HALT AND CATCH FIRE Flickers and Lights

Article originally published as HALT AND CATCH FIRE Review on Seat42F.

WARNING: Since the pilot has already been released to the public online, this review does contain spoilers. If you’d rather not be spoiled, I recommend going to amc.com and watching the first hour, then returning to read this article.

AMC, known for well-developed dramas covering many eras and characters, is telling the story of the personal computer revolution of the 1980s with their latest series, HALT AND CATCH FIRE. It follows a handful of fictional people who push an unwitting company into funding and marketing their product, competing with behemoth IBM in developing an operating system that makes use of the machines’ potentials. And it’s pretty good.

The pilot, available streaming on AMC’s website now, ahead of the premiere date, is called “I/O.” Like the title of the series itself, this refers to a computer operation. Halt and Catch Fire is a command that has the various programs within the computer struggling for control, while I/O, or Input/Output, is about the computer interacting with the outside world or the people using it. Plus, I/O is central to BIOS, a component of the machine dealt with quite heavily in “I/O.” These both are pretty accurate descriptors to the general plot.

At the center of the show are Joe MacMillan (Lee Pace, Pushing Daisies, The Hobbit) and Gordon Clark (Scoot McNairy, Argo). Joe is a fast-talker with big dreams, while Gordon is a brilliant mind who has been burned by chasing his own work before. Joe’s task of convincing Gordon to partner with him isn’t an easy one since Gordon has a family to support, but the show would be over awfully quick if Joe fails, so of course Gordon eventually agrees.

Gordon’s wife, Donna (Kerry Bishe, Argo, Scrubs: Med School), figures prominently as one of the five main characters, and while she is initially an obstacle, does not seem primed to be an ongoing antagonist. She is supportive but realistic and determined to protect her family, which includes two daughters (one of whom is played by the adorable Maggie Elizabeth Jones, who seems to pop up everywhere these days). Bishe is well cast in this.

The other female main cast member is Cameron Howe (Mackenzie Davis, That Awkward Moment), a programmer that Joe recruits to help with building the BIOS. She is connected to Joe in more than a casual way, but I don’t feel like she’s a love interest for him, which is refreshing, rather than having two couples at the center of the show. Not everyone needs to be constantly hooking up, and thankfully Joe doesn’t feel like someone concerned with that. We don’t know a lot about the rebellious Cameron yet, but I assume that will change in the weeks to come.

Rounding out the cast is John Bosworth (Toby Huss, King of the Hill), the man Joe tricks into hiring him, and then is stuck being Joe’s boss. Bosworth is, initially, the bad guy, if such a term can apply to anyone in the ensemble. I get his anger; anyone in his position would be furious with Joe. What I’m most interested in, though, is seeing where HALT AND CATCH FIRE takes him from here. Will he eventually be a champion for the computer, someone who gets involved and helps out, or even takes credit for their work, or will he always be trying to tear them down? The former would be far more interesting and fresh.

Much of “I/O” is concerned with the setup, introducing Joe, Gordon, and the other characters, and then building the foundation of what their arcs will be. We see a bit of their personalities, learn a smattering of backstory, and the project begins to move forward. While this is fairly standard for a pilot, HALT AND CATCH FIRE does this without obviously beating us over the head with the checklist, dropping us into a story and letting those details flesh themselves out as the story rockets ahead. It’s a good way to begin.

It seems like the pacing of HALT AND CATCH FIRE will be much faster than, say, Mad Men. While still taking time to get into the psyches of its leads, especially in examining self-doubt, there is also a lot of momentum to the primary thread. This bodes well, and considering the excitement the production is trying to build, it seems like a smart move.

Like most AMC period pieces, HALT AND CATCH FIRE looks good. It isn’t that far in the past, but still, the cars, costumes, and sets match the style and taste of a few decades ago in what appears to be an authentic manner. I didn’t see any obvious mistakes or shoddy workmanship, so the series should satisfy those who are interested in such things.

HALT AND CATCH FIRE is not immediately on the level of Breaking Bad, Mad Men, or The Walking Dead, the most popular series for the network so far. But it’s at least as good as Turn or Hell On Wheels, so well worth checking out when it airs Sundays starting June 1^st.

STAR-CROSSED Not Worth Crossing Over To

Article first published as STAR-CROSSED Review on Seat42F.

The CW’s STAR-CROSSED is designed as a modern day Romeo & Juliet, especially evident by the tragedy at the end of the first hour, as well as the lead couple. Aliens known as Atrians crash land on Earth. Although the Atrians are peaceful, mankind doesn’t give them a chance and immediately slaughters or captures the survivors. One young Atrian boy escapes and hides in a shed where he meets a human girl. Ten years later, the two encounter each other once more when the Artian is integrated into the girl’s high school.

Poor Aimee Teegarden. After graduating high school after five seasons on Friday Night Lights, she’s now sent back at age twenty-five to repeat it, playing Emery Whitehill, the human lead in STAR-CROSSED. She passes for a teenager, I guess, but were there no talented fifteen-year olds around to handle the part? And why cast the adorable Maggie Elizabeth Jones (Ben and Kate, We Bought a Zoo) as Emery if they were just going to age the character early in the “Pilot,” ditching her red hair in the process?

Believe it or not, that’s just the least of STAR-CROSSED’s problems. The show gets the high school setting completely wrong. Most public institutions will be lucky to have today’s best technology in ten years’ time, let alone automated cafeterias, fully electronic lockers, and holo-projectors. Not to mention, the cell phones the kids use are thick and don’t roll or fold up at all. I suppose some of this could be explained in that there’s an alien ship in town, and so maybe this particular town has benefited in advancements from off world, but there’s certainly no indication in this pilot that that is the case.

