TED LASSO Hired For This Team

Article first published as TV Review: TED LASSO on Seat42F.

This past Friday, Apple TV Plus launched TED LASSO, a half-hour dramedy about a perpetually cheery amateur football coach from the United States hired to head a pro-level football team in the UK. And as you probably know, football in the UK is not the same as football in the US; they’re two different sports. No, this is not a mistake, the decision to hire Ted was purposeful, and now we’ll see how this guy does in an extreme fish-out-of-water scenario.

I’ll be honest, I did not expect to like TED LASSO just from the logline. I’m not a big fan of sports (or a fan at all), and I hate dumb-guy comedies, especially where the jokes are played on the man’s ignorance. But because it was created by Bill Lawrence (Scrubs) and Jason Sudeikis (Saturday Night Live), the latter of whom also stars, and both of whom have delivered funny very well in the past, I tried to keep an open mind going in.

Boy, am I glad that I did. TED LASSO is wonderful. It’s not dumb-guy comedy, and while there are humorous jokes, it’s not a straight-out comedy at all. It’s a moving piece with layered characters and emotional situations that will tug your heart strings just as often as it tickles your funny bone. And in the first two episodes, it’s not about sports at all. (Though, if it later becomes so, Friday Night Lights has already proven that good television trumps a distaste for athletics.)

Much of the success of Lasso can be credited to the writing. But much can also be credited to Sudeikis’ performance as the titular character. It would be so easy to dismiss Ted on his face. Yet, Sudeikis plays him with genuine earnestness and depth that keeps him from being a cartoon. Small scenes, when Ted is alone in his apartment or on the phone, prove just how much his caring is genuine, not an act at all. His coaching style, one in which he focuses way more on team cohesion than logistics of play, is also inspiring and one can see how it would work – when the team already has plenty of talent to make up the other side.

Though, it’s quite possible that Ted’s assistant, Coach Beard (Brendan Hunt, Bless This Mess), is the one who actually knows how the game is played and helps on that front. I think there is more to Coach Beard’s words about “fast” in episode two than plays for the joke. So together, they make a decent manager.

TED LASSO avoids dropping into the typical out-of-one’s-element tropes by making Ted curious and accepting of his surroundings, as he is about the team. There are exceptions, of course; Ted hates tea. But by minimizing that element, it keeps the show from being too silly.

Perhaps the main draw is a message that optimism can win. In these dark times, it’s easy to give in to the hate and vitriolic and tension between sides in this country, and around the world. So often, we dismiss our fellow humans because of their beliefs, and while we may often feel justified (maybe actually be justified) in doing so, it’s heart-warming and hopeful to see someone approaching things differently and succeeding.

Of course, Ted will still have his fair share of obstacles to overcome. The main antagonist is revealed at the end of the pilot, and I was pretty surprised. Though I also see how Ted may defuse the situation without making any real enemies.

TED LASSO is buoyed by a wonderful supporting cast, including Juno Temple (Maleficent) as a player’s girlfriend, Hannah Waddingham (Krypton) as the club owner, Jeremy Swift (Downton Abbey) as the communications manager, and Nick Mohammed (Intelligence) a the equipment boy.

I’ve been lassoed by Ted, and I’m anxious to see what else is in store. The first three episodes are available now on Apple TV Plus, with new installments dropping every Friday

Dreaming ELECTRIC DREAMS

Article first published as TV Review: ELECTRIC DREAMS on Seat42F.

Amazon has joined the sci-fi anthology trend with PHILLIP K. DICK’S ELECTRIC DREAMS, which premiered yesterday. Each installment of the ten-episode season is based on a different novel or short story by the prolific author. The writers and directors are given wide latitude to adapt the source material as they see fit. A strong roster of actors rotate through the various parts, which have different running times, but are generally between 40 and 50 minutes, so about the length of an hour-long drama sans commercials.

I viewed the first two installments in preparation for this review. “Real Life” finds a future cop named Sarah (Anna Paquin, True Blood) dealing with the aftermath of a massacre. Her wife, Katie (Rachelle Lefevre, Under the Dome), suggests a VR ‘vacation’ to live out another life that her own mind makes up. Sarah accepts, and finds herself in the past from her perspective (roughly our present) as George (Terrence Howard, Empire). George recently, tragically, lost his wife, Katie (also Lefevre), and has invented a VR headset to escape into. But what quickly becomes confusing to Sarah/George as she/he goes back and forth is, which is the real world and which is the dream?

