ALMOST HUMAN Almost Great

Article first published as ALMOST HUMAN Almost Great on TheTVKing.

When FOX's Almost Human premiered, I was skeptical. It had a very cool concept and setting, but seemed bogged down in case-of-the-week procedural crap. As the weeks passed, though, it did move into some far more interesting stories and developed its characters in ways I wanted to see continue. So it's with a heavy heart that I review "Straw Man," last night's season, quite possibly series, finale.

Almost Human is set in the not-so-distant future, though, from the tech shown, one would think it would be a further reach. The idea, though, that technology has gotten out of hand and law enforcement struggles to control it, is solid and an easy leap to make, given the rapid pace of advancement today.

While most of the show is, regrettably, confined to the crimes our heroes investigate, we do get glimpses of the larger world. We know Detective Stahl (Minka Kelly) is genetically engineered, as anyone can be for a price, and her kind live separately from the rest of society, usually considering themselves above "normal" humans. We know there's a wall keeping out the really low dregs of society, making for a pronounced class system. And we know some androids, like Dorian (Michael Ealy) were designed with feelings, so they act more human, but also less stable.

"Straw Man" has some fine movement on these fronts. Besides seeing the how the homeless live, we also see Dorian reviewed by the board that will decide if he will continue to serve as a cop, despite the rest of his line being decomissioned. What emerges is a clear understanding that, unlike the newer models more commonly used, Dorian's type are individuals, meaning some can handle the work and some cannot. Dorian's co-workers love him and he does well so he will continue in his current position. But while I do think they will activate other Dorians following his success, not all can handle this.

The moments where the human characters are shown talking to or about Dorian are very entertaining. Poor Rudy (Mackenzie Crook) bumbles through his part of the evaluation, but John Kennex (Karl Urban), who is so against Dorian at the start, has only glowing things to say, crediting Dorian for Kennex's own continued service to the badge. While Kennex downplays this when Dorian thanks him, it's too late; Dorian and the viewer know the truth. This is the ultimate buddy cop bond.

Ealy is absolutely terrific as the machine. He can mimic a standard robot beautifully when he thinks he's losing the review, and his interactions with John are so authentic that he feels believable, until the actor tosses in those little, detailed touches that prove he's something else. There's a hard balance to strike in playing a character like Dorian, and Ealy is great at hitting it.

The main plot of "Straw Man" involves Kennex solving the case that disgraced his father, Edward (John Diehl, Miami Vice), and got him killed. With a little help from Dorian and Captain Maldonado (Lili Taylor), who gets some sealed files for him, Kennex clears his old man's name and brings the real killer to justice. It's a triumphant moment for Kennex, personally and professionally, and a high note to end the series on, should it not be renewed.

The problem is, it's all much too quick. As soon as we get any info about Edward at all, John has tied up everything neatly. This is likely because Almost Human isn't sure it's coming back so it didn't want to leave a cliffhanger. The hanging threads from other stories, including that of John's wife and Dorian's implanted memories, aren't mentioned, meaning there are still places for the show to go should it return, but it doesn't feel like it stops abruptly. "Straw Man" is a powerful, moving installment, one which will rank as a favorite among fans. Still, it's sad that such an important character element for the show's lead is treated so lightly, as it deserves much more weight.

The whole show deserves more exploration. While future episodes would involve more stand-alone cases, there are also a great many elements of the technology and society that viewers want to see. How did things develop as they did? What are the moral implications? How can this one department effect change on a grander scale? If it ran for seasons, these questions would be delved into more, making for a very engaging, intriguing show.

Almost Human is not without its weaknesses. The homeless man that Detective Paul (Michael Irby) takes pity on just happens to be the next victim moments later? Ridiculous coincidence. But the humor, heart, good writing, and excellent special effects tip the scales in its favor, not the perfect show, but a darn good one that will be missed when it goes.

Almost Human is currently awaiting news of its fate from FOX.

ALMOST HUMAN Fighting An "Arrhythmia"

Article first published as ALMOST HUMAN Fighting An "Arrhythmia" on TheTVKing.

Only six episodes into the first year, FOX's Almost Human takes their winter break after this week's "Arrhythmia." A thriving black market sells ailing people artificial organs under the table, then extorts more money from the patients in order to keep the transplant working. Kennex (Karl Urban) and Dorian (Michael Ealy) are joined in their investigation of the enterprise by another DRN (also Ealy) who no longer works in law enforcement after a tragic incident.

After a sextet of installments, I'm a bit disappointed in Almost Human. The first started out with such promise, setting up some long, serial arcs that could be explored in a very intriguing story. The next five, though, have been mostly stand-alone procedurals, with the lead characters solving cases-of-the-week, with virtually no movement beyond that central plot.

For some reason, networks like procedurals. As someone who watches a lot of TV, I find them boring and dumb and quickly grow bored. But there is an (unfortunately large) segment of the viewing populace who craves the no-thinking, fluff entertainment, which is why the airwaves are clogged with the stuff. Fans of that genre have plenty of choices, so why force something clever and fresh to conform to the old standards?

