Slightly Less GRIMM

Article originally written for Seat42F.

This week’s installment of GRIMM is called “Mishipeshu” (pronounced similar to the car, Mitsubishi). Nick (David Giuntoli) and Hank (Russell Hornsby) are joined by Deputy Sheriff Janelle Farris (Toni Trucks) as they investigate a couple of grisly murders. Rather than a Wesen being responsible, though, it’s a ghostly Mishipeshu, which possesses a person and takes revenge for them. Since three men killed the boy’s dad, the reason for this summoning, our heroes have to hurry to save the last undeserving criminal.

On its own, “Mishipeshu” is fine. It brings an interesting, new creature into the picture. More of the running time is given over to Juliette (Bitsie Tulloch) being self-destructive, an arc that begs for more attention, and there are some great lines. Farris shakes up the dynamic of the detectives, and I hope the tag with her at the end has lasting implications (though it probably won’t). The whole hour ends up being far more enjoyable than most recent hours.

But you can’t take a single episode of GRIMM on its own, and even when you do, there are plot holes.

First, the Mishipeshu is a Great Lakes creature, so it has no reason to be anywhere near the West coast. Serving the Native American mythology is a good idea, but GRIMM should stick to the beasts that actually belong in their part of the world, as there are plenty of those. While Wesen from other parts of the world come to Portland, it makes less sense for a ghost to move, as it isn’t an individual with its own life goals. Though, I have to admit, the Mishipeshu is one of the coolest looking things the show has done lately.

Second, while this isn’t the first time supernatural non-Wesen have entered into the show, we’re still lacking any type of explanation for them. GRIMM has a certain set of rules and logic it mostly follows, and whenever it ventures outside of that realm, it does so without any attempt to justify it or explain it. It would be interesting for the series to expand its world, but the why and how must be dealt with if it wants to be a quality show.

Third, it still makes no sense that Nick and the others, who are supposed to be very good at their jobs, don’t notice any weirdness in the world prior to Nick discovering he’s a Grimm. Wu (Reggie Lee) asks Renard (Sasha Roiz) this week how much of crime is Wesen-related. Renard replies that most crime is, in most places. And yet, we’re still expected to believe the vast majority of the population has no inkling of such a huge, visible grouping constantly drawing attention to themselves? Renard’s words just don’t make sense.

Fourth, the episode opens with Hank being possessed by the Mishipeshu and Nick trying to fight him. This doesn’t work because Nick and Hank are friends and Nick would need a very good reason to battle Hank. If GRIMM were to do an arc where Hank became a problem that Nick must solve, they wouldn’t tease something so heavy in a hokey opening. Plus, as I’ve mentioned in other columns in the past year or two, this “starting at the end” convention has been done to death and needs to be retired.

For all of these reasons, “Mishipeshu” doesn’t fix what’s wrong with GRIMM. If anything, it adds to the problem. It may be entertaining, but if it can’t present a story consistent with the world it takes place in, then it’s not worth much.

By contrast, I think I finally understand where GRIMM is going with Juliette. Her personality has changed so much because power corrupts, and she likes the power. She’s like a teenager, testing her boundaries to figure out how to live a life she doesn’t fully understand yet. Nick leaving her in jail after she causes trouble in a bar is smart because it keeps the problems she poses contained. But like most teenagers, she probably won’t take kindly to the punishment, which should ramp up the drama even more moving forward.

Unless there’s some magic cure that restores personality as it takes away the Hexenbieste, this is probably the end of the line for Juliette and Nick as a couple. I wouldn’t want such a neat reset, anyway, as it would feel inauthentic. Breaking up the primary duo is sad, but it opens up a lot of possibilities for the show. I just hope Juliette isn’t (SPOILER) the major character that GRIMM reportedly will kill off this year, as the conflict surrounding her is too juicy to throw away.

GRIMM airs Fridays at 8 p.m. ET on NBC.

TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha”

Article first published as TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha” on Blogcritics.


As much as TNT’s Franklin & Bash changes, it also stays the same. It has undergone cast shifts before, but in the fourth season, which returned last night, we may see the most dramatic rotation yet. Which is why it’s extra remarkable that the premiere, “The Curse of Hor-Aha,” seems pretty much the same as any other episode of the series.

Time Jump

Right off the bat, we get a four month time jump where our titular characters are now running the law firm (although they remain living in Infeld’s beach house). Infeld (Malcolm McDowell) himself is working as an auto mechanic, having taken a blow for the Rachel King (Heather Locklear) fiasco. Rachel is locked up, so we don’t see her, and likely won’t again, at least not for a long while. Other employees are jumping ship, unhappy with the new management style, and that includes F&B’s loyal compatriots, Carmen (Dana Davis) and Pindar (Kumail Nanjiani).