Episode two, “Autofac,” is set in a post-apocalyptic landscape where the surviving humans are being killed off by pollution from the still-running factories. Emily (Juno Temple, Vinyl) and her friends concoct a plan to contact the artificial intelligence running the factory, which sends a customer service bot (Janelle Monae, Moonlight) to meet with them. Will Emily’s plan to shut down the machines work? Or has the Autofac out-thought her every move?

Both of these are entertaining, if dark, installments. They have high-quality concepts that mess with one’s mind and have one guessing the nature of reality. Some of the twists you may see coming, but certainly not all of them. Written by Ronald D. Moore (Outlander, Battlestar Galactica) and Travis Beacham (Pacific Rim) respectively, they make these ideas understandable, couched in relatable characters who are also complex. They also look visually stunning, especially the future parts of “Real Life,” which features flying cars and giant, electronic advertisements.

And yet, ELECTRIC DREAMS is no Black Mirror. It’s hard to put my finger on why exactly it falls short by comparison to today’s defining sci-fi anthology series, which recently released a fourth season on Netflix. Both are similar in makeup and the talent behind them. But ELECTRIC DREAMS just seems a little less cohesive, a little more quickly done, and little cheaper, for lack of a better word.

Perhaps they shouldn’t be held up against one another, as similar as they may be, because there are important differences, and with short seasons, there are room for both. It’s a pleasure to get so much quality science fiction in this era, and no one need choose between the two. Though, if you had to, I think it’s a pretty clear choice in Black Mirror’s favor.

Perhaps because the writers are reigned in a bit by having to go off of Dick’s works, as brilliant as they are, it gives them a little less room be imaginative. That may not be the real issue; I’m really having trouble figuring out what the difference is. That’s just the only thing I can think of that would change the approach in how these stories are told.

Still, it’s not like ELECTRIC DREAMS is bad. I am interested enough to see what other concepts are explored. I just don’t think it will be giving its peer a run for it’s money at the top of the heap.

PHILLIP K. DICK’S ELECTRIC DREAMS is available now on Amazon, free to Prime members.

VINYL Comes to Blu-ray

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

HBO’s new drama is Vinyl, which only recently completed its freshman run, will soon be available on Blu-ray, DVD, and digital HD. Created by Mick Jagger, Martin Scorsese, Terence Winter, and Rolling Stone contributing editor Rich Cohen, Vinyl is set in the New York City music industry of the 1970s, and although lots of familiar names are dropped, the main characters are fictional. With deservedly mixed reviews, it isn’t HBO’s strongest entry, but I found it worth watching just the same.

At the center of Vinyl is Richie Finestra (Bobby Cannavale,Ant-Man, Nurse Jackie), an exec trying to sell his struggling company. Richie once had a real love of music, as viewers get to see in flashbacks peppered throughout the installment, but now he’s older and settled. Married to Devon (Olivia Wilde, Rush, House), Richie seems ready to get away from the chaos and cacophony. Were he able to get back to what he loved about the art form, he might stick around, but surrounded by business crap, he’s ready to be done. If he can just make one last deal to get himself out.

Surrounding Richie is a delightful cast. Among those performers joining Bobby at the office are Ray Romano (Parenthood), Max Casella (Inside Llewyn Davis), P.J. Byrne (The Wolf of Wall Street), and Juno Temple (Maleficent). With this ensemble, I would watch just about any series they choose to do.

Despite this, though, like Winter and Scorsese’s last HBO show, Boardwalk Empire, Vinyl starts slow. Really slow. After hour one, I started distractedly playing games on my phone. I feel bad that I wasn’t giving the show my full attention, but it doesn’t seem like anything very interesting is happening, and that is disappointing, considering everything the series has going for it. Richie is boring and the flashbacks don’t really add anything to the present-day storyline, other than to flesh Richie out a bit. It feels tired.

Thankfully, by hour two, things really take a turn. Part of it is Andrew Dice Clay’s (Entourage, Blue Jasmine) character and the events surrounding him. But part of it is that who Richie truly is comes to the surface.

