Growing Up Among RED OAKS

Article originally published as RED OAKS Review on Seat42F.

Amazon’s newest half hour series is called RED OAKS, and it premiered today on the streaming service. Set at a country club in 1985, it’s a coming-of-age sex comedy, just like many of the movies of that era. In the summer before college, several teenagers hang out and hook up, mentored by adults who are not the best role models.

The protagonist of RED OAKS is David (Craig Roberts, Submarine), who bristles against his dad’s (Richard Kind, Spin City, Gotham) desire for him to become an accountant. Looking at the messed up marriage of his father and mother (Jennifer Grey, Dirty Dancing), David sees a life he doesn’t want, and so gets a job as an assistant to the tennis pro at the club, Nash (Ennis Esmer, The L.A. Complex).

Nash is probably the most interesting character on the show. Nearly forty years old, he has managed to use a failed turn as a pro athlete to carve out the life he wants at the club. He’s not exactly a good role model for David, but he does occasionally give good advice, and at least he cares about his charge.

RED OAKS is rounded out by other familiar personality types. Paul Reiser (Married, Mad About You) is terrific as the angry club president. Alexandra Socha (The Big C) is his daughter who turns David’s head, despite the fact that David is in a relationship with a yoga instructor played by Gage Golightly (Teen Wolf). There’s David’s schlubby friend, Wheeler (Oliver Cooper, Californication), the jock, Lefevre (Nick Bailey, A Most Violent Year), and the jock’s girlfriend that Wheeler wants, Misty (Alexandra Turshen, Boy meets Girl). Plus, there’s an older jerk who will probably steal away David’s girl played by Josh Meyers (The Awesomes), brother of Seth.

If that sounds like the cast of an 80s movie you love, that’s because RED OAKS is designed to slide right into that genre. It isn’t making fun of those types of movies like Wet Hot American Summer does; it is one of those movies, just in episodic form. The characters take themselves seriously and the plot is earnest. And, by comparison to its peers from twenty years ago, RED OAKS is pretty good, even if it doesn’t do anything to set it apart from those other works. It’s neither better nor worse, which is pretty good.

The main story will probably be about the sexual activities of the younger characters. After all, they are at the age where they are finding themselves and, in the case of the sheltered or dorky guys, finally getting to interact with the opposite sex. That David already has a girlfriend he sleeps with actually sets him a little apart from what one might expect, but his personality still fits within the virgins that generally appear in pieces like this.

Given that subject matter, don’t expect to watch this one with the kids. Amazon is not bound by the FCC, and thus can show the boobs and such that the movies did. I don’t think RED OAKS will get particularly raunchy, and don’t expect orgies of the likes you might see on certain HBO shows. It also lacks violence and has less profanity than many in the genre. So it’s got a relatively tame approach, but there is nudity.

I haven’t yet decided if I’m going to watch RED OAKS past the first episode. Because it doesn’t break the mold, I kind of feel like I’ve already seen it. At the same time, there are not any glaring flaws (other than David’s girlfriend both professing how perfect they are and looking at someone else), and this cast does make me care about the characters. So whether you should tune in or not really comes down to how much you enjoy this particular premise.

RED OAKS’ first season is now available on Amazon.

GLEE "Plan" Not Quite As Expected

Article first published as TV Review: 'Glee' - 'The Back-Up Plan' on Blogcritics.

FOX’s Glee presents a very frustrating installment this week in “The Back-Up Plan.” Rachel Berry (Lea Michele) is a Broadway star, earning rave reviews for her leading role in Funny Girl. A month into the run, though, she isn’t satisfied and begins to look elsewhere, despite her new agent (Richard Kind, Luck, Spin City) telling her she has a “face for radio” and can’t make it in TV or film. When Rachel catches the eye of a Fox executive (Community‘s Jim Rash), she risks her job to chase the next dream.

Throughout all of Glee, Rachel has wanted to do Broadway. Fewer than 50 shows, and she’s ready to give it up? It just doesn’t make sense. Had this episode taken place a year after opening, sure, I would buy it, and her stylistically cool “Wake Me Up” would work. True, Rachel’s heroes have crossed from stage to screen, so she’d eventually want to follow in their footsteps. But to finally achieve success and then risk it so carelessly, not appreciating what she’s accomplished? That doesn’t seem like Rachel.

