BRAINDEAD Smart

Article first published as BRAINDEAD Review on Seat42F.

From the creators of The Good Wife, Robert and Michelle King, comes a new summer drama (sort of) series, BRAINDEAD, premiering tonight. Set in modern-day, partisanship-paralyzed Washington D.C., it follows a group of people connected to the government, some of whom begin to suspect that all of this chaos is not completely on the fault of the humans. Or, there is an alien race who is beginning to take advantage of our mess for their own gains. No, it’s not a documentary, it is fiction, though there will be plenty who wish reality was so easily explained and fixed.

The protagonist is Laurel Healy (Mary Elizabeth Winstead, Mercy Street, 10 Cloverfield Lane), a kind-hearted, student loan-strapped documentarian who would like to stay far, far away from the nation’s capital and those who populate it. A relatable outsider, she is not trusted by those in power because they don’t think she knows their world. And, they’re sort of right.

Laurel has been semi-forced to relocate to D.C. by her father (Zach Grenier, The Good Wife), who says he will fund her stalled film if she gives him six months working for her brother, Democrat minority whip Luke Healy (Danny Pino, Law & Order: SVU). Laurel is willing to sell out some of her principles, though not keep her mouth shut, for such a bribe, and so she gets to work helping Luke’s constituents.

It takes almost no time at all for Laurel to get drawn into the mystery, though, when one of the voters complains of her husband acting strange. Before the pilot comes to a close, the husband isn’t the only one, and viewers are let in on exactly what’s going on, even if Laurel is still working the long road of clues towards the bad guys (and eventually the solution).

BRAINDEAD is populated with a terrific cast, from the three mentioned above, to Aaron Tveit (Graceland, Les Miserables) as a Republican Congressional aide whom clashes with Laurel, to the handsome investigator (Charlie Semine, Mercy), to Megan Hilty (Smash) in a small role as a newscaster, to the cherry on top, Tony Shalhoub (Monk, Nurse Jackie, Wings), as a mind-controlled senator. Each play comedy well, especially when it comes to characters who aren’t trying to be funny, but Shalhoub also excels at the intentional stuff.

You see, BRAINDEAD is billed as a humorous thriller, and I think that description is apt. There’s the very dark situation that is sweeping across the nation’s capital, but there are over-the-top humorous moments, as well as some more subtle political commentary, that keep things entertaining and without too heavy a tone. It has the feeling of those 1990s movies where the world is in silly danger, but with a higher quality writing and a production that takes itself more seriously, in a good way.

There’s a lot going on, with about half the main characters not even appearing in the first episode. This is good because I think it’s satisfying to see different sides of a situation like this, as there are many facets of what is happening. The entire run is set for thirteen episodes, which is a lot to fill, but despite the fast pace of episode one, I feel the Kings can probably do it well. (And their touted multi-season plan gives me confidence they have a good strategy.)

Still, there does seem to be something missing. I mean, I really enjoyed the pilot and am setting a season pass on my TiVo immediately, but there is still a little hollowness to the hour. I’m not quite sure what is causing it yet, and further hours will likely either illuminate or erase it. But it just feels a couple notches below The Good Wife, in my opinion, lacking quite the sharpness of wit present in the dialogue of that just-concluded series.

BRAINDEAD airs Mondays at 10/9c on CBS.

WE ARE MEN Pilot Review

Article first published as WE ARE MEN Review on Seat42F.

CBS’s WE ARE MEN is sort of like Sex and the City with guys. Four buddies meet in an apartment complex inhabited by divorced men and wannabe actresses, stick together, and offer emotional support through a tough time. They still act like boys, not girls, but the camaraderie and their various romantic partners certainly evoke the comparison.

As the show begins, Carter (Chris Smith, Paranormal Activity 3) is at the altar with his bride, Sara (Fiona Gubelmann, Wilfred). A man runs in before they say “I do,” and Sara runs off with him, leaving Carter broken and sad. That’s when Carter moves into the apartment and meets the others.

