THE FAMILY Drama

Article first published as THE FAMILY Review on Seat42F.

God love the broadcast networks. Some of them are trying to step up their game in the face of rapidly declining ratings. While many of the programs coming down the pipeline on the Big Four are still crime procedurals and tame sitcoms, the things that are killing them, sometimes you get an attempt at a decent complex mystery drama.

The latest stab at quality is ABC’s THE FAMILY, which premiered last night. Told in two time periods, the present and ten years ago, this show is about a family rocked by the abduction of their son, Adam (Maxwell James), whom they assume to be dead, and rocked again when he seemingly shows back up a decade later (now played by Liam James, The Killing). What went wrong with the initial investigation? Or is the new boy not the son they believe him to be?

The unanswered questions are definitely the draw of THE FAMILY, and the reason to keep coming back. A show usually either thrives on story or on character, and this one has chosen the former. Packed with twists and clues, both real and false, to keep the viewer guessing, audiences will want to know what happens, and it does a decent job of hooking you in that manner.

The characters are a bit less compelling, though the actors are all pretty good. Matriarch Claire (Joan Allen, The Killing, Luck) is the mayor, and she actually uses her son returning as a way to help launch her campaign for governor. Father John (Rupter Graves, Sherlock) doesn’t seem much better, on tour with grief books he’s written and sleeping with the detective, Nina (Margot Bingham, Boardwalk Empire), who may or may not have screwed up his son’s case. Older son Danny (Friday Night Lights’ Zach Gilford in the present, Rarmian Newton in flashback) is a drunk, so of course no one believes his suspicions about ‘Adam.’ Daughter Willa (Alison Pill, The Newsroom and Madeleine Arthur, The Tomorrow People) embraces religion, but perhaps not as fully as people think, being calculating like her mother. Creepy neighbor Hank (Andrew McCarthy, Weekend at Bernie’s) is released from jail, but did he do what he was arrested for after all? And even if he didn’t, would he have, given the opportunity?

None of these are people you can get behind or want to support much, despite the terrible situation. It’s soapy, and that’s fine, but in the best soaps there are usually some redeemable qualities for the core cast. Instead, these are all players in a dangerous game, and one gets the impression they deserve whatever happens to them, at least in the later timeline.

That is probably why THE FAMILY doesn’t connect as well as cable entries in the genre do. Broadchurch is excellent because of its mystery, but also because of the fantastic characters, who struggle with real problems and are sympathetic as people. THE FAMILY is closer to Revenge, which limped along on ABC for a few years before cancellation, where you just want to see what happens to jerks, rather than rooting for a protagonist to win the day.

As such, THE FAMILY is good, but not as good as it could be. It is a great example of what is wrong with the Big Four networks, not willing to fully commit to something new, still mired in what has worked for them in the past. ‘Soapy drama for the sake of drama? Yeah, that’s been a hit before, so let’s add it to a currently winning formula from a cable channel to satisfy both our old audience and win new viewers.’ Unfortunately, that doesn’t work, ending up with a product unsatisfying to some from both camps, and not helping the viewer erosion at all.

However, if ABC and its kin would really give something like THE FAMILY a go, building a slower-paced show on the bedrock of strong characters, they might actually have something. They could even do it with these same actors if they wanted to.

THE FAMILY settles into its regular night and time this Sunday at 9/8c.

THE KILLING Returns to "The Jungle"

Article first published as THE KILLING Season 3 Premiere Review on Seat42F.

Grade: 93%

About a year after its cancellation, THE KILLING returns to AMC with the two-hour opener of season three. Titled “The Jungle; That You Fear the Most,” the story picks up a year after the events of the Rosie Larsen case, with Holder (Joel Kinnaman) seeking out a reclusive Linden (Mireille Enos) when his current murder investigation seems to tie into her former career.

As someone who loves THE KILLING, I am thrilled that it has been rescued from the TV graveyard for another year. The first two hours of the new season, despite the things that have changed in the main characters’ lives, and the absence of many familiar faces, feels like a return to form. In the same bleary, dark setting, the depressing tone of murder hangs in the air.