I think Rachel’s producer Sidney (Michael Lerner), has it right when he says (I’m paraphrasing here) she’s a stupid, spoiled, bratty child. The only way to accept what Rachel is doing, lying to Sidney so she can fly to L.A. for a screen test and missing a performance, is to chalk it up to the brashness of youth. She doesn’t understand how badly she’s hurting herself, losing all respect and friendship from Sidney by the end of “The Back-Up Plan.”

It is to Rachel’s credit that she confesses what she does. That, combined with the reviews and ticket sales and a good friend are what save Rachel from being fired, barely. I really, really, hope she learns from this mistake and never tries something so boneheaded again.

Except, just when Rachel is at her lowest, the Fox exec calls again, telling Rachel she didn’t get the science fiction series she tested for (good, because sci-fi almost never thrives on Fox; see: Almost Human, Dollhouse, Firefly, etc.). Instead, he offers her a development deal. This means everything is still going right for Rachel, whipping her right back up another hill on the roller coaster. It’s a great moment for her, but I worry it will wash away any lesson she might take to heart in this situation.

The bad screen test could be another learning opportunity for Rachel. It’s hilarious how the execs squirm as Rachel delivers a fantastic rendition of “The Rose” because it’s so inappropriate for the role. This is what Hollywood is, where even greatness doesn’t mean anything in the wrong room, and Rachel should be humbled, even if her lack of preparedness isn’t really her fault here. Hopefully, she will understand she isn’t all that, but given the end result, it’s not likely.

Credit must be given to Jim Rash for a memorable turn. “The Back-Up Plan” is chock-full of big name guest stars, as next week will be, too, and yet, he stands out. It’s likely because his executive role could so easily have been a caricature, but he finds an authentic way to play it. He’s never a jerk, even when he could be, and is as supportive as he is rambling. There’s something likable and charming in the man that just shines through. Awesome.

Rachel isn’t the only character in Glee this week, of course. Kurt (Chris Colfer) invites Blaine (Darren Criss) to sing with him in front of a wealthy benefactor, June Dolloway (the amazing Shirley MacLaine). June only has eyes for Blaine during their fun “Story of My Life,” though, and sets her sights on making him a star, practically ignoring Kurt. This begins right away when she drags Blaine along to a fundraiser (the organizer of which is played by a completely wasted Eric Roberts, The Dark Knight), where they perform together. Then, she schedules him a showcase.
I love, love, love MacLaine, and I think June may be an interesting part for her. Unfortunately, her duet performance with Blaine, “Piece of My Heart,” is lackluster at best. Her voice does betray her age, even if she dances around like someone ten years younger. However, it’s the lack of energy in the song, inherent to this particular number, that does her in. Couldn’t someone have gotten a better musical choice for someone deserving of more? Plus, the way she looks equally at both Kurt and Blaine during their performance and talk after is teasingly cruel, not suited to her part, just done to build dramatics in the story.

Even worse, June means more strife for Kurt and Blaine. Blaine is determined to take Kurt with him on the train to stardom, and Kurt is more supportive than most would be in his situation. But June tells Blaine Kurt can’t be in the showcase, and Blaine lies to Kurt, unable to let down his fiance. Will Blaine choose Kurt or success? This could put a serious damper in their romance, either way.

Finally, Mercedes (Amber Riley) is faced with a similar choice when she wants to duet with Santana (Naya Rivera) on her album, but the producer (Gary Dourdan, CSI) wants a more famous singer, even after the two kill it with “Doo Wop (That Thing).” Santana tells Mercedes it’s fine, she should do what the label wants to give her record the best chance of success. Will Mercedes choose friendship or a chance at fame?

In the end, Mercedes doesn’t have to decide; she wins Santana a contract. This is just as much a cop out as Rachel being rescued at the last minute by the Fox exec. While Glee has only one more season to show us how these characters end up, and it’s always given their characters happy endings as much as possible, it still feels weak to have triumph come so easily now. Why can’t the characters spend the next year struggling, and only find what they seek at the end? It’s cool to see them doing well, but it just doesn’t feel realistic, sadly.