It’s not the most original start. After all, Rachel ran away from her wedding at the start of Friends, and Alex left Dave at the altar in the Happy Endings premiere. But it serves its purpose, putting Carter in the right situation to get the premise rolling, and the way that WE ARE MEN’s “Pilot” comes back around at the end of the half hour makes the whole thing mostly worth it, even if it does seem familiar. Plus, a small guest appearance by Alan Ruck (Spin City) is a great feather in one’s cap in any installment, let alone at the beginning, and as a priest to boot!

Carter soon meets three neighbors who have also not been able to make marriage work for them. There’s Gil (Kal Penn, House), a guy who picked the worst mistress ever, Stuart (Jerry O’Connell, Jerry Maguire), whose first wife is now his second wife’s divorce attorney, and Frank (Tony Shaloub, Monk), whose many brides tend to stay the same age, even as he grows older, and is currently into Asians. They instantly take Carter under their wing, and their little club is born.

Smith may not be well known, but Penn, O’Connell, and Shaloub are. Their names alone are enough to garner at least two episode watches, and the chemistry they have here is fantastic. They really do feel like a bunch of buddies, regular guys, each selfish in their own wants and needs, but willing to offer a helping hand when they aren’t too focused on their next lay. They razz one another, but they care, which is proven by the end of the “Pilot.”

Now, yes, the dynamic comes together a little too fast. Two months pass during the “Pilot,” but it doesn’t feel like that, with everything moving so quickly. Even though the other three guys’ friendship with each other feels authentic, it does seem a little too soon for Carter to be part of the group in any meaningful way.

However, the show is funny, and it has charm. I really enjoyed watching the men hang out and get into trouble, and there’s a certain bit of fantasy in four guys with their own closely-located apartments, doing whatever they want without anyone bringing them down or trying to control them. There’s also a “glad that’s not me” component, sure to add emotion into characters, who clearly are not well-skilled at showing their feelings, especially when negative ones threaten to overwhelm them. It should be a good combination.

The list of recurring actors already involved is impressive. Besides Gubelmann, whom we’ll surely see again, and Ruck, which I certainly hope for a repeat visit from, Romy Rosemont (Glee) and Dave Foley (The Kids in the Hall) show up as Carter’s parents. If this is the kind of talent that wants to be involved in WE ARE MEN, than it is a promising sitcom indeed.

This “Pilot” does have its issues. The plot seems a little like fluff, there isn’t a clear direction for the story, and Carter’s inevitable romance sometime this season with Frank’s daughter, Abby (Rebecca Breeds, Home and Away), is predictable and groan-inducing. But there are some genuinely funny bits and the central quartet is strong, so it definitely has the potential to be pretty decent. It at least ranks in the middle of the pack of this year’s freshman comedies.

WE ARE MEN premieres Monday, September 30^th at 8:30 p.m. ET on CBS.

MOVIE 43 Blu-ray Review

Article first published as Blu-ray Review: 'Movie 43' on Blogcritics.org.

Movie 43, a comedy film of small bits packed with big stars, is now available on DVD and Blu-ray from Fox Home Video. Couched in a framing story about three boys’ search online for the very illegal and fictional Movie 43, bizarre bits that are supposed to be funny string along with little to no connection between them for about an hour a half.

Depending on whether you watch the theatrical version of the film or the alternate cut, both of which are included on this release, depends on what framing story you get. Either Charlie Wessler (Dennis Quaid) pitches an ever-changing film to Griffin Schraeder (Greg Kinnear), constantly shifting the characters and premise, or three boys (including The Inbetweeners‘ Mark L. Young) are hacking the internet to find a fictional film called Movie 43 that could destroy the world. Both go meta in a weird way; the other bits of the movie appear to be the same in both editions.

Neither scenario makes much sense, so I do wish the film’s producers had just let the scenes stand on their own. A bunch of different sketches performed by some of the most familiar faces in Hollywood is an intriguing enough concept without forcing them to be strung together. The way this is released, it feels like forced cohesion that doesn’t quite come together.