What this means for Franklin & Bash is that Franklin (Breckin Meyer) and Bash (Mark-Paul Gosselaar) either need to grow up or get Infeld back. They prefer the latter, of course. In their current case, which involves “The Case of Hor-Aha,” they are as goofy as ever. In the office, they can’t stay out of trouble, which is probably why they haven’t managed to garner any respect. The new investigator they’ve hired, Dan Mundy (Anthony Ordonez, Job for Gino), is an enabler and a weirdo. Needless to say, they’re not doing well, and the firm is losing money and personnel rapidly.

Departures

It’s disappointing that Carmen and Pindar have left. We get brief explanations for both absences, and it doesn’t seem like they fled for the same reasons the others did. But they are valuable characters for the show, even if they’ve been marginalized for most of it, who will be missed. Let’s hope they at least pop back up as guest stars sometime this year.

Since it seems like getting Infeld back into his office will be an arc, rather than a quick fix, there has to be some balancing force on the show to keep the guys in line in the meantime. In the past, this has mostly fallen to Damien Karp (Reed Diamond) and a couple of different women, who are no longer around. Damien has also quit (and it’s worth noting that he is no longer listed on the cast page of the official website) and is purposely seeking cases where he can fight the guys in the courtroom, petty as ever. So obviously, the show needs a permanent presence at Infeld Daniels (now renamed Infeld, Daniels, Franklin, & Bash) to stabilize things.

Anita Joins Franklin & Bash

Enter Anita Haskins (Toni Trucks, Hostages), a well-educated, no-nonsense woman who is willing to work for them if they actually let her go to court, which they are desperate enough to do, and other reputable law firms won’t. She seems, at first glance, to be a pretty standard straight (wo-)man, there to hamper them, but not too harshly, like her predecessors. But it’s hard to tell for sure because she doesn’t show up until near the close of the hour.

Before Anita is introduced to Franklin & Bash, we see Ellen Swatello (Rhea Seehorn), previously an assistant district attorney, is now on staff at the firm. Ellen is a recurring part, and unfortunately, her new position has not come with a corresponding upgrade for the delightful Seehorn. One assumes the office isn’t going to keep both Anita and Ellen around, but how cool would it be if they did? After all, two tough females teaming up on Franklin & Bash might finally be able to rein them in.

The case-of-the-week is standard and takes up most of the running time, as usual. I like Franklin & Bash because it isn’t just a procedural, but unfortunately, it is mainly that. If you were entertained the first three years, though, you’ll probably like this one, too, because even though there has been some musical chairs among the players and a new challenge introduced, it’s still very much the show you’ve become accustomed to.

Franklin & Bash airs Wednesdays at 10 p.m. ET on TNT.

Ruby Sparks light a fire

Recently released from FOX, Ruby Sparks is the story of a boy and a girl. But it's oh so much more than that. The boy, Calvin (Paul Dano, Little Miss Sunshine), is a young, best selling author who is struggling to find inspiration to repeat his success. At the advice of his therapist, Dr. Rosenthal (Elliot Gould, MASH), he writes about a girl that can accept him as he is. And then the girl, Ruby (Zoe Kazan, Dano's real life girlfriend and the writer of this film), appears in his apartment.

Now, Calvin is not going crazy. At least, he doesn't appear to be. His brother, Harry (Chris Messina, The Mindy Project, Damages), can see her, too, as can everyone else. Once viewers are able to suspend that disbelief, one can really get invested in the tale of this couple, who are made for each other, on one side, quite literally.

But no one is perfect. As much as Ruby is the girl that Calvin imagines he wants to be with, she is also a fully developed person, not just a two dimensional figure on paper. Which means, she has a mind of her own, and can do things that bug Calvin, or make him feel down on himself. Calvin has the power to change Ruby at any time just by whipping his type writer back out. It isn't too long before he gives in to temptation and does just that.

One can tell that Ruby Sparks is written by a woman. Rather than rewriting Ruby for sexual purposes, an option brought up by Harry, but quickly dismissed by the more sensitive Calvin, he just tweaks her personality so that she is devoted to him, and he gets rids of things about her he finds annoying. However, when Calvin begins to remove layers, even with the best of intentions, because, after all, she is his creation, and so it could be argued that he has a right to make adjustments, he also erases the essence that makes Ruby Ruby. She no longer has free will, nor is she the person he wanted to be with. This is a case of over-thinking things.

Ruby Sparks really makes the audience think, too. Surely, many people have dreamed up a scenario such as this, but how many have taken time to really explore what being in this situation would mean? How many consider all the implications and nuanced rules that would go hand in hand with the occurrence? Kazan proves her talents as a writer quite handily, really fleshing out everything in a very believable way.

And does anyone truly want what they consider to be the perfect girl? Not only would this be boring, but how would Calvin ever be challenged to grow? If all he wants is an idea of a woman, the internet and blowup dolls exist. No, he wants a companion, and that means he must take the good with that bad. Those are the facts of life.

