’t exactly behaving in a manner that would trigger warmth. We also see fuzzy moments between Oliver and Thea, and while Oliver and Laurel have it out regarding Laurel secretly bringing her sister back, Oliver brokers peace between them. Oliver even shoots down a political strategist’s (Parker Young, Suburgatory) advice to stand by Laurel. So “Haunted” proves Oliver’s transformation from cold dictator into understanding team player is complete.

Laurel and Thea also have a little moment when Laurel says losing Thea would make bringing Sara back not worth it. Thea and Laurel have been acting like sisters, and it’s satisfying to see Laurel does have a limit as to what she will do for her soulless sister.

Now the question is, how will restored-soul Sara and Thea deal with their bloodlusts, and is this something that can be cured? Obviously, Oliver won’t let them kill people to work out their feelings. How can he help them stop it once and for all? Maybe Constantine can help? But if so, why isn’t he asked in “Haunted”?

Speaking of people back from the dead, Curtis (Echo Kellum) decodes Ray’s (Brandon Routh) message and it turns out the former CEO is alive! He doesn’t give Felicity clear instructions on how to find him yet, but it’s nice to know another favorite character will be coming back, if only briefly before heading to the Legends of Tomorrow spin-off with Sara. How Felicity can save him is put off for another day, but as I said last week, I’m digging her solo plots this season. And I love her speaker voice.

The final subplot of the week involves Captain Lance (Paul Blackthorne) obtaining Diggle’s brother’s file from Damien Darhk (Neal McDonough). The file says Dig’s bro wasn’t as noble as Diggle (David Ramsey) believes. Is Darhk possibly lying and forging evidence? It doesn’t seem so. But I do wonder why Darhk handed over this paperwork. Is he just trying to get Diggle to stay away, one less distraction for Darhk?

“Haunted” is a decently solid episode of ARROW. As usual, the flashbacks are wasted screen time, but it’s cool to see Constantine survive beyond his short-lived series, and I’m very happy with the
interactions between the core characters of late. It’s about time they have some happiness and harmony, even if I’m sure it’ll be short-lived.

ARROW airs Wednesdays at 8 p.m. on the CW.

ARROW is Not "Beyond Redemption"

Article first published as ARROW Review "Beyond Redemption" on Seat42F.

Arrow -- "Beyond Redemption" Stephen Amell as Oliver Queen -- Photo: Diyah Pera/ The CW

No one on the CW’s ARROW is “Beyond Redemption,” or so it seems in this week’s installment. Captain Lance (Paul Blackthorne) doesn’t approve of Oliver’s (Stephen Amell) plan to run for mayor of Star City, even though it’s Lance’s own noble nature that has prompted Oliver’s actions. It’s Lance, however, who is ashamed when Oliver uncovers more than one secret about the city’s police force. Yet, by the end of the hour, all is happy and as it should be in the world.

“Beyond Redemption” begins its upbeat run by introducing the new lair, secreted beneath Oliver’s campaign office, former site of a villain’s own democratic activities. With Diggle (David Ramsey) and Oliver back on good terms, it’s satisfying to see the crew settle into their new digs, funded by Palmer Tech (at least until the board revolts and kicks loose-money Felicity (Emily Bett Rickards) out of the CEO spot, which is certain to happen before long). This is how fans want to see the cast, one united front, bent to stop the bad guys in the city.

Star City has plenty of crooks, but perhaps none are so surprising as Liza Warner (True Blood’s Rutina Wesley) and her band of vigilante strike force officers, who are making money off the backs of criminals. Lance is shocked and angry to learn about this group, and quickly joins forces with Team Arrow to bring them down. Which they do, appealing to the morality left in Liza, who is a cop for a reason.

Along the way, Oliver and CLance come to an understanding. The revelation that Lance has been suckered into working with Darhk (Neal McDonough) knocks the captain down a few pegs to Oliver’s level. Both men have screwed up, both men are ashamed about it, and both are determined to make up for past wrongs. Lance even intends to turn himself in until Oliver stops him. Finally on equal footing, their bond over this adventure heals the last rift in the central group.