The premise of the society portrayed also is beyond weak. We’re supposed to believe the aliens rolled over when humans slaughtered them, then gleefully learned English and our pop culture in only a decade? While, meanwhile, Americans brought back every bit of their racism in the way they treat the new residents of Earth? It’s District 9 on steroids, but without a full thinking through of the set up or players.

Worse still, when Roman (Matt Lanter, 90210), the lead alien, and his friends are brought to school, in a clear parallel to our history in the American south, armed guards are allowed to patrol the hallways, but don’t actually keep an eye on the extraterrestrial attendees. Setting aside the big guns that should not be in a place of education, humans are permitted to bully the aliens without repercussion, and the authorities offer no assistance when the aliens are harassed?

Basically, so much about the structure and execution of this world just plain sucks.

The question is, will the target audience of the CW be able to look past all of that and just enjoy the teen drama? Because in that, STAR-CROSSED delivers a pretty typical batch of characters with standard screen tropes. The popular girls are represented, and there’s the jock, Grayson (Grey Damon, also from Friday Night Lights), who is interested in Emery before she chooses Roman over him. There’s even a Twilight-vibe going on as Emery, who is an outsider that the cool kids are accepting of at first, meets Roman and his friends, who are the stranger loners segregated from everyone else. So there may be appeal here for a certain audience segment.

Plus, there are the “mysteries” designed to hook the viewer. One involves Emery’s terminally ill friend Julia (Malese Jow, The Vampire Diaries). I won’t spoil what happens for those who do want to check out this pilot, but suffice it to say, while the occurrence late in the hour does draw intrigue, it doesn’t make sense that it’s been kept a hidden secret so long, especially by those who want peace between the species.

The CW certainly knows its target audience, and STAR-CROSSED seems designed to grab both segments of the network’s viewers. Most of their series are either centered on angsty young people more concerned with romance than real problems, and a lot of the others are science fiction and super natural leaning, often with younger protagonists. STAR-CROSSED is combining both of those types of shows in what they surely hope is a perfect storm.

The thing is, even though I’m a thirty-year old man, I still like a lot of the CW’s stuff, from Arrow to The Vampire Diaries, and mourn the loss of Gossip Girl. However, STAR-CROSSED just has too many logistics issues to get past for it to join my season pass list. I’ll watch at least one more hour to see if it improves, but so much of the story is so unrealistic that it’s hard to be drawn in. Maybe next time they can do better.

STAR-CROSSED airs Monday at 8 p.m. ET on the CW.

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.

We Bought a Zoo on Blu-ray

From FOX Studios comes Cameron Crowe's (Jerry Maguire, Almost Famous) latest film, We Bought a Zoo. Based on a true story, the movie finds widower Benjamin Mee (Matt Damon, The Bourne Identity, 30 Rock) needing to make a change. While house hunting, he finds his dream dwelling comes with a closed-down, but still populated, zoo attached, and decides that this might be just the adventure he needs. Together with his two children and the zoo's colorful staff, Benjamin sets out to make the zoo, and his life, mean something again.

We Bought a Zoo is not Crowe's best work, but then, who expects it to be, considering some of the masterpieces the director has made? However, We Bought a Zoo is still damn good. It proves that Crowe still knows how to coax incredible, authentic performances out of his actors. He can still tug a heart string. He develops wonderful visuals, but never forgets that the story is about the characters.

Damon is brilliant in the lead role. He captures the struggle of a father, raising two kids on his own, one of whom he has trouble connecting with because they are too much alike. He also breathes Mee's mission to life with such zeal, that one is left hanging on his every move, rooting for him to succeed, hoping he can find hope and joy in his life again.

We Bought a Zoo is buoyed by an excellent ensemble cast, and that's not just referencing the beautiful animals. Maggie Elizabeth Jones (Footloose) is adorable as Mee's daughter. Thomas Haden Church (Sideways, Wings) brings a realism to Benjamin's brother, who wants to be supportive, but thinks his sibling is off of his rocker. And then there's J.B. Smoove (Curb Your Enthusiasm), Carla Gallo (Bones, Californication), John Michael Higgins (Bad Teacher, Happily Divorced), Angus Macfadyen (Chuck, Braveheart), Elle Fanning (Super 8), Patrick Fugit (Almost Famous), and Colin Ford (Push, Supernatural), all of whom bring something special to the table. The chemistry between them, and the unique make up of each player, really makes this movie sing in an exciting, interesting way.

Oddly, it's Scarlett Johansson (Lost in Translation, The Avengers) that is wasted here. Stuck in a boring, predictable, romantic interest role, she gets lost among the others. This isn't because the actress is inferior in any way, but rather, more than anyone else, her presence seems to be there only to serve Benjamin's character. She doesn't have enough personality of her own to really stand out. In fact, Benjamin's relationship with a tiger actually serves the same purpose she does, with slightly more impact, so her part is extraneous. It's a shame, and the movie's only real weak point.

There are plenty of bonus features on the three disc Blu-ray + DVD + Digital Copy set. There's an audio commentary with Crowe, editor Mark Livolsi, and, weirdly, considering his small role in We Bought a Zoo, the hilarious J.B. Smoove. There are a ton of deleted and extended scenes. A half hour is devoted to the making of the picture, and there is a featurette about the real Benjamin Mee. There's also a gag reel, and more! One can literally spend more time watching the extras than the movie, and that's a nice claim to make. It helps, too, that what is present enriches the movie experience, and is really everything one might want in this release.

In short, We Bought a Zoo is a fantastic film that any movie lover should own. It's an inspiring story, a memorable tale, and just plain fun. Pick up a copy, on sale now.

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