Similarly, Linden and Holder are able to pick up right where they leave off. The chemistry between the pair in their first meeting, having not seen each other in quite awhile, immediately reminds me of what was so good about the first two seasons. There is genuine affection there, but also a want to avoid the things that they dislike in themselves when glimpsed in each other. Even a little lie about a dropped smoking habit demonstrates this beautifully, and says a lot about the two.

Like the first two years, season three takes awhile to get started. We see a dead body early in “The Jungle; That You Fear the Most,” but I would not claim that the investigation gets off on the right track. There are plenty of details that will likely eventually be clues, and we are introduced to a great many people who will be suspects. But THE KILLING is a slow burn and will not be rushed into getting the leads to where they need to be.

Unfortunately, they won’t be able to drag their feet too long. Unlike seasons one and two, which spent twenty-six hours solving one murder in a very intriguing fashion, really dwelling on the pain and suffering and toil that goes into such a venture, season three promises to catch the killer in twelve hours. This makes sense to keep eyes glued to the screen, given the legions of so-called “fans” who abandoned ship after season one failed to wrap things up and got THE KILLING canceled in the first place, but it’s disappointing to those who would like the show to take its time and do what it does best.

Unlike the Larsen case, in which a family grieves, the victims (plural because we’re dealing with a serial killer) in season three appear to be homeless teenagers. It’s a very bleak scene, kids living on the street, and a number of them are in the central cast. This contingent includes: Bullet (Bex Taylor-Klaus), a tough, butch lesbian; Kallie (Cate Sproule), Bullet’s best friend who has been kicked out by her mother, Danette (Amy Seimetz, Family Tree); and Lyric (Julia Sarah Stone, Vampire Dog), Bullet’s crush who is with a wannabe model named Twitch (Max Fowler, Mayday), who is just using Lyric. Some of these kids may care about one another, but it’s not the same thing.

Which is good. THE KILLING doesn’t want to repeat itself, and it doesn’t. It moves forward in a new direction that continues the personal journey of the two leads of the show, and introduces another group of people living in Seattle. The homeless kids are not something that has really been explored on a weekly basis in series television before, and they raise awareness of a real-life issue, while creating a rich, fresh tapestry for the story.

But sometimes to move forward, one must go back. Linden is stuck in a low-wage job, her son, Jack (Liam James, no longer a main character), lives half a country away, and she is still haunted by a previous murder, especially when she learns that the killer she put away, Ray Seward (Peter Sarsgaard, Jarhead), may be innocent of the crime. Jack asks Linden what she’s still doing in Seattle, and this premiere tells us: she has unresolved issues that she must deal with before she can move forward. Newlywed Regi (Annie Corley) may disagree, but from a narrative perspective, Linden needs to get back into the police game.

Holder, on the other hand, seems to be doing well. He’s close to a promotion, dressing in suits, and is definitely the more competent part of his professional partnership with Carl Reddick (Gregg Henry, Scandal). He also seems happily in a relationship. So his tale might just be to realize his calling, which he may have already found, rather than advancing solely for the sake of advancement.

On a side note, Jewel Staite (The L.A. Complex, Firefly, Stargate: Atlantis) plays Holder’s love interest, and is introduced with an instant Serenity reference. Joss Whedon fans owe THE KILLING a debt of gratitude.

Besides Holder and Linden, the most compelling character this year will probably be Ray. Sarsgaard gives us a man who may be innocent, but who sure doesn’t seem like he is, and is not making any friends on Death Row. Does this mentality stem from trauma in his past? A coping mechanism? Is he feeling guilty for something? Is he just a jerk? Sarsgaard makes me want to find out.

Two wonderful hours, and it’s like THE KILLING never left. With a great story, fantastic set up, and a group of new players every bit as interesting as those of the first two seasons, I look forward very much to watching this latest mystery unfold. Even if I’m still hoping for a Mayor Richmond (Billy Campbell) cameo at some point.

THE KILLING premieres Sunday, June 2nd at 8 p.m. ET on AMC.