Which is good. If Oliver is going to run for mayor, he needs a united front around him. Other candidates have met with ill fates, and while Oliver is more capable than the others, he still needs the support of his team and the police. Oh, and a bit of help from Thea (Willa Holland), whose trip to Nanda Parabat seems to have had the desired effect, as she’s bright and ready as the campaign manager, doesn’t hurt.

Unfortunately, there is one slight hiccup in “Beyond Redemption.” The Sara (Caity Lotz) that Laurel (Katie Cassidy) brings home to Captain Lance doesn’t seem to be the same Sara that died. This one is feral and creepy. Not to mention, Oliver and the others aren’t aware of what Laurel and Thea did. And Sara escapes. But that’s all strife for another installment of ARROW, not this one.

In the B story this week, Felicity resists Curtis’ (Echo Kellum) attempts to unlock Ray Palmer’s final message. I understand Felicity’s reticence, but clearly Ray is not going to give her a choice. Her haywire phone is due to his tech, and it would not surprise me if the problems with the power in the new lair are related, too. Ray wants to be heard, and with Curtis determined to help him, he will be.

When is Curtis going to be brought onto Team Arrow? Don’t get me wrong, it does feel like ARROW lets too many people in on the secret too quickly, and it’s nice for Felicity to have a life apart from the group. But Curtis is way too helpful and observant to be left on the sidelines for long. He is going to join up, probably sooner rather than later, and I think the writers have drawn it out enough.

“Beyond Redemption” has a few minor flaws, such as Oliver’s easy catch of Liza after she shoots down one of his arrows with far less warning, and the fact that ARROW still insists on showing flashbacks to Oliver’s time before the series. Other than that, though, this is a feel-good, action-packed installment of the enjoyable series.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

The "Restoration" of Team ARROW

Article originally published as ARROW Review "Restoration" on Seat42F.

Arrow -- "Restoration" Pictured: Steven Amell as Oliver Queen -- Photo: Diyah Pera /The CW

Team ARROW is in need of a “Restoration,” and they get one in this week’s installment on the CW. Felicity (Emily Bett Rickards) tries to bring Oliver (Stephen Amell) and Diggle (David Ramsey) back together. A new villain might just help her along, though also exposes her secret to yet another person. Meanwhile, Thea’s (Willa Holland) quest for help and Laurel’s (Katie Cassidy) mission to bring her sister back to life don’t go as either of them expected.

Team Arrow expands rapidly over the years. While it starts as just three people, several others are let in on the secrets as time goes on. It’s gotten to the point where it seems like just about anyone can find the lair and figure out who is on the team.

Take Curtis Holt (Echo Kellum). Just introduced as an employee of Felicity’s, he already gets into the headquarters and learns that Felicity is connected to Star City’s costumed vigilante. Now, Curtis’ discovery is due to mistakes that Felicity makes, so he can’t really be blamed. But it still seems like everyone important finds out sooner or later, usually sooner. I suppose this means Curtis will be sticking around, at least for a little while, which in his case is welcome news.

I like the separate life “Restoration” shows us for Felicity. As ARROW has gone on, her character has gotten more and more development. Seeing her as a CEO with her own activities apart from the others is gratifying. I was beginning to wonder how she balances everything, but with a base just downstairs from her job, a busy boyfriend, and being more than capable of herself, any lingering doubts are laid to rest as we see her in action this week. Though, it might get harder, depending on where the new command center will be.

Felicity even manages to survive an encounter with the metahuman villain Double Down (JR Bourne, Teen Wolf)! Now, it’s only by accident that she makes it out alive, but still, her life has become colorful, indeed!

Oliver and Diggle have a rather tame time by comparison. It does feel a little too easy, the way they come back together when Oliver almost literally takes a bullet for Diggle, but it’s needed. The tension between them has gone on long enough, and ARROW needs to move on. “Restoration” gets a little hokey in doing so; connecting Diggle’s query, Mina Fayad (Carmen Moore, Blackstone), to Oliver’s foe, Damien Darhk (Neal McDonough), seems way too convenient. But at least “Restoration” dispels with the drama and gets the show back to where it needs to be.