It's very likely Almost Human won't remain in this format forever. Fringe, Dollhouse, and others have played the game at the start, delivering half a dozen or so rote episodes before kicking off exciting stories. Apparently, the hope is that the initial batch will hook in some of those lazy or very casual viewers, even after the series grows into something must-see. I don't know that that theory works all that well, but that's what we're stuck with for now, muddling through mediocre junk until the writers are given the freedom to get to the good stuff.

Make no mistake about it, I think Almost Human is going to have plenty of good stuff. The bits in the pilot that are sure to be revisited are interesting, the futuristic setting is cool, we've been introduced to much new technology that will definitely come into play again, and the characters are well developed. The cast, which includes Lili Taylor, Minka Kelly, Michael Irby, and Mackenzie Crook, are quite good. The raw ingredients for a great science fiction series are present, if only it would be allowed to rise in the oven to what it's supposed to be.

Take this recent episode, "Arrhythmia," for instance. The relationship between Kennex and Dorian, the best element so far, is usually only explored in small chunks to better serve the pacing of the episodes. But here, we get a more extended view of Dorian and his model of android. By bringing in another DRN, we get to compare and contrast Dorian to his brethren. Dorian is also shown to be a developed individual, different than this other robot, and capable of making compassionate decisions. It's a really good Dorian story, and Ealy does an admirable job in the dual role.

The parts of the installment that deal with the organs are intriguing, too. There are real issues raised, and some of these are not resolved by the end of the hour. Almost Human could spend much time re-examining and debating whether it's right or not to resell these organs, and what sort of regulation should be in place. Yes, that's not going to be the bones of a long-term arc, but it could be something brought up again on multiple occasions.

More of this is what I'm looking for. We get that there is still crime in the future and that cop shows sell. However, exploring the implications of technological advancement, a blurring of lines in what life is, and questions of morality is way neater in a TV program. Ditch the standard fare and deliver a series that geeks will find worth watching, and they'll be something to praise. At the moment, Almost Human is a very good procedural, enjoyable even, but that's all that it is. It's time for the next step in the series' evolution.

Almost Human will return in a few weeks on FOX.

ALMOST HUMAN But Definitely Good

Article first published as ALMOST HUMAN Review on Seat42F.

FOX’s J.J. Abrams-produced ALMOST HUMAN, which premieres soon, is one of my favorite new shows this fall, right up there with Marvel’s Agents of S.H.I.E.L.D. and American Horror Story: Coven. It has great, well-developed characters, exciting stories, fantastic special effects, and presents a fully-realized dystopian future based on current trends. What else could one ask for?

As the “Pilot” begins, we are introduced to Detective John Kennex (Karl Urban, Star Trek: Into Darkness). Kennex lost his partner and his entire team in a raid gone wrong against the evil Syndicate, leaving Kennex himself in a coma for nearly a year and a half. Kennex is back to work now, his boss, Captain Maldonado (Lili Taylor, Six Feet Under), convincing him that he is needed to take down the Syndicate once and for all.

But Kennex’s transition back into his career isn’t easy. Cops are now required to work with an android partner, whom Kennex offensively dubs ‘synthetics.’ The MX series androids are logic-based, and one of them coldly calculated that Kennex and his partner’s chances to survive weren’t good during that fateful raid and leaves them, and so Kennex hates and doesn’t trust these machines. Maldonado’s solution is to give Kennex a less stable, older model of android named Dorian (Michael Ealy, The Good Wife), whom shows emotion.

So as we start out buddy cop drama we have an unusual, but pleasing, pairing. There’s Kennex, who has cut himself off from everyone in a very inhuman way, making him only part of a man, even though he’s still very good at his job. And then there’s Dorian, who seems more human than Kennex at the start, but we know others look down on him because of the emotional element, fully expected to be exhibited by people, but making many uncomfortable when it’s coming from an android.

The two have great chemistry, but there’s also a little more than the typical relationship present. It could be because of the science fiction aspect of the show. We might always be waiting for another shoe to drop concerning Dorian, as his line was retired for a reason. Or it could be because we’re never sure if Kennex might snap at any given moment, as his behavior is very irrational in the “Pilot,” destroying an MX that annoys him and visiting The Recollectionist (Hiro Kanagawa, Caprica) to relive memories that might help his work, even though it hurts his health. Both could be considered the loose cannon of the partnership.

What happens when you’ve got two wild card cops paired together? I guess we’ll find out!

The rest of the cast includes Valerie Stahl (Minka Kelly, Friday Night Lights) and Richard Paul (Michael Irby, The Unit) as fellow detectives, the latter of which doesn’t think Kennex is fit for duty, and the former of whom defends Kennex, as well as Rudy Lom (Mackenzie Crook, Pirate of the Caribbean) as the tech guy. These seems a pretty predictable lineup from a crime procedural.