The Killing goes "Missing"

     AMC's The Killing does something a little different this week: it hits pause on the Rosie Larsen (Katie Findlay) murder case a scant few minutes into the episode, and doesn't unpause until the very end. It makes sense in the story, as the police wait for new evidence that must be cleared by warrant, and a sudden emergency arises. While, with only two episodes left in the season, the break of "Missing" may come a bit late, it is a fantastic hour focusing on just one fresh mystery that is solved at the end. An ultimate stand alone episode. There is no Richmond (Bill Campbell), Mitch (Michelle Forbes), or Stan (Brent Sexton). There is only Detectives Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman) looking for Sarah's missing son, Jack (Liam James), while finally getting to know each other.

     This is the first episode it's really viable to call Linden and Holder friends. They have been working a case together for a week and a half, but getting to know one another is progressing slowly. Perhaps it's their very different personalities or investigation styles. Maybe there is no reason to learn about your partner when she is supposed to be leaving at any minute. For whatever reason, The Killing has not shown extensive Linden / Holder bonding. "Missing" is virtually all about that.

     Kinnaman and Enos hit a grand slam. While Enos has plenty of chances to shine this season, Kinnaman mostly exists as a supporting character. He stretches his legs this week, and proves he can handle complex emotions. Already known is that Holder used to abuse narcotics, but is clean and attending meetings. In "Missing," viewers also get a look at his tense family life. His sister doesn't answer or return his calls, and Holder struggles to be a good uncle after failing miserably while under the influence. Now Holder is a good guy, as evidenced by his support of Linden during her tough time. It's sad his family isn't realizing that, though considering his past, it's also understandable.

     Not that Linden is overshadowed, by any means. She reveals things about her back story that prove unexpected, such as that Regi (Annie Corley) is her social worker. Linden also has to really question her ability as a mother. Holders's attempt to justify her mistakes because of Linden's own lack of parental figure backfire as Linden takes the comments as criticism. Honestly, no one is harder on Linden than Linden. She spends much of the hour beating herself up, something shown mostly in her sad eyes.

     Jack running away to his father is foreshadowed in the prior episodes, so the ultimate conclusion, where he reveals to Linden that's where he has been the entire time, is not coming out of nowhere. Linden is basically ignoring Jack during this tough, transitional time when they are supposed to be moving to California, instead, caught up in a case. Regi warns Linden multiple times she isn't doing enough for Jack. With an absentee mother, Jack goes where he can to get support. It is unknown if he finds any.

    It's a brilliant hour and a nice diversion, featuring superb acting and nice exposition, as well as a moving mystery. Now it's time to ramp up for the finale, less than two weeks away. Who killed Rosie Larsen? It's still anyone's guess.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     Don't miss The Killing, airing Sunday nights at 10 p.m. on AMC. If you've missed any episodes, catch up with Amazon.com's Instant Video, from which all episodes, including this week's, are now available.

Article first published as TV Review: The Killing - "Missing" on Blogcritics.

The Killing lives up to AMC's reputation

     It's not often that a network can make several hit series in a row. Most new shows do not last into a second season. Yet, perhaps because they take their time, and only add series sparingly, AMC has yet to have a miss. First there was Mad Men, which was followed up by Breaking Bad. Last fall, The Walking Dead set the bar even higher, but this past Sunday The Killing did not disappoint. Four very different shows, but each amazing in their own right, and each very deserving of much viewer attention. I think they all could make a Top 10 list of best TV shows currently on the air. What will AMC think up next?

     Of course, AMC can't claim all the credit for the concept. The show is based on the Danish series Forbrydelsen, translated as The Crime, though billed as The Killing when aired in English-speaking countries. Forbrydelsen's first series, which follows roughly the same plot as AMC's new version, spent twenty episodes on this initial case, as opposed to AMC's thirteen ordered installments. A second series, only ten hours this time, has been made with a different cast, and a third is in the works. It is assumed that AMC will end the first case by episode thirteen, though it's unknown if they will change the cast for a follow up second series, which already looks like a likely possibility.