One thing ARROW is doing better and better these days is balancing characters. In the Laurel / Thea plot, the two travel to Nanda Parbat in order to seek a cure for Thea’s bloodlust and bring Sara (Caity Lotz) back to life. In Nanda Parbat, the two girls have their own very personal motivations, which somewhat clash with Ra’s (John Barrowman) and Nyssa (Katrina Law). Yet, all four intermingle their through lines nicely, combining events where they need be, but still making all feel authentic to who they are. It’s a delicate dance that is handled more deftly than some of ARROW’s other interweaving threads, such as Diggle and Oliver’s part of “Restoration.”

Ra’s brings Sara back to life not for Sara nor Laurel’s sake, but for Thea’s. He genuinely is trying to be a good dad and help her. Giving her prey to kill doesn’t work, so maybe bringing a friend back will. I don’t admire Ra’s method of assistance, but one has to admit that he is definitely devoted to his daughter and past the point of just using her.

Now that Sara’s back, all sorts of possibilities are on the table for the former Black Canary. Obviously, Thea’s bloodlust is just a taste of what Sara will go through. But we know Sara is destined for the mid-season spin-off, so her recovery time is finite. I’m not sure where ARROW will take her over the next couple of months, but I’m anxious to see and happy to have her back.

ARROW isn’t a perfect show, and some parts of “Restoration” don’t quite make sense (not to mention the nearly useless flashbacks). Yet, overall it’s fun to watch, and it does a good job keeping the audience engaged. The longer it goes on, the smarter the writing seems to get, and I greatly appreciate that.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

"The Candidate" for ARROW

Article originally written for Seat42F.

This week’s ARROW finds a friend of the Queens becoming “The Candidate” for mayor of Star City. Given what has been happening to other candidates, and that Team Arrow has made no progress against the ghosts terrorizing the town, this doesn’t seem like a good idea. But not everyone believes what Star City needs is a mask; some people want a hero in the light. Is there anyone who can be found to fill that role?

I am disappointed that Jeri Ryan (Star Trek: Voyager, Body of Proof) is brought in to play Jessica Danforth, a seemingly one-episode character. I enjoy that actress, and I liked this role for her. I was hoping she’d stick around a bit longer.

But it’s hard to blame Jessica for withdrawing from the race. With her daughter, Madison (Tiera Skovbye), kidnapped by mad man Anarky (Alexander Calvert), one understands why Jessica doesn’t want to ride things out. She’s fine with risking her own life when the city needs her to, but not her daughter’s. Few would act differently in her position, nor blame her for this.

The primary conflict between Quentin Lance (Paul Blackthorne) and Oliver Queen (Stephen Amell) at this point seems to be that Oliver keeps his identity a secret. I can see why a police officer has a problem with that, but I’m glad things are thawing a little between them, Quentin even asking for Oliver’s help at one point. Hopefully, their relationship will much improve now that Oliver is running for mayor, a position that he is uniquely suited for given his ability to stay alive.

I wonder if Oliver can keep being the Green Arrow while running for mayor. It seems like he’ll have to choose one or the other. As mayor, he will be watched much more closely than he is now. But he’s seen how bad the city is, and someone has to step up. At least Thea (Willa Holland), the one family member he has left, can take care of herself at this point, unlike Madison.

Well, Thea can defend herself, but she’s not all right. The effects of the Lazarus Pit are beginning to show themselves in her brutality. Oliver is willing to let Quentin believe he burned Anarky to protect his sister, but he won’t be able to keep covering things up for her long-term. That’s why, even though The League is dangerous, it seems a good plan for Laurel (Katie Cassidy) to take Thea back to the Pit. With her dad in charge now, surely something can be figured out to help Thea.