Disturbing are the rumors this week that Rivera has been fired from Glee. While unconfirmed, its been widely reported. The series would suffer a blow to lose her. She and Michele share a terrific scene in “The Back-Up Plan” as Santana saves Rachel’s bacon in the musical, then asks for nothing in return. After finally getting these ladies on good footing, it would be nice to see this friendship continue. I guess Rivera leaving means Santana and Brittany could finally have their happy ending, though if the actress is fired, we may not see the couple run off together, which would suck.

I’m also disappointed that Rachel’s leading man and director are still MIA even though the last two installments have featured major Funny Girl stories. Were the actors just not available? Why cast them earlier in the season if they couldn’t return when needed? It just makes the world seem less fleshed out and more fake.

Still, at least the story is moving and the actors remain as interesting as they ever have been. I love the more narrowed focus of a handful of players every week, giving them more room to breathe and develop than when ten story lines are being juggled. Three threads seems to be the perfect number for Glee, and overall, “The Back-Up Plan,” while frustrating, is a solid episode.

Glee has two weeks left in its fifth season; it airs Tuesdays at 8 p.m. ET on Fox.

BAD TEACHER Makes For Bad Show

Article originally published as BAD TEACHER Review on Seat42F.

A couple of years ago, a pretty awful “comedy” film hit theaters. Called BAD TEACHER, it followed the antics of an abandoned trophy wife as she became an educator in the public school system. For some inexplicable reason, someone thought a terrible movie would make a great TV show. Hence, we now get BAD TEACHER on CBS, beginning this Thursday at 9:30 p.m. ET.

The premise itself is highly flawed. A woman with absolutely no educational training is somehow hired, without license, degree, or credentials, to teach youngsters. She then acts completely unprofessionally in front of staff, students, and parents, and still gets to keep the job. Not only is this completely unrealistic, teaching standards being quite high and requiring much preparation and schooling, but it just isn’t funny.

Perhaps my own feelings about the field of education, having studied to become a teacher myself, color my opinion of BAD TEACHER. I’m sick of teachers being looked down upon, criticized for the “high” pay (low compared to most positions that require a Master’s degree), working hard for little credit, and being blamed for things that are wrong with the system, graded on student performance they often can’t control that much. At a time when press about teachers is not good, it really irks me that a network would be irresponsible enough to put this drivel on the air, further reinforcing negative and untrue stereotypes.

Getting off my soapbox, I guess I’ll tell you a little about the show itself. Ari Graynor (Fringe, Nick and Nora’s Infinite Playlist) stars as Meredith Davis, the titular woman. She gets nothing in her divorce, due to an iron-clad pre-nup, and so sets about finding herself a new sugar daddy. While crashing with her friends (‘Til Death’s Kat Foster and Luck’s Richard Kind), Meredith discovers that their child’s school is full of eligible, rich dads. Tricking inept sad-sack Principal Carl (David Alan Grier, In Living Color) into giving her a job, Meredith begins trying to land the next big one.

Even though Meredith routinely blows off everyone at her new place of employment, she is slotted into a place in the building’s hierarchy. Dorky Irene (Sara Gilbert, The Big Bang Theory) latches on, forcing herself into position as Meredith’s bestie. A former classmate, Joel (Ryan Hansen, Veronica Mars), decides he likes Meredith and sticks around to be her love interest. Well, he will be when she gets over her obsession with wealth. And the current Top Dog at the school, controlling Ginny (Kristin Davis, Sex and the City), decides Meredith is a threat, even though the blonde shows no ambition whatsoever, and casts herself as the enemy.

Of these people, Joel is the only one that comes across as interesting. Joel has an odd backstory, his penis being posted in photographs all over the school by Meredith’s predecessor, even though he doesn’t come across as the type of guy who would spark such venom. He isn’t pushy with Meredith, hanging around but waiting for her to come to him. He also seems the only one not participating in the game, standing by with a smirk as Meredith makes a fool of herself. He’s a normal, sane guy in a world populated with stereotypes.

Of course, as a series like this must, Meredith finds a heart at the end of the pilot. Unfortunately, there is no build up or character growth to support this. For the entire half hour, Meredith acts like a selfish jerk, and then, without any warning or catalyst, she suddenly pretends to care. If the first episode can’t give her even a hint of an arc, it’s unlikely the rest of the series will correct the mistake.