Because each segment is made by different people, they do feel like they fall across the spectrum, from the absurdly hilarious, to the confusingly weird, to the just plain gross. This is a common issue with every comedy made up of individual segments (just ask Saturday Night Live), and humor is highly subjective, so while I did not enjoy the entire hour and a half, there are some things in Movie 43 that I really loved. Others likely will watch the same movie and value different parts.

The best of the bunch are: “iBabe,” in which a woman (Kate Bosworth) just can’t make a boss (Richard Gere) and his underlings (Aasif Mandvi and Jack McBrayer) understand why teenage boys are getting their body parts mangled in a lower-region fan of an mp3 player that looks like a naked woman; a “Machine Kids” commercial showing sad children hiding inside ATMs and soda vendors; “Super Hero Speed Dating,” in which Batman (Jason Sudeikis) ruins Robin’s (Justin Long) chances with women ranging from Wonder Woman (Leslie Bibb) to Supergirl (Kristen Bell); and “Victory’s Glory,” in which a Coach (Terrance Howard) in 1959 faces an uphill battle in convincing a black basketball team they can beat a white one.

I think I like these four because they take something familiar, and turn it on its head in a clever manner. Wonderful performers lose themselves in these roles for a few minutes, doing something most people don’t expect from them, and doing it well. Throughout the segment, the tension and story ramps up, and there are odd twists.

The parts of the film I didn’t like involve sexual pooping, spilled period blood, and incestual make-outs. I can see how this might appeal to others, but it just crosses the line of my taste and goes too far. The point is, though, there is really something for everyone (except those who only like intelligent, witty stuff), with a broad swath of topics and genres.

The cast is amazing, and includes, besides those listed above, Common, Seth MacFarlane, Elizabeth Banks, Halle Berry, Stephen Merchant, John Hodgman, Anna Faris, Gerard Butler, Snooki, Hugh Jackman, Kate Winslet, Naomi Watts, Liev Schreiber, Emma Stone, Chloe Grace Moretz, Sean William Scott, Uma Thurman, Chris Pratt, J.B. Smoove, and others. It really is a remarkably talented group of people, and while I didn’t appreciate all of the styles of humor represented, I don’t think any cast member felt wooden or out of place in the larger picture.

The extras leave a lot to be desired, unfortunately, Besides a trailer and some previews of other titles, the only bonus included is a cut scene featuring Tony Shaloub and Julianne Moore. This deleted segment is no better or worse than anything in the finished film, so I’m not sure why it isn’t integrated in with the rest.

But what I’d really like to see is the story of how Movie 43 came about, why all of these actors chose to participate, and who championed the idea in the first place. Surely, there is a rich story behind this, given the scope of the project, and I’m very curious about the back story, which is not revealed on this disc.

As far as Blu-ray quality, the picture and effects are great, but there isn’t a lot to push boundaries. It’s a very typical film, visually, with character-driven scenes, so aside from liking a crisp, clear image, there isn’t much argument to made on DVD vs. Blu-ray. The format is consistent, and I didn’t notice any static or graininess from either picture or sound. However, neither is there anything super impressive that makes use of an advanced playback system. Nor would I really expect there to be in this type of movie.

Movie 43 is available now as a two-disc Blu-ray, DVD, digital download combo pack.

Too Big to Fail is too good to fail

     HBO's newest TV movie is Too Big to Fail, a tale of the 2008 financial crisis in the United States, based on the book of the same name by New York Times financial columnist Andrew Ross Sorkin. Events follow real life, as Henry Paulson (William Hurt, Damages, Into the Wild), Timothy Geithner (Billy Crudup, Almost Famous, Watchmen), Ben Bernanke (Paul Giamatti, John Adams, Sideways), and their staffs try to prevent the next great depression. After bailing out Bear Sterns, Paulson is determined not to do the same for Lehman Brothers. He gathers the heads of the major investment banks, trying to push them into a private sector solution. When deals fall through, Paulson lets Lehman go bankrupt, and the economy goes from bad to worse as a result. The government employees scramble for another solution before a chain reaction cripples the country.

     Adding to the realism are actual news clips from the time, showing the real politicians and reports as the financial system gets worse and worse. These are not actors, played up for dramatic effect. These are real people reporting real stories. And Jon Stewart, ripping John McCain a (deservedly) new one.