     Unlike traditional procedurals, which only have an hour to present all the facts, the structure of The Killing allows a deeper exploration of all facets involved. Over thirteen hours, there is much more character development, for the detectives as well as the suspects. With such a large playing field, no one potential killer stands out in the beginning, as possibilities will be slowly toyed with. If it is done wrong, it can get awfully boring. AMC seems to be doing it right, though, like a great novel, albeit a pretty long novel. The richness of each element, especially the characters and setting, can be celebrated and taken their time with. I highly approve of the conceit.

     Tone wise, AMC's The Killing is reminiscent of The Girl With the Dragoon Tattoo, a slow moving, but very gripping, Swedish movie and book series. The writers, actors, and director all manage to make a gradual mystery unfold in a way that keeps interest throughout. Intensity can be achieved, even if action is lacking. In the first two hours alone, I was easily hooked. Not an easy thing to do, but AMC has done it again.

     The Killing begins a bit slowly, though not dull, as Detective Sarah Linden (Mireille Enos, Big Love) begins her final day on the force in Seattle before moving to California with her fiance (Callum Keith Rennie, Battlestar Galactica). It happens to be a Monday, which seems an odd day to be a last day, but whatever. Her replacement, Stephen Holder (Joel Kinnaman), arrives early and begins to move into her office. A bloody sweater and a credit card are found in a field, and Linden and Holder are sent to investigate. Little do they know that these are just the first clues in the murder of a teenage girl, and Linden will not be getting on that plane to leave the city at the end of the night.

     Enos is amazing! I didn't realize she had it in her with her understated double role on the HBO series, but she can carry a show! She stares pensively just as well as January Jones, and her very pale skin fits perfectly with the weather and scenery. Enos conveys much without speaking, and definitely is a screen presence. Kinnaman's Holder is the perfect second banana, being so different from her, and yet more intelligent than he initially lets on. His finding the cage in the basement of the high school proves his worth, which was in question until then. I think their partnership will certainly end up being a valuable tool to solve the case.

     I think it is fairly apparent that Holder may also be a love interest for Linden. While her relationship appears relatively solid in the opening moments of the pilot, she puts her job before her fiance, surely an upcoming source of conflict. He forgives her the one day delay easily enough, but this season will go on for thirteen episodes, all of them centered around Rosie's killing. As Linden is the main character trying to solve the murder, her delay will be stretched out, and I assume, so will her guy's patience. But Holder is already fond of her, and he seems to enjoy their clashing. Plus, Holder gets along very well with her son, Jack (Liam James), more so than the other guy.

     Regardless, as to whether the series decides to go there with its leading crime solvers or not, there is certainly wonderful chemistry to be played with and tweaked. Will Holder keep getting in the way, or will they slowly learn to work together? I think mostly the latter, but with a healthy does of the former mixed in for good measure. I can only hope Rennie's character will later show up back in Seattle to mix things up between the partners.

     Meanwhile, Mitch (Michelle Forbes, True Blood, In Treatment) and Stan (Brent Sexton, Justified, Life), whom the credit card belongs to, are starting to feel that something might be up with their daughter, Rosie. They last saw her on Friday, when they left to go camping, and Rosie was supposed to spend the weekend with her friend, Sterling (Kacey Rohl). Yet, the school reports that Rosie did not attend classes today. Stan asks Sterling where his daughter is, but a search of Rosie's secret boyfriend Jasper's (Richard Harmon) only turns up that he's sleeping with a much older woman. No one knows where Rosie is. The the detectives arrive and start asking questions.

     Both parents are familiar faces in the television landscape. While I only mention two of Forbes's credits above, she has at least half dozen more worth keeping in mind. But this is a departure for her. I've never seen her play the grief stricken mother before, and she does it as beautifully as any other part. She makes the part realistic, yet unpredictable. Sexton might not be quite as well known, but he's 'that guy from that show'. Surprisingly, he is a wonderful foil for Forbes, playing things in quite a different way, while still very believable. It's their togetherness, though, that solidifies the performances.

