CONFIRMATION Of Belief

Article first published as Blu-ray Review: 'Confirmation' on Blogcritics.

HBO’s recent television movie, Confirmation, will be available on Blu-ray and DVD August 2nd, and has already been released for digital download and streaming. It’s the story of Anita Hill accusing Clarence Thomas of sexual harassment during his Supreme Court nomination hearing in 1991. Or, it tells a relatively one-sided, focused version of a small part of the story with a clear message and point that the film’s producers are trying to get across.

That may sound like a condemnation of the movie, but it is not. I