     Is it a fair and balanced look at the fall of 2008? That's debatable. The writers have an opinion and a slant, as any dramatic work must, and so there is some bias towards certain parties. But there is also some grey area and debate, and so Too Big to Fail tries hard, and mostly succeeds, to at least give most everyone the benefit of the doubt. Or at least consideration that issues are complicated.

    The sprawling cast is top notch. There is a lot of star power, many in small roles, such as Ed Asner as Warren Buffett. Yet, not a single actor stands out as being inferior to the others. If anything can be said about HBO's films, it's that they do not shirk on casting. Each actor and actress shows a depth that really brings the characters, which are closely based on real people, to life in an authentic way. Most are matched quite well in looks, aided by expert makeup, though Crudup probably least physically resembles his counterpart, of the primary three.

     The bankers themselves are played by Tony Shalhoub (Monk, Wings), Evan Handler (Californication, Sex and the City), and Bill Pullman (Torchwood, Independence Day), among others. They are not really the blatant villains, as one might expect. While the companies they represent do take a large portion of the blame for what they have done, the men who run them generally come across as hard workers, willing to make sacrifices. They want to save their companies, but they are also willing to make a move that benefits the system as a whole, which in a roundabout way, does save their companies.

     That doesn't mean the bankers are heroes, by any stretch of the imagination. Obviously, it is because of them and their companies that the chain reaction of disaster begins. They also pocket American tax payer bailout money, which they will only take without strings, and continue to pay out huge bonuses. The public is justified in their anger at them. But because the film is made up mainly of closed door meetings of individuals, these things are sometimes downplayed, making them seem like decent guys. Hallway rants by Paulson allude to another side of the story.

    Actually, the people who come off the worst in the film are James Woods (Shark), as the head of Lehman who hesitates to try to make more money, not realizing it's too late to save the bank, and Congress, especially John McCain and the GOP. They are all slow to act, and work against what Paulson insists is necessary. It's a battle to get them to do what has to be done, and because of them, the whole system almost goes belly up several times.

     Also looking bad are the British, who have a chance to help, but sabotage a good deal that may have saved the system at the last minute. Furthermore, they begin to freeze credit after Lehman's collapse, worsening the situation. While Europe will be deeply hurt by what happens on Wall Street, they show an unwillingness to believe that America can take them down, too.

     Asians also have a chance to step in, but choose not to. One Asian company does help buy one of the American banks, but several deals with friends in the Pacific fall through as they back away from toxic assets. And who can really blame them?

     Paulson, who is really the central character, has a staff that includes actors Topher Grace (That '70's Show, Spider-man 3) and Cynthia Nixon (Sex and the City, The Big C). They try very hard to not only help their boss fix things, but also to keep him healthy, as Paulson is plagued by a lack of sleep, and looks worse and worse as the movie progresses. They are the heroes of the story, tirelessly putting their lives on hold to save the country. Whether that is true or not, the way the trio comes across makes it very easy to root for them.

     The story itself is a gripping tale of horror. What makes it even scarier is that not only is is true, but the problems shown are far from solved. A scroll at the end tells viewers that the same conditions exist today, and the economy could still easily go over the precipice, since the government has failed to act to change anything significant in the two and a half years since the events unfolded. It's a chilling realization, not one that gives any comfort.


     Too Big to Fail will repeat numerous times on HBO over the next few weeks. If you have not caught it yet, make sure to do so soon.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     Please click here to buy the book on which Too Big to Fail is based.

Article first published as TV Review: Too Big to Fail on Blogcritics.

Monk takes a bow

***THIS REVIEW DOES CONTAIN SPOILERS.  IF YOU HAVE NOT WATCHED THE FINALE EPISODE YET AND PLAN TO, PLEASE BOOKMARK IT AND COME BACK AFTER YOU HAVE.***

     USA's longest running drama, Monk, starring Tony Shalhoub (Wings) as former detective Adrian Monk, ended its eight season run last night, and not without a few tears.  As someone who only occasionally watched the show (until this final season), I still enjoyed it, and I was able to follow along with relative ease and appreciate it on many levels.  To make it easier for viewers, USA ran marathons this week or relevant past episodes, to catch you up on the plot that should be remembered.

