Banshee premiere review

Grade: 78%

CINEMAX premieres a new series this Friday, January 11th at 10 p.m. Entitled BANSHEE, the show sees a man (Antony Starr, Outrageous Fortune) get out of prison after fifteen years served for thievery. Hs tracks down his partner in crime to get his fair share from the robbery that put him behind bars, only to find that she has assumed a new identity as upstanding citizen Carrie Hopewell (Ivana Milicevic, Casiono Royale), has a family, and says that their take is long gone.

What’s a directionless guy to do in a situation like that? Drink, of course. But as he sits in Sugar Bates’ (Frankie Faison, The Wire) bar, he is drawn into a conflict that results in the death of the new sheriff. Since no one has yet seen this sheriff, and the mysterious protagonist has no where else to go, he assumes the identity of Lucas Hood, law man of the town of Banshee.

The first half of the pilot is exactly what one might expect from a Cinemax series. There is lots of action, gratuitous nudity, and gruesome injury. It’s the typical high-octane thriller, set on the small screen, rather than the big. For those tuning in just for this type of thing, the series will definitely deliver.

But as the episode plays out, BANSHEE begins to take on more of a Justified feel, a definite good thing. The man now known as Hood may be a criminal, but he has some type of moral code. He is good to Bates, and there isn’t any sense that he is a threat to Carrie. He sticks his nose in where it doesn’t belong, but only to defend those who need defending.

The town on Banshee has plenty of problems for Hood to solve. It is practically run by the ruthless Kai Proctor (Ulrich Thomsen, Hitman), who owns a slaughterhouse, and is from an Amish family. He will be good to you if you do what he wants, and he does have affection for his father, who still lives by the old ways. But he’s not trustworthy, is a control-hungry, perverse S.O.B., and he certainly doesn’t have the public’s best interests at heart.

This sets up a typical hero story. Hood will try to clean out the corruption, while also dodging his past, which threatens to come back to haunt him. He has to deal with his new police department, especially senior office Brock (Matt Servitto, The Sopranos), who had expected to take over, and Hood has also awakened old feelings in Carrie, whose daughter, Deva (Ryann Shane, Lights Out), is probably his. So there’s a lot pulling the lead character in many directions, but we’re sure he will handle it all and do the right thing. He has to, right?

Unfortunately, this leaves a number of pilot holes. For instance, where did Hood get this sense of right and wrong? Are we expected to believe that his misdoings were in the Robin Hood vein, only stealing from those who deserve it? What would motivate a guy like that to get involved in the going-ons of a small town he knows nothing about? No good reason is given.

More importantly, how can our main character get away with becoming Lucas Hood? No one in Banshee may have met Hood yet, as he is hired remotely, but that doesn’t mean they’ve never seen him. Surely, any background check run would have included viewing pictures of the man? While the new Hood does have his friend Job (Hoon Lee, Premium Rush) work his magic on the web, isn’t this too little, too late? And how long before Hood’s family or friends come to check up on him, or google search Hood’s name to see the new face?

The cast is good. I have no complaints about any of them, who all seem fully invested, and sell their parts just fine. Starr is appropriately brooding, while Thomsen can send chills down one’s spine with the best of them. Sexy Milicevic, thankfully, actually seems like more than just eye candy, and Faison and Lee could be more than sidekicks, if the story ever calls for them to be, which it probably won’t.

Cast doesn’t matter as much, though, when it seems like BANSHEE is willing to put thrills ahead of story. That’s a shame, considering there are enough interesting elements here to build something on. That’s where it parts ways from Justified, which has the same sort of bad-boy protagonist and Western style, but relies more on believable twists that make sense and enriching back story, rather than excuses to shove steak sauce bottles into someone’s head. Maybe this is what Cinemax viewers want; the network is known for its action. But it’s not what a discerning TV viewer wants, and when it’s possible to have both, it’s a shame that the execution doesn’t quite cut it.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted at Seat42F

Harry's Law finds the "Gorilla My Dreams"

     NBC's Harry's Law goes into some deep, moral issues with "Gorilla My Dreams." While duck hunting, Harry (Kathy Bates) and Tommy (Christopher McDonald) meet a young woman (Emily Rose, Haven, Brothers & Sisters) who is harboring an escaped gorilla. The zoo wants the animal back, but with an IQ near 90, and demonstrable self-awareness, communication skills, and emotion, the woman argues he belongs somewhere more kind. In the meantime, Adam (Nathan Corddry) defends a high school crush (Smallville's Erica Durance) who, after being abused and raped by her own husband, dresses up as Wonder Woman and beats on abusive spouses.

     First, the gorilla (pun intended) in the room in "Gorilla My Dreams." The gorilla is an obvious puppet, which does distract and take away from the story. Couldn't the series have hired a trained animal instead? Sure, the gorilla is required to do a fair amount of acting that might make it hard for a simple animal, but it would look far better. Also, no need to say the long name of that made up Cincinnati zoo so many times. The message is clear: Harry's Law doesn't want to be sued by the real Cincinnati Zoo.

     That aside, it's a fascinating story! Apparently, some European countries have already granted the great apes personhood in the eyes of the law. And why not? If they can think, reason, and communicate, doesn't that qualify them to deserve treatment above that of livestock? Yes, the law sees them as property, but perhaps they shouldn't be. Admittedly, that would make it hard for zoos and medical researchers to continue to use them in the manner they do. But that could be a good thing, too. If mankind is causing suffering of creatures how can feel it, be upset about it, and process what is happening, it doesn't seem right. One look into those big, black, mournful eyes, and there is no doubt in the viewer's mind that this monkey deserves to have his feelings taken into consideration.