Richie isn’t the bland, typical personality one thinks he is at first. We see him doing drugs and lying to his wife, and it’s easy to pigeonhole him as just another blowhard in a crazy world who puts himself first and gives into his passions. Except, he’s not, and once that is realized, Vinyl comes to life. Once we’re able to see that Richie really does love Devon and is trying to do right by her; once we see the pressure he is under and how much he struggles to cope with it; that’s when the series becomes unique and fresh and makes its mark.

Though, it remains uneven throughout the 10 episodes, never hitting the potential established in the double-length pilot. I kept wanting Vinyl to be something better than it is, do something more. It’s good, but it’s not as great as it could be. Maybe we’ll get to see it reach the peak in season two.

The argument for going HD on this one is how dark many of the scenes are. Set in clubs and nighttime streets, you’ll want to get the best picture quality to see the layers of grey and what’s happening in the shadows. Also, with some great music, it’s worth it to make the best use of the soundtrack. So, as always, I recommend choosing Blu-ray or Digital HD over standard.

The extras are sadly few. We do get an extended version of “Making Vinyl: Recreating the ’70s,” which is appreciated, though mostly seen before if you’re a frequent watcher of the network. We also get the “Inside the Episode” bits that HBO now regularly features as part of their broadcasts. Besides collecting material already released, the only thing new on the discs are audio commentaries. Thankfully, Cannavale, Wilde, Winter, and others participate, so they are worth listening to. Still, I’m hoping season two provides a bit more, this release basically hitting the minimum on bonus features, which far too many seasons do these days.

Vinyl: The Complete First Season is available now for digital download and will be released on disc June 7, 2016.

VINYL Not as Worn as First Appears

Article first published as VINYL Review on Seat42F.

HBO’s newest drama is VINYL, which premiered its two-hour pilot last night. Set in 1970s New York, the series is about the music industry and a particular era of rock ‘n’ roll music. While the main characters are fictional, the band names and music are mostly real. Created by Martin Scorsese, Terence Winter, Mick Jagger, and Rolling Stone contributing editor Rich Cohen, its bona fides are legit.

At the center of VINYL is Richie Finestra (Bobby Cannavale, Ant-Man, Nurse Jackie), an exec trying to sell his struggling company. Richie once had a real love of music, as viewers get to see in flashbacks peppered throughout the installment, but now he’s older and settled. Married to Devon (Olivia Wilde, Rush, House), Richie seems ready to get away from the chaos and cacophony. Were he able to get back to what he loved about the art form, he might stick around, but surrounded by business crap, he’s ready to be done. If he can just make one last deal to get himself out.

Surrounding Richie is a delightful cast. Among those performers joining Bobby at the office are Ray Romano (Parenthood), Max Casella (Inside Llewyn Davis), P.J. Byrne (The Wolf of Wall Street), and Juno Temple (Maleficent). With this ensemble, I would watch just about any series they choose to do.

Despite this, though, like Winter and Scorses’s last HBO show, Boardwalk Empire, VINYL starts slow. Really slow. After hour one, I started distractedly playing games on my phone. I feel bad that I wasn’t giving the show my full attention, but it doesn’t seem like anything very interesting is happening, and that is disappointing, considering everything the series has going for it. Richie is boring and the flashbacks don’t really add anything to the present-day storyline, other than to flesh Richie out a bit. It feels tired.

However, late in the second hour, things really take a turn. Part of it is Andrew Dice Clay’s (Entourage, Blue Jasmine) character and the events surrounding him. But part of it is that who Richie truly is comes to the surface.

Richie isn’t the bland, typical personality one thinks he is at first. We see him doing drugs and lying to his wife, and it’s easy to pigeonhole him as just another blowhard in a crazy world who puts himself first and gives into his passions. Except, he’s not, and once that is realized, VINYL comes to life. Once we’re able to see that Richie really does love Devon and is trying to do right by her; once we see the pressure he is under and how much he struggles to cope with it; that’s when the series becomes unique and fresh and makes its mark.

I find myself wondering if there is anything VINYL could have done to hook viewers in sooner. I mean, the music is great from the start, and that is what first interests me, before the story starts to drag. Some of the supporting characters are also intriguing, but aren’t in it as much as Richie, and so get forgotten between scenes. But could the audience have understood Richie and his world without getting all the set up first, even if the set up didn’t play out as entertaining as it should have?

In the end, I have a hard time judging VINYL harshly, and actually want to go back and re-watch it more closely. By the credits of the premiere, I am fully on board with VINYL. It just takes awhile to get there. Had the show done a traditional single-hour kick off, it could easily have gotten skipped by me. But with the two-hour format, the program does its job and proves itself. If you tuned out early, go back and give it another chance. It’s worth it.