It isn’t unusual for CBS to present a crass, unfunny comedy. It’s not even unheard of for them to land really good actors and force them into parts that are beneath them, though seldom has been assembled on a bad project a group this good (being a fan of Gilbert, Davis, Graynor, Hansen, and a number of non-central cast members), wasted immensely. But BAD TEACHER has barely any redeeming qualities and is certainly worth no one’s time.

Blu-ray Review: ‘Argo Extended Edition’

Article first published as Blu-ray Review: ‘Argo Extended Edition’ on Blogcritics.

By now, most lovers of cinema have seen last year’s Academy Award Winner for Best Picture, Argo. Based on the true story of CIA specialist Tony Mendez (Ben Affleck, who also directed the film) and his plan to sneak American diplomats out of Iran during the hostage crisis of 1979 with the help of Hollywood players, it boasts an impressive cast and a compelling story. Now, just in time for the holidays, Warner Brothers has released the Argo Extended Edition.

For those who haven’t seen it, at the start, Iranians attack the American embassy and take a bunch of people captive. A small handful escape and hide with a friendly dignitary. With the noose closing in, and the American government unable to sanction an official rescue, Mendez comes up with the ingenious idea to fake a movie being shot in the area and get the sextet out of danger.

Now, Iran is keeping a close watch on visitors from the U.S., so with the help of Lester Siegel (Alan Arkin in an Oscar-nominated role) and John Chambers (John Goodman), filmmakers in L.A., Mendez sets up a Canadian production with an actual script and full cover identities for each of the people stranded. Then, he himself sneaks into Iran, makes it look like he’s actually scouting locations, and smuggles them back home.

It’s an unbelievable story of courage and ingenuity, one that is inspiring and inspired. Even with the outcome certain, viewers are sure to be kept on the edge of their seat as the tense situation plays out. Yes, some liberties are taken to build suspense, but in general, Argo is about real people, which definitely makes it easy for the movie to make viewers care about what’s happening.

Besides the aforementioned actors, the cast also includes Bryan Cranston, Victor Garber, Tate Donovan, Clea DuVall, Kyle Chandle, Chris Messina, Kerry Bishé, Zeljko Ivanek, Titus Wellivar, Scoot McNairy, Rory Cochrane, Bob Gunton, Richard Kind, and more. It’s a very impressive call sheet, and together, they act the hell of of Argo, delivering some really authentic performances. Combined with an Oscar-winning script, it’s a heck of a movie.

The presentation is fantastic in Blu-ray high definition. The detail is excellent, especially in darker scenes, with rich layers. The soundtrack is great, too, with a full surround effect and a nice mix between background noise, dialogue, and score. It’s definitely on par with most recent releases of modern, big budget films, which are quite good.

As the set title implies, this cut of the movie is longer, about nine minutes more than the version released in theaters. Most of the fresh material concerns Mendez’s relationship with his family. This is nice, perhaps not completely necessary, but still welcome.

Better is the wealth of extras that are included with the Argo Extended Edition. There’s a hardcover book about the production with some neat photos, a CIA ID card for Mendez (as he looks on screen), a map of Tehran so you can better track the setting, and, my favorite, a poster for the movie-within-a-movie.

There are three features exclusive to this disc. One shows the real CIA honoring this operation as part of the agency’s fiftieth anniversary. Another looks into how Affleck brought the various elements of the piece together into this finished product. The third is a mashup of the catchphrase “Argo fuck yourself,” used over and over again in the movie. Besides all of this, a number of previously-released bonuses are present as well. There’s a picture-in-picture to compare what really happened with the film, an audio commentary for the theatrical cut, interviews with Jimmy Carter, Tony Mendez, and others, and a discussion with the cast. Affleck talks about why they shot Argo in Istanbul, documents used for the mission are examined, many of those actually involved in 1979 give their perspective, and more. Basically, it’s a really nice mix of stuff about the movie and insight into the real events.

All of this makes Argo Extended Edition a really nice set. What’s included is pretty much all useful and interesting, without the fluff some releases use to beef up their extras list. Not to mention, all of the additional physical material packaged with the discs, are pretty cool, too. For a fan of Argo, this seems to be the definitive edition to have.

Argo Extended Edition is available now.

Dark Minions

Article first posted as Amazon Originals Dark Minions Review on TheTVKing.

Amazon made a ballsy move by releasing one of their new pilots, Dark Minions, in an unfinished state. Intended to be stop-motion animation, only a handful of scenes are complete, with the rest presented as sketches and sound effects.