The way the roles are played, though, is anything about standard. One is not used to seeing Lili Taylor in such a take-charge position, but she handles it well. Ealy is known for playing hotheads, and now he’s the calm one. Urban’s Kennex is nothing like the sometimes-bumbling Bones McCoy, other than his phobia of tech. This is a group of talented actors taking on something different, and clearly enjoying the chance to show us their range, of which they universally have plenty.

Hopefully, ALMOST HUMAN will avoid the pratfalls of a crime procedural. Admittedly, the “Pilot” has a lot of set up by necessity, and so doesn’t really have a case-of-the-week. But the beginning also points to many larger arcs, with plenty of fodder to do a more serial story telling. If it can stick to those guns, at least as much as Fringe, which had a similar tone, did, then it should be a pretty good series, indeed.

In fact, the “Pilot” only scratches the surface of what ALMOST HUMAN could be. We are introduced to players and the situation, and then a lot happens, not closing the story, nor even a chapter in it. It’s very much a hit-the-ground running show with a quick pace. Hopefully by the time they conclude the initial premise, either in a few months or a couple of years, tops, they keep going into something else, as the possibilities in this world are nearly endless.

ALMOST HUMAN premieres this Sunday and Monday on FOX.

The Office Special Edition DVD

     The Office has a new Special Edition DVD out now, in time for the holidays! No, it's not the American sitcom starring Steve Carell, but rather, the original UK version, which is celebrating its tenth anniversary this year. Created by Ricky Gervais and Stephen Merchant — who still collaborate today — it's dry British humor, but every bit as funny as the American counterpart. Considering this is an article written in America, and will mostly be read by Americans, parallels between the two series will be drawn throughout.

     Ricky Gervais (The Ricky Gervais Show, Extras) plays David Brent, a completely horrible boss for a small branch of a large paper company. More concerned with being liked than getting the job done, and hopelessly inept at both, Brent bumbles along for twelve episodes and a two-part Christmas special, getting fired along the way — a highly realistic development. Gervais is excellent in the role, which put him on the map. David Brent, who has cameoed twice in the American remake, is way worse than Michael Scott ever considers being. He is eager, but not generally a good person. He gets what he deserves in the end.

     Of course, Gervais does not carry the series alone. His assistant to the regional manager is Gareth (Mackenzie Crook, Pirates of the Caribbean), much more well rounded than Dwight, Gareth makes a much better boss when the time comes. Tim (Martin Freeman, Sherlock, Love Actually) and Dawn (Lucy Davis, Studio 60 On the Sunset Strip) are the Jim and Pam, 'will-they, won't-they?' couple. Spoiler: they will... eventually.

     There are also other employees, most notably Keith (Ewen MacIntosh), who is a sort of Kevin. But aside from the main foursome, the others are not as fleshed out as the supporting players that Americans are used to. This is all right, however, because of the short run of the original The Office. With only two six-episode series and the Christmas special, there is no time to give anyone else any depth. Which doesn't detract from the enjoyment at all.

     Now, many already know the story of The Office, as these episodes have been released before. The great thing about this tenth anniversary special edition, available only on DVD, not Blu-ray, is the many, many extras included. The bonus features from earlier editions are present, plus much more. Deleted scenes, video diaries, outtakes, director's commentary, and a music video are just some of the repackaged content, already released.

     The best of the new items is a twenty minute rough pilot made three years before the series. It proves that Gervais put a lot of thought into David Brent, and perfected the part long before he played him on a weekly basis, though the other characters are played by different actors. This pilot was filmed in 1998, not to be mistaken with the 2000 version, of which only clips are included, not the entire thing. The 2001 version is the one packaged as part of the series.

     Two forty-minute extras are also a highlight. The first includes five web videos, providing interviews with many of the people involved, including Gervais and Merchant. The second is "Comedy Connections," a single special that delves into the making of the series, with a focus on the original batch of six episodes, and pack with clips.

     The one complaint buyers may justifiably have is the introductions to each of the first series episodes. They run around five minutes a piece, and there is no way to begin the episodes without them. They are informative, but also spoilery, for those who haven't seen The Office yet. They contain great guest cameos by Ben Stiller, Hugh Jackman, Matthew Perry, and others not involved in the series. For most, a simple hit of the 'skip chapter' button on the remote will fix this, but it is a shame that one must do so, rather than selecting a 'Play Without Intro' from the menu, as many similar series have done. Even worse, there are interviews within the ending credits, too, ruining the flow into the tag.

     In short, because of the preceding paragraph, The Office: Special Edition - 10th Anniversary Edition is for the fans. Those who haven't seen The Office yet should seek an earlier version to enjoy the episodes as they are meant to be seen. Also, collector's should not throw away their old sets, lest they try introducing new fans to the show. However, for people already in love with The Office, this is an excellent set, and a worthy edition to your Office collection.

     Buy The Office Special Edition on DVD today.

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Article first published as DVD Review: The Office - Special Edition, 10th Anniversary Edition on Blogcritics.