     However, unlike David E. Kelley's previous legal dramedy, Boston Legal, a fantastic show, by the way, Harry's Law gets a little more realistic with these far-out cases. Harry loses, despite her best efforts, and the ape is returned to the zoo. This makes total sense from the standpoint of the judge, as there is no precedent in the American courtroom, and a TV series isn't likely to change that in the real world. Harry's Law would rather point out the flaws in the system and make fans grieve over the injustice then deliver a feel-good ending. This deserves kudos, because it is socially responsible. The message may resonate with someone who can change things, which would be a wonderful legacy to leave behind. And if it does, Harry, who vows to keep fighting for this particular ape, can revisit the case down the line and reach that happy ending yet.

     The second case in "Gorilla My Dreams" will resonate even more strongly. The justice system is feeling abused spouses, who have a hard time standing up to their tormentors, and an even harder time getting charges to stick. With little recourse, it's inspiring that a vigilante would rise up to offer protection. The reasonable arguments about why this cannot be allowed do ring true. However, that doesn't change the fact that something within the system is broken and needs fixing. As such, again, Harry's Law makes an issue out of something that isn't right in the world, hoping to shed a little light on it so that people may stand up and protest.

     Now, one may argue that Harry's Law is "just" a television show, and its sole purpose is to entertain, not spark societal change. But reviewing the body of Kelley's work, it seems obvious that there are other motivations as well. Plus, with the Arab Spring and Occupy Wall Street movements, now may be the perfect time to embark on such a mission. Current events have left the world hungry for positive action and a shift towards fairness. What better time to deliver a legal series to the airwaves that understands these feelings, and seeks to address them? Harry's Law might be a legal procedural, but it's a hell of a good one, and hopefully what is going on in the world at large will feed the show's success, and vice versa.

     Also, there were some escaped exotic animals on Ohio recently, so good pull from the headlines!

    From a purely television standpoint, it must also be mentioned that "Gorilla My Dreams" is packed to the gills with fantastic guest stars. Besides Durance and Rose, Tony Plana (Ugly Betty, Desperate Housewives) plays the judge deciding the vigilante case, Robert Picardo (Star Trek: Voyager) is an expert that testifies for the firm, and Bill Smitrovich (Kelley's The Practice) is Harry's courtroom opponent. Plus, Matt Servitto returns as Judge Kirkland for Harry's case, and he is always welcome. The fact that this show attracted so much talent for just one episode, and not even an event or sweeps episode, should overtly hint that something wonderful is happening here.

    Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

     If you like my reviews, please follow me on Twitter!

Harry's Law atones for "Sins of the Father"

     NBC's Harry's Law begins season two with a three-part episode, culminating in "Sins of the Father" this week. Harry (Kathy Bates) finally gets to court with Eric's (Alfred Molina, Law & Order: LA, Spider-Man 2) case. She argues fiercely, though a few, last minute surprises pop up. In the end, Harry plays a hunch and exposes D.A. Roseanna Remmick's (Jean Smart, 24, Samantha Who?) misconduct, spurring Judge Kirkland (Matt Servitto, Brotherhood, The Sopranos) to dismiss the case. It's only later that Harry realizes the real cold, calculating killer is Eric's daughter, Bethany (Daisy Betts, Persons Unknown).

     The Eric Sanders case is an intriguing legal mystery, recalling some of the best arcs of creator David E. Kelley's previous series, The Practice. There are twists and turns, a true villain of a prosecutor, and a fair-minded judge. There's a client that it is unclear whether he is guilty or not, and enough surprises to keep anyone interested. As such, "Sins of the Father," and the first two parts, "Hosanna Roseanna" and "There Will Be Blood," together make up a fascinating story and a strong season premiere.

    Harry's Law leaned more towards Kelley's Boston Legal than The Practice in season one, focusing on outrageous characters and situations. Considering that BL's run was much shorter than The Practice's, it may be a wise decision to pull back towards the serious. A dark, gruesome murder is not what one might expect from Harry's Law, so it certainly serves the purpose of defining the retooled show. Especially considering that the preview for episode four looks to be just as severe.

     But the show has not completely lost its fun side. The shoe store is still present, though Jenna (Brittany Snow), who runs it, has been reduced to guest star status, and is rarely seen. Instead, she has been replaced by Cassie Reynolds (Karen Olivo, Adrift in Manhattan), a serious and tough lawyer. Adam (Nate Corddry) is still around, but is less featured thus far. On the more outrageous side, Tommy Jefferson (Christopher McDonald) has been promoted to series regular, and shares office space with Harry. Which is good for Harry, because she needs him to loosen her up. Oliver Richard (Mark Valley, Boston Legal, Human Target) joins Harry for this case, and as he is a main character, probably for others. His constant insistence on repeating "Take it outside" lets him be a little goofier than his previous Kelley character, and it is nice to see him re-enter the universe.

     The biggest change in Harry's Law is a depressing one, though hopefully just temporary. While the series begins with Harry seriously depressed, she feels purpose throughout season one, helping those who truly need her. As season two begins, it is apparent right from the beginning she is back in her slump. She trudges around looking miserable, and has no fun on Eric's case. Tommy points this out to her, basically telling her that life is too short to be miserable. Thus, despite her new success, it may not be long before Harry chooses to downgrade again. Or, better yet, just reform the place she runs. It's nice to see her with staff and business, even if it comes a bit too quickly. So reappropriate the firm's resources, or give the darker cases to Oliver and Cassie. Harry has lost her spirit and she needs it back.

     That little musing takes nothing away from "Sins of the Father," in every way a brilliant, serious legal drama. Kudos to Harry's Law for producing such an engaging three-parter. Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

     If you like my reviews, please follow me on Twitter!