I do not know the costs associated with stop motion, so don't know if that was the reason for the incomplete look, but I got the gist of the program decently enough. The story is easy to follow, the characters are relatable and likeable, and the voice work is cartoonish enough to mostly overcome the lack of visual product.

Still, I do think Dark Minions would have benefited by being complete. It's hard to imagine some of the bigger scenes in their current form, and the look is not at all impressive. If the series was able to wow us with what it wants to do, I think that would have helped. At the end of the day, though, I hope that this presentation doesn't hurt its chances of being picked up.

Of all the Amazon comedy pilots, Dark Minions is the most family-friendly. Sure, there is an evil empire with a planet-destroying weapon. But the blustery leader is goofy and amusing. I can't recall, though I could be wrong, any cursing, and a couple of pot jokes, while not ideal viewing for children, might just go over their heads. Content-wise, it's the tamest of the releases.

Which doesn't mean that it's not enjoyable. Mel (John Ross Bowie, The Big Bang Theory) and Andy (Kevin Sussman, also The Big Bang Theory) are slackers, more or less, who go to work for the galactic conquerors because they need a paycheck. They are the lesser storm troopers, working deep within the bowels of the starship, with no power or influence over policy. Thus, they are harmless, and their sweet dispositions make us forgive their choice in jobs, which at least one of them has a good reason for taking.

While on assignment to a planet, they meet Carly (Jamie Denbo, Terriers) and Lance (Andrew Daly, Eastbound & Down), rebels who would like to overthrow their overlords. Mel and Andy manage to pass themselves off as antique dealers, rather than soldiers, and a bond forms between the foursome.

Which is why when Drebnor (Clancy Brown, SpongeBob SquarePants) decides to blow up their world, Mel and Andy risk life, limb, and employment to save their new friends. They succeed, and Carly, believing them to be prisoners, rather than liars, drags Lance along to save them.

I think there are the makings here for a sweet, heroic story. Carly will be mad when she learns she has been fooled, of course, but the genuine earnestness of the lead characters should be enough for them to eventually earn her forgiveness. Plus, they will likely end up helping her, so this could be a bumbling comedy about good guys trying to take down the bad ones. I see potential here.

I also found the "Pilot" quite amusing and charming. Most of the players here are everymen, people we can get behind and root for in every setting, even space, which provides a rich tapestry of trouble to get into and strange environments to visit. They screw up, thankfully, because it provides laughs, but rebound from doing so, too, without much harm done. One can enjoy the blunders when one knows there won't be any serious, dire consequences, which there won't be with Dark Minion's light tone. Side characters, such as Drebnor's blubbering assistant, Feldenbaum (Richard Kind, Luck), and the radio man, DJ Wormhole (Phil LaMarr, Futurama), help round out the world.

Overall, I wish I could have seen a completed project, but Dark Minions should have broad enough appeal to find an audience. Dark Minions is available now on Amazon.com.

Golden Boy tarnished by network's reputation

Article first published as GOLDEN BOY Review at Seat42F.

Grade: 85%

At first glance, CBS’s GOLDEN BOY, premiering this week, may seem like more than your typical cop drama. After an intense opening, the story moves seven years into the future, where we see Walter William Clark Jr. (Theo James, Bedlam) being interviewed by a reporter (Richard Kind, Luck, Spin City) about how he has become the youngest police commissioner of New York City, ever.

This is a great draw. We know that the older Walter looks quite a bit aged, pointing to a hard journey. There is regret in his tone as he talks about the price he paid to rise so quickly, so we know there will be tragedy. The fact that he is now police commissioner means that the series may move away from solving murders on the street, eventually, as we do have seven years of story to get through first.

Clark is terrific, really letting the pathos play on his face, and his American accent is pretty good. His character is an egomaniacal, overconfident jerk, so we need these future scenes to show us that he has grown, and eventually gotten beyond the arrogance of his youth. Probably. And knowing there will be movement built in is nice.

But then we get to the meat of the plot, beginning when Walter, after heroic actions, chooses to be on the homicide squad. He isn’t accepted at first because he’s young and hasn’t earned his bones. But because he really is as good as he thinks he is, he proves himself in a single hour to his co-workers.