All television them song references aside, Ruby Sparks is a fascinating, smart movie that is very enjoyable, but also so much more than mindless entertainment. Buoyed by an excellent supporting cast, each with wonderful featured moments, that includes Toni Trucks (Made in Jersey), Alia Shawkat (Arrested Development), Deborah Ann Woll (True Blood), Steve Coogan (Tropic Thunder), Aasif Mandvi (The Daily Show), Annette Benning (The Kids Are All Right), and an amazing turn by Antonio Banderas (Puss in Boots), this is a movie that begs repeat viewings.

In fact, if one stops the film about two minutes before the end, I would consider it a near-perfect movie. There's a tag I'm not a fan of; I'd prefer if the next to last scene served as the ending. Others may disagree.

The special features, on the other hand, at least the ones included on the review copy I got, leave much to be desired. There are three featurettes of only a few minutes each in length that are pretty repetitive, just praising those involved. It is pointed out that not only are Dano and Kazan a couple, but so are the directors, Jonathan Dayton and Valerie Faris (both Little Miss Sunshine). But that's about the only thing interesting gleaned from the scant extras. Hopefully, there will be another release in the future that packages a bit more, because, the impression I get is, the story behind the story is probably pretty neat, as well.

Ruby Sparks is available now on DVD and Blu-ray.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as DVD Review: Ruby Sparks on Blogcritics.

Made in Jersey should stay there

Grade: 66%

MADE IN JERSEY is a CBS show with a more youthful appeal. It’s a case of the week legal procedural, whose lead character happens to be a young, hip Jersey girl recently transplanted into NYC, more street smart than everyone around her, rather than the older folks who normally populate the station’s dramas. Will this be enough of a change up to be interesting, even while keeping with the same formula? Will viewers in their twenties join the senior citizen crowd in watching this show?

Probably not. Despite the pretty-Ugly Betty-esque lead, Martina Garetti (Janet Montgomery, Entourage), who has tons more personality than the average CBS character, the basic ingredients are the same. There is a case. It must be solved by the end of the hour. Other characters will think Martina isn’t up to the task, and she will succeed anyway. Happy ending.

Now, there are a couple of extra elements that set MADE IN JERSEY slightly apart. In keeping with Martina’s background, she has a large family whom she enjoys being around. Led by matriarch Darlene (Donna Murphy, Trust Me), the boisterous bunch will probably cause Martina added stress, and give her little side stories, like the first episode’s bit about her niece wanting a tattoo, distracting her from the legal work at hand. But considering none of them are listed in the main cast on the show’s website, they probably won’t figure too heavily into the season.

It’s hard to tell from the first episode what the chemistry will be between the various full-time cast members. The two lawyers Martina interacts with most aren’t on the show’s website either, making me think some recasting was done, and they will be replaced by others who might have a different reaction to Martina’s plucky ways.  Kristoffer Polaha (Ringer, Life Unexpected) and Megalyn Echikunwoke (The 4400, CSI: Miami) will apparently be joining the firm soon, and whether they will be friend or competitor or something in between remains to be seen.

Other people are already established on MADE IN JERSEY. Martina’s boss, Donovan Stark (Kyle MacLachlan, Desperate Housewives, Portlandia), is a whimsical fellow, sort of a toned down version of the Malcolm McDowell role on TNT’s Franklin & Bash. He takes a shine to Martina at once, seeing something of himself in her. It’s not a particularly fresh take on a superior, but played wonderfully by MacLachlan, it’s hard to complain.

Cyndi (Toni Trucks, Music and Lyrics) is Martina’s assistant. This is a step up from many young lawyers on TV, who don’t have their own helper. She is also a friend, so she serves a dual purpose on the show. Viewers need more of her past, though, if we’re going to appreciate her. Martina has only been at the firm a few weeks, and they are already gal pals. How did this happen? Why do they click so well? This is a relationship that should be explored.

Then there’s Riv Brody (Felix Solis, NYC 22). His investigator should be a popular character, but it’s hard to root for him when he seems so inept. Martina talks about how storied Riv’s work is, and yet, in the “Pilot,” she finds all sorts of things that Riv misses. Hearing the audio tone, something her niece discovers, makes sense. The chalk dust on the sleeve, though, among other things, should have been seen by Riv, not Martina. This is done, presumably, because Martina is the lead, and Riv is just a supporting character. But why have him at all if he’s only going to follow Martina around and admire her work? How did he get such a reputation as a top notch detective when a young lawyer does his job so much better than he does?

MADE IN JERSEY can’t exactly be called disappointing because, as a crime procedural on CBS, the bar isn’t set all that high anyway. All it has to do is deliver the same package every week, and an important mass of viewers is happy. But for those who value good television, this looks to be a total dud that isn’t worth your time. Which is a shame, since there are a couple of characters here I could really like.

MADE IN JERSEY premieres September 28^th on CBS.