     Seemingly unrelated, Councilman Darren Richmond (Billy Campbell, Once and Again) a widower who doesn't talk about it, prepares to announce a major endorsement in his run for mayor against the incumbent. But it seems he has a leak within his camp, and it is most likely one of his two most trusted advisers, Jamie (Eric Ladin, Mad Men) and Gwen (Kristin Lehman, Drive, Judging Amy), the latter of whom he is also sleeping with. Then Rosie's body is found in a car that belongs to Richmond's campaign, and though the car was reported stolen Saturday morning, Darren just hopes the endorsement is a done deal before the endorser finds out his secret.

     I can't quite figure out Richmond. One moment he's compassionate, the next he's worrying how events will affect his poll numbers. I think he is purposely being kept shady until he can be ruled out as a suspect, or revealed as the murderer, though my gut tells me he's not it. Which may be precisely why I should suspect him, considering how well this show is written. I do think his staff will be revealed to have some part in something secret, whether it relates to the murder or not, and thus is born a satisfying B-plot.

    The Killing continues on AMC Sunday nights at 10 p.m. ET.

Article first published as TV Review: The Killing - "Pilot; The Cage" on Blogcritics.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

Click here for all of Jerome's Current Season Reviews.

Being Human (UK) meets "Lia"

***This review would sound better if read in a British accent. It is not necessary, of course, but that would be my personal preference. :)***

     While you blokes across the pond are already halfway through Being Human's eight-episode third series, those of us in the States just got the series premiere this past Saturday night. I'm not complaining; other than incessant reruns of Top Gear, BBC America has become my new favorite obsession, though I suspect we do get edited versions of the show. We have our own (lesser) version of Being Human now on SyFy, of which season one will deliver 13 episodes, enough to cover all the plot in the first two British series. However, as the series premiere "Lia" showed once again, yours is better.

     Series three moves the roommates from Bristol, where things ended in a bloody mess last season, to Wales. Nina (Sinéad Keenan), reunites with George (Russell Tovey), and isn't happy that they will still be living with his friend, Mitchell (Aidan Turner). But George can't stand to kick Mitchell out, seeing as he seems to be losing his marbles. Despite a rocky second series, Nina and George seem to fully commit to each other once more, though she'd like a bit of privacy. Mitchell is bent on finding Annie (Lenora Crinchlow), who disappeared in the series two finale through The Door to the other side. Plus, there is nary a glimpse of old villain Herrick (Jason Watkins), whom we saw resurrected at the end of last year, so there's that dread hanging over everything. The audience knows that he will be back soon. Basically, things are chaotic.

     I do like the new setting. The original apartment was a bit drab, definitely just set trapping. It served its purpose, but will not really be missed. The new dwelling, on the other hand, has some serious character, including the tropical wall and the counter in the middle of the room. It could become a character unto itself, especially if there are some strange secrets hidden within that we haven't discovered yet. If not, it's still fun to see the stars dance in front of painted palm trees.

     We also got to meet some new characters this week. McNair (Robson Green, Wire in the Blood) and his son, Tom (Michael Socha, This is England), are werewolves shown quite a bit, mostly in scenes without any of our main characters around. McNair is captured by vampires, and Tom rescues him. What are they up to? Are they just trying to live a quiet life, as our roommates are? Have they come to town with some kind of mission? How will they affect George and Nina, or are they just there to show that there are some dangerous vampires around that like to play with wolves? So little is revealed, they definitely spark more questions than they answer.

     Mitchell spends the first part of the episode acting deliciously crazy, delivering a funny scene with a realtor, not knowing how to even begin to find his missing friend. Then Annie calls to Mitchell through a television, and he figures out a way to hitchhike on the back of a recently deceased man through The Door and come after her. Little does he know, the powers controlling the other side want exactly that. They are not holding Annie for her own sake, but to lure Mitchell. You see, he went on a bloody rampage in the tunnel and killed a bunch of people last season. Lia (Lacey Turner), his guide, was one of the victims. Mitchell is unaware of this fact and Lia walks him through some of his embarrassingly brutal past, dredging up all sorts of emotions.