     Twelve years ago, several years before the series began, Adrian Monk's wife, Trudy (The Office's Melora Hardin) was killed, and it is the one mystery he was never able to solve.  As the series came to a close, in the final two hours Monk inevitably found the final clues he needed to put things together.  That the show would end this way was pretty much a given long ago, but its execution was wonderful.  From a poison, to a long ago murder, new intrigue, and a video tape that Monk should have opened a dozen Christmases ago, it did not stretch believability much, as I expected to happen.  There was a reason for the new crack in the case, and it wasn't just coincidence that it all tied up now.

     Welcome was the fact that almost every main character got a satisfying ending, not just the title character.  Randy (Jason Gray-Stanford) moved to New Jersey and became a police captain.  Though I can't imagine how a viewer would find him actually capable of such a position, as Randy's cluelessness was the butt of many a joke, it was nice to see him end up with Monk's former assistant and longtime crush, Sharona (Bitty Schram).  While Sharona herself wasn't in the finale, she got to return and have her ending a few episodes early.  Likewise, Captain Stottlemeyer (Ted Levine) was married to his recent girlfriend T.K. (Virginia Madsen).  While T.K. was only a guest star in a couple of last season episodes, the Captain was remarried to a woman that appreciates him, and that was what was special about that.  Natalie (Traylor Howard, Two Guys, A Girl, & A Pizza Place) alone had nothing special in the finale, but she still played her ever helpful assistant role.  None of the major recurring characters had serious endings in the finale or the episodes leading up to it, but those people were less important to this series than many other television shows.  Monk only ever centered on four people at a time.

     Monk, himself, had a surprisingly emotional ending.  After realizing an episode early that he didn't really want to be an official detective again, the surprise twist of him finding out his late wife had a daughter, and his connection with her, gave his character growth and a bright future as the ending credits rolled.  While I find it hard to swallow that a strange would take so quickly to the neurotically screwed up character of Adrian Monk, the story wasn't about her anyway.

     While not without its faults, longtime viewers should find themselves choked up and moved by the finale, which provides a nice cap, goes somewhere, but doesn't ruin the show that came before it.  USA will have a hard time filling the hole left behind.

M-M-M-Monk's Sharona

    If you tuned into USA’s Monk this weekend, you saw a familiar face. Bitty Schram, who played Sharona Fleming, Monk’s assistant for the first two and a half seasons of the show, returned. It was her first appearance since her abrupt departure five years ago, when she remarried her ex-husband and moved to New Jersey, and will likely be her last appearance on the show, which is scheduled to conclude its eight season run on December 4th.

      This episode was predictably fun, but as Monk often does, it stayed too true to the formula instead of allowing itself to roam free. Though there was no official police investigation, leading to little screen time for Randy and Stottlemeyer, the show stayed on the murder plot too much, allowing only a bit of clashing between Sharona and her replacement, Natalie. Near the end of the episode, their bickering did cause Monk to have a little bit of a breakdown and run off, but there was prime opportunity here to deal with a Monk who was hurt very deeply by his assistant leaving, and this was overlooked completely. Instead, their first meeting dealt only with Monk trying to find out what happened to a shirt that she took to a dry cleaner’s shortly before she left, one that he never did find.

      There was a bright spot, however, in that the episode did, albeit very briefly, delve into Randy’s crush on Sharona. It was an ongoing plot never resolved in the early seasons of Monk, and as Sharona left, the audience did get to see her give him a little kiss. Unfortunately, it is left up to your imagination whether anything more will happen with them. With only a few weeks left, and Sharona not announced as returning again, it is unlikely that they will end up together, though one can hope that that may be a surprise tucked into the series finale.

      Check back in this column after Monk comes to end for a review of the series finale, and make sure you watch on Friday nights, as Monk will reportedly finally solve his one still-open case, the murder of his wife, Trudy.