I keep expecting Walter to screw up in the “Pilot,” as we so often see in such main characters, the drama being that they really aren’t as ready as they think they are. Walter is special, though, so GOLDEN BOY chooses the alternate tack, building him up, rather than tearing him down. Because we’ve seen where he is in seven years, we know fall will never seriously come, at least not professionally, though perhaps personally.

The problem is, if he never screws up, how will he learn? Walter’s assigned partner, Detective Don Owen (Chi McBride, Pushing Daisies, Boston Public), two years away from his retirement, is the only one who sees this, and while Don is a patient man, one wonders how long his patience with the upstart might last.

Don is set up to be a finite character. With only a couple of years left on the force, this means we are told that Don may not stick around for the long haul, even though we see his picture on future Walter’s desk.

However, because this is CBS, I strongly suspect that these hints of a great, sweeping story of a genius who does great things will be reduced to a formula. Until that day, seven years in the future, when Walter takes the big office, he will be solving a case every week. They could even stretch it longer than seven years, should the show prove popular, or make Walter the first commissioner to be out catching the bad guys himself. Don could put off retirement, sticking around for the duration, which is what I expect to see, given CBS’s track record.

Is it fair to pigeon hole what, on the face, appears to be a somewhat compelling series just because of the network it is on? I think so. Blue Bloods and Hawaii Five-0 looked like they could break the mold, but have been reduced back to the typical CBS fare. I have little confidence that GOLDEN BOY will be any different.

Part of my worry stems from the fact that the rest of the cast is pretty much what one would expect from such a series. There’s the hotshot jerk, Christian Arroyo (Kevin Alejandro, True Blood, Southland), the popular guy who Walter wants to be, even though viewers know he’ll be better off listening to Don. Christian has a softer partner in Deborah McKenzie (Bonnie Somerville, Cashmere Mafia), a pretty woman we are told is tough, but who is nice to Walter, and could even be a love interest. Another detective, Joe Diaco (Holt McCallany, Lights Out), is the likeable rogue, who will probably get in trouble because of all the rules he breaks in skimming connections. And finally, the obligatory troubled family member, Walter’s drug-addicted sister Agnes (Stella Maeve, The Runaways), who is supposed to show the human side of Walter, and provide a distraction form the casework.

If the supporting cast weren’t such a predictable lineup of personalities, I might hold out hope for GOLDEN BOY. As it is, I appreciate the “Pilot,” but will probably not become a regular watcher. The audience that will love it is those that eat up CBS’s cop shows, as this one will probably be more of the same. This is regrettable, because the cast is full of amazing actors who deserve better, but won’t get it while locked into a long-term contract.

 GOLDEN BOY premieres Tuesday, February 26th at 10 p.m. ET.

HBO has all the Luck

The pilot episode of HBO's Luck, a new horse racing series, introduces a lot of characters, and isn't always clear on their role in the story. Most central may be Ace (Dustin Hoffman, I Heart Huckabees, Tootsie), who is released from a three year prison stint, in which he took the fall for an entire organization. Whether Ace is on the up and up with his old colleague (Alan Rosenberg, The Guardian, Cybill) is unknown, but Ace is definitely not keeping his activities legal, pursuing the secret purchase of a racetrack, and using his assistant/pal Gus, a.k.a. The Greek (Dennis Farina, Law & Order, Snatch), as a front to buy a horse. Ace also seems angry.

Hoffman has never starred in a television series before, and it's amazing to get someone with his level of talent on the small screen every week. Ace is a fuzzy character, a man of few words, but Hoffman conveys much with a glance or a tone. He's a tortured character whose motivations are incredibly murky to the audience, and thus, should be a rich, rewarding, role for Hoffman to play. With Rosenberg and Farina on board, too, both of whom are great with finding the comedy in dramatic moments, this is probably going to be the most central storyline, and a good one at that. It also, after just the first episode, draws one in quite completely.

Ace's, or rather, the Greek's, horse is trained by Escalante (John Ortiz, The Job, American Gangster), who is definitely not a nice man. Unlike Ace, Escalante wears his temper on his sleeve. He is well respected as a trainer, so perhaps his ability to do a great job is what draws people to work with him; it's certainly not a sunny disposition. But then again, it's entirely possible, given the circumstances around which his anger occurs, that perhaps Escalante isn't a bad guy. He could just be driven, and take his job very seriously. It's hard to tell. Though, going by gut, the first impression of him, as a world class jerk, will probably pan out.