VINYL airs Sundays at 9 p.m. on HBO.

MALEFICENT Not Quite Magnificent, But Jolie Is

Article first published as Blu-ray Review: 'Maleficent' on Blogcritics.

Disney’s Maleficent, a re-telling of the classic fairy tale Sleeping Beauty with a twist, comes to Blu-ray and DVD this week. Starring Angelina Jolie (Salt, Mr. & Mrs Smith) in the title role, this film seeks to give layers to what has often been a one-dimensional villain, unspooling the story from a different perspective. It’s one that mostly works. I admit to having relatively low expectations going in, despite a friend’s defense of it, which means the enjoyable result is a pleasant surprise.

Maleficent begins with the titular fairy as a young girl (played by Isobelle Molloy, EastEnders). She’s innocent and bold, loving life and the world around her. One day, Maleficent meets Stefan (Michael Higgins), a human. Despite his bad traits, such as a penchant for stealing, the two hit it off. Little does the girl know, though, that Stefan will grow up to be a manipulative man (Sharlto Copley, District 9) who will betray her in order to become king.

This is when Maleficent turns dark, somewhat early in the running time. After her wings are stolen in a moving sequence, her need for revenge is understandable. That she takes it out on an unborn child makes less sense,  but even this wronged version of the character is not one who will murder or maim, so perhaps it’s done in an empty-threat, kick-the-can-down-the-road sort of way. Once Aurora (Elle Fanning, Super 8) is born, though, and sent to live with three inept pixies (Harry Potter‘s Imelda Staunton, Fleming‘s Lesley Manville, and Killer Joe‘s Juno Temple), Maleficent can’t help but be drawn to the child, whom she comes to like and protect, which makes the fulfillment of the curse somewhat complicated.

While not normally a huge fan of Jolie, I don’t think the movie would work in practically anyone else’s hands. The role is perfect for her. Jolie captures the coldness and danger lurking beneath Malefient’s exterior, but also the vulnerability and magic of the part. She plays this evil-looking, yet still gorgeous, witch in a way that never feels scary, and that pairs nicely with the perpetually-sweet Aurora. Make no mistake about it, Jolie is the number one reason to watch this film.

The story itself isn’t bad. It’s a tad simplistic and predictable, while also weak in logic periodically. Yet it’s cohesive and plays out in a way that makes sense for the characters. Fast-paced enough to hold a child’s interest, the material is deep enough for adults to engage with, too, striking that rare balance in a movie that the whole family truly can enjoy.

Maleficent does push the boundaries of the PG rating. There is no cursing or sex, but there is plenty of violence, including some Lord of the Rings-esque battle scenes, which tend to be required for this type of movie these days (though they’re mostly unnecessary in this case). The humor, mostly delivered by the three pixies, who are well-cast with three terrific, somewhat underused actresses, is more silly than edgy, which may be a good thing for the target audience.

The visuals of Maleficent are mostly stunning as presented in 1080p high definition. There are some moments where certain characters are noticeably digital renderings, rather than actors, but the creatures that populate Maleficent’s moor, as well as the world the movie is set in, are beautiful. The pixies are done by blending the actresses’ actual features into animated creations in a very cool way. I only wish a 3D version were to be officially released in the U.S. (Amazon does have a region-free version listed) as this movie practically begs for that added depth, but it’s still a very good presentation. The audio levels are mixed in such a way that action scenes are a LOT louder than dialogue ones, so you do have to keep a hand on the remote. However, the clarity in the DTS-HD Master Audio 7.1 mix is crystal and music and voices coexist nicely when combined.

Maleficent does have a decent amount of extras, too. There are deleted scenes. The ones featuring the pixies better round out the characters than how they are shown in-film, so I wish they hadn’t been cut. There’s a featurette on Aurora, having Fanning talk about her part, which should appeal to young fans. For the older crowd, we see how the movie is made, the creation of the battle stuff, a look at the visual effects, and Maleficent’s costume elements.

While Maleficent is far from perfect, with Stefan making a forgettable villain, it is well-made and much more enjoyable than I expected it to be. It’s definitely worth a watch for the effects and Jolie’s performance, which are both excellent.

Maleficent arrives on Blu-ray and DVD November 4.