Less smart is Laurel’s plan to bring her own sister, Sara, back in the Pit. Laurel has already seen the negative effects of resurrection. She should definitely wait and see what happens with Thea first, to understand if the negatives can be overcome. I also wonder if the Lazarus Pit would even work on someone who has been dead as long as Sara has. I guess we’ll soon find out, though Sara’s starring role in the Legends of Tomorrow spin-off seems to indicate she will rise again.

I enjoy “The Candidate” a great deal. Besides the stories above, which are all interesting and engaging, there’re a lot of fun moments in Felicity (Emily Bett Rickards) asking for a code name, or as she tries to take control of the company she now runs. New character Curtis Holt (Echo Kellum, Ben and Kate) has plenty of potential. The series is doing a great job balancing the various plot lines, while developing each character on an individual basis. As long as ARROW keeps up this trend, I’ll have no complaints.

Except the flashbacks. It still needs to get rid of the flashbacks.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

SEAN Doesn't Quite SAVE THE WORLD

Review first published as SEAN SAVES THE WORLD Review on Seat42F.

In a slew of very familiar-seeming new sitcoms this year, lacking that fresh, creative approach that really set them apart from the herd, NBC’s SEAN SAVES THE WORLD is definitely one of them. What I mean is, while a gay dad balancing being a newly-single parent and the pressures of a demanding boss is not completely done-to-death, it also doesn’t feel that far apart from a dozen others shows. The good news is, this one is a fine example of such a program.

Sean (Sean Hayes, Will & Grace) is out of the closet and divorced. When his ex-wife decides to move far away, their teenage daughter, Ellie (Samantha Isler), demands to stay in the city, and so her father, whom she usually only sees on weekends, takes her in, suddenly having to learn how to provide discipline and structure. Unfortunately, it’s at this same time that the business Sean manages gets a new owner, Max (Thomas Lennon, Reno 911!), who is not at all sympathetic to his staff having a personal life. Thus, the conflict is born.

This is a very relatable concept. There are lots of single moms and dads in the world, and most of them have at least one job. Thus, it’s a good idea for a show if the only goal is to appeal to the masses.

I really like the relationship Hayes and Isler have right off the bat. Neither Sean nor Ellie knows what they are doing in this situation, something Sean is open about, but Ellie isn’t so much, tight-lipped as girls of a certain age often are. They do have a heartwarming conversation in the “Pilot” about their living arrangement, and that makes the episode. It will be fun to watch them together.

Max is a less likeable character. He is revealed to not be completely horrible at the end of the first episode, but he is unrealistically tough. Lennon is a great comedian, and is used to broad humor, which he uses here, but the show needs something more from him like Sean and Ellie have. Until Lennon can build some layers into Max and give him a dynamic personality, something Lennon is certainly capable of, he won’t quite fit in.

Sean’s other co-workers are pretty much just as goofy. Megan Hilty, whom Hayes had great chemistry with on Smash last season, is on board as Liz, and Echo Kellum has been rescued from Ben and Kate’s cancellation to play Hunter. Combined with Vik Sahay (Chuck) as Howard, a hopefully recurring part, these guys give the office scenes their laughs as Sean tries very hard to be the peacekeeper in a tough scenario. I think it works OK that Sean is still funny, even as he plays the put-upon straight man between the owner and the peons. The actors all have something amusing to offer, and SEAN SAVES THE WORLD lets them do so. It’s a nice ensemble.

The only character that I’m not sure about is Lorna (Linda Lavin, Alice), Sean’s mother. She is too heartless to have birthed such a compassionate, determined man, and while Ellie thinks she’s fun, I’m not sure viewers will. The mean old woman has become a sitcom staple (think Arrested Development), but Sean doesn’t act like he’s been raised by such a person, so it feels a little flat in this instance.