The subject of Escalante's rage in the pilot of Luck is a jockey named Leon (Tom Payne, Waterloo Road), who somehow stays cheery despite getting it from both sides. The other side being the stereotypical, foul-mouthed, bully of an agent named Joey (Richard Kind, Spin City, Burn Notice). Joey and Leon are polar opposites in their outlook on life and how they treat others. As challenges arise, it will be interesting to see if either ones' outlook rubs off on the other or if they can continue to work together despite such a major personality clash.

Also competing in the racing arena is an old horse owner named Walter (Nick Nolte, Warrior, The Thin Red Line) who thinks he has found himself a new prize winner. While the animal is not yet ready to race, Walter has high hopes. What is Walter's story? Not many clues are present in the episode. He is shown talking to horses and employees, indicating a long history at the track which lends viewers to trust that he probably knows the game quite well. But that's about it. Will his steed be a rival for Ace's horse? Or will Walter's story progress in a different direction?

Finally, there is also a group of gamblers who take a long-shot and win big in the pilot. The ringleader of the gang seems to be Marcus (Kevin Dunn, Transformers, Samantha Who?), though the luck and genius brain that chooses said victors is all Jerry (Jason Gedrick, Desperate Housewives, Backdraft). The other two, Lonnie (Ian Hart, Dirt, Finding Neverland) and Renzo (Ritchie Coster, The Dark Knight) have less obvious roles so far in Luck. But it seems like their story hasn't even started yet, as the four don't cash in their winnings by the end of the hour.  Likely, the point of these guys is to dwell on what good luck and instant wealth does to people, and so they are not yet well defined or predictable.

Luck has a lot of things going for it. For one, it's on HBO, so it will be allowed a lot of freedom to do what it wants. If past series are any indication, Luck will be big and showy, but have plenty of nuance, and unexpected happenings. Secondly, the cast is terrific. Looking at the credits of just those listed above, plus all of the smaller parts that cannot be covered in a reasonable length review, means a lot of interesting, deep characters. Surely, their skills will be put to good use, and the tools are here for a lot of rich stories.

The world of Luck is also very vivid. It is painted with detail, all of it seemingly authentic. Even without experience in the world of horse racing, it's easy to see that a lot of care and research goes into the setting and roles. It's definitely very tuned into a specific place and time, with the actors easily inhabiting the world like they've always been there. Which makes it seem that the realism level is high, a big draw.

However, this last plus is also a weakness, at least in the pilot. It is nice that Luck trusts viewers to think on their own, but a little more exposition would be nice. Instead, the story begins with everyone and everything already in place, and spends little time walking potential fans through it all. It's very confusing, taking at least a half hour to even begin to grasp what is going on. The lingo is a mystery, and the rules of the race track and the betting that goes on there are not obvious. The characters understand everything so well that they have no need to explain it to each other, and by extension, the audience. Luck presents a nut very hard to crack into.

This could excite viewers. HBO has an intelligent group of subscribers who expect a lot from their programming. The Luck pilot could be a gamble that will pay off, if enough people are motivated to give the show the effort needed to get into it. As there are so many high quality aspects of the production, there is motivation to give it a chance. Repeat viewings and further episodes will probably make things quite a bit clearer. So despite a confusing start, Luck will be a winner, if viewers choose to turn into fans.

Any review of the Luck "Pilot" would be remiss without taking a moment to dwell on the animals so central to the story. In the first episode, Leon's steed breaks his leg and must be put down. The camera lingers on the horse's eye, allowing viewers a peek into his soul. Perhaps the audience won't have the personal connection the character of Leon has with the death, but the director's choices bring them pretty darn close. It's incredibly moving.

This could actually hurt Luck because that sequence calls into question the morality of horse racing as a sport. With fans caring about the horses so early and so deeply, will they be able to watch them pushed to their limits week after week? The scene above certainly makes this reviewer want to campaign for banning the entire industry on the grounds that it seems like cruel torture. Will Luck be about characters that must be despised? Or will the other side be presented?


Overall, the series is off to a great start, and gets better the more one dwells upon the episode. New installments will first run Sundays at 9 p.m. ET on HBO and the show has already been renewed for a second season.

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Article first published as TV Review: Luck - "Pilot" on Blogcritics.