     The Mitchell-in-purgatory bit is easily the most creative part of the episode, and is a highlight of the series as a whole. Lia is great, both memorable, but not overpowering. Mitchell has always been a tortured soul, but never has it been more explicitly demonstrated than this sequence. Having a victim he doesn't even remember killing as his escort only adds to his depravity. Mitchell seems stripped bare, incredibly vulnerable. It is masterful writing, and Turner handles it with great care and talent.

     George, who is often the comic relief, mixes his comedy with some real danger, and also gets to show some real depth. His arrest in the woods with the sexual deviants, including Bob (Torchwood's delightful Kai Owen), seems merely a funny happenstance. And then, as Owen battles his change in a cell with Bob, it takes a much darker turn. Kennan is amazing as Nina struggles not to change while bailing George out. There is an intense energy to the exchange that did not disappoint. Later, watching George cry at Annie's return, I realize he played anger, sadness, joy, lust, and the wolf ferociousness all in one hour, often intermixed, with serious skill.

     There are some strange implications to ponder in this episode. For instance, what does it mean that George and Nina seemingly have sex in wolf form? Will Nina carry a wolf baby? Or a fetus that changes inside of her on the full moon? Because that would be mighty strange. Who is the werewolf that will kill Mitchell, and will we see his death this series, or much later, if there is a later? If he does die this series, how will he be brought back for another series? Or will that be the end of him entirely? Will Annie have any lasting effects from her time in purgatory? I can't wait to find out!

     Being Human airs Saturday nights at 9 p.m. on BBC America.

Article first published as TV Review: Being Human (UK)- "Lia" on Blogcritics.


For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

Psych Out (Until November)

   This past Wednesday, USA's Psych ended its summer run. Like most USA shows, Psych does half of their season in the summer, and the other half sometime during the regular television season. For Psych, a crime procedural about a very observant man who pretends to be a spy, that usually means January. But this year, as they have twice before, there will be a Christmas episode, presumably in November. Yes, November. Don't ask my why. This year's will be It's a Wonderful Life-themed.

     In the season finale, Shawn (James Roday) and Gus (Dulé Hill) helped a spy (Franka Potente, the Bourne movies) clear her name. It was a little like the Bourne Identity series. It wasn't quite the standard case of the week episode, but it also wasn't one of the special episodes that rate a different directing style or a theme song remix. Instead, it was a slightly bigger case than they usually solve, it being a season finale, and the case also had to be wrapped up a little quicker so that the writers could spend the obligatory few minutes not quite getting Shawn and Detective Juliet O'Hara (Maggie Lawson) together.

     That's right. Not getting them together. For four and a half seasons now, Shawn has been in love with the female cop, but never actually made a real move on her. While the two get slightly closer to something real every season, for some reason, like most shows, the writers just won't pull the trigger. Last year, Shawn had a steady girlfriend. This year, Juliet overheard Shawn basically say that he loved her, and she finally kissed him. But it was in Declan Rand's (Lost's Nestor Carbonell) house, the man she has been dating. And she didn't leave when Shawn left, though I doubt she kept her vacation plans with Declan. Of course, we won't know that for sure until at least November, if not later.

     What is the obsession with shows like Psych for putting two characters so obviously right for each other, close, but not allowing them to forge a relationship? Perhaps it's the Moonlighting curse, as that show allowed its two main characters to consummate the relationship, and then watched the series blow up in their faces. Other shows (Bones springs to mind) have waited like Psych has. But Grey's Anatomy hasn't suffered from Derek and Meredith being together, and House is about to take the plunge between the title character and Dr. Cuddy this year. If they can do it, so can Psych.

     Two more criticisms about this season of Psych: the theme song and the recasting of Young Shawn in the flashbacks. Although four actors have played Young Shawn during the series' run, Liam James has done it by far the most, and the new boy that has played him the last few episodes does not measure up at all. Get Liam back! Also, the longer version of Psych's theme song is amazing, while the short version is lame. I know it's the same song, but it's true. Most of last winter, the long version aired. It aired very little this summer. Please install the long version permanently, save, of course, for any special episodes with remixed versions, which are nearly always cool.

     Psych will return to USA later this year.

Article first published as TV Review: Psych Out (Until November) on Blogcritics.