I don’t have too many particular complaints about SEAN SAVES THE WORLD. I enjoyed it, laughing several times while watching the “Pilot.” I really like the actors involved. I think the setup is a world that stories can be told in. I just wish that it didn’t seem Hayes played it safe with the express purpose of getting a show on the air. He has been thoroughly entertaining in more outlandish roles, and while he may be proving he can also do the more “normal” parts, it’s an unnecessary demonstration. Yes, he’s a good actor. So let’s stretch him more, taking full advantage of his skill set.

He’s not the only one not reaching far enough. Creator Victor Fresco’s credits boast he has produced some great stuff such as Go On, Man Up, and Better Off Ted. All three of those were short-lived, so perhaps he has been scared off from taking the big risks. But all three are also really good shows, so I hope he brings the best parts of those over to SEAN SAVES THE WORLD eventually, even if those elements aren’t obviously present in the “Pilot.” Maybe if viewers have patience, he’ll play the network’s game for awhile, attracting ratings to a comfortable series, and then he can then spin it into something better. This show as is is currently good, not great.

SEAN SAVES THE WORLD premieres Thursday, October 3^rd at 9 p.m. ET on NBC.

Meet Ben & Kate

Grade: 74%

FOX’s new sitcom, BEN AND KATE, is a lightning rod for mixed feelings. One wants to admire their quirky humor, but sometimes it also seems too low-brow. The characters are sympathetic, but they take things a bit too far. The titular leads, Ben (Nat Faxon, Allen Gregory, Reno 911!) and Kate (Dakota Johnson, 21 Jump Street), have good chemistry, but it can verge into creepy territory when it skims past sibling and into slight romance. The supporting cast is fantastic, but are they well used?

The beginning of the “Pilot,” which premieres Tuesday, September 25th, and is available now on Hulu, is not an auspicious start. Kate is getting by as a single mom, and then her screw up brother, Ben, comes to town. She loves him and is happy to see him, but knows he will invariably mess up her life, which he does.

But rather than stick to that familiar premise, BEN AND KATE soon reveals that Kate is just as messed up as her brother, in other ways. And while Ben does tend to make some bad situations worse, he also comes through for Kate, such as when he stops her from sleeping with a guy who isn’t serious about her. So, suddenly the dynamic is more balanced, which does make for a better story. When Ben tells Kate she only made one mistake, and it was the best thing that ever happened to her, referring to Kate’s daughter, it’s a touching, perfect moment.

The thing is, Faxon and Johnson just haven’t pinned down their chemistry yet. They do have it, but it’s almost like they should be romantic leads, rather than playing brother and sister. Their under-the-table meetings are sweet, but you’re waiting for them to lean forward and kiss, which would be disgusting, given the established sibling bond. Raised in the household that they were, it’s understandable that they are a bit messed up. As long as the show doesn’t go too far with them, it works.

The best part of BEN AND KATE is Kate’s five year old daughter, Maddie. Or rather, Maggie Elizabeth Jones (We Bought a Zoo), the very talented young actress who plays the role. She is funny, can sell a punch line, rolls with the craziness, and is freaking adorable. Even if the leads sucked, it would almost be worth watching just for her. Luckily, the scenes in which she appears tend to bring out the best in both Johnson and Faxon, and she provides the easiest path to turn viewers into fans.

Rounding out the cast are Lucy Punch (Dinner for Schmucks, The Class) as BJ and Echo Kellum as Tommy, Kate’s friends, who also happen to be fond of Ben. Like the leads, I am torn on these two, and it may just be because the series isn’t sure how to use them yet. Sometimes they are the butt of crass, unnecessary jokes (see: BJ’s name), and other times, they do exactly what a supportive friend is supposed to do. They buy a little too much into Kate and Ben’s weirdness, but then, anyone who would be their friend would have to. Punch has proven herself as extremely talented in other projects, and Kellum does fine, too, so there is definitely something there, if only it could be tapped.

That’s the entire problem with BEN AND KATE. There’s a wonderful series hiding just below the surface, but there’s also a terrible one. Both keep popping up throughout the first episode. Many terrific shows have horrendous pilots, so hopefully the good will vanquish the bad, in time. But it could easily go the other way, as well, so this is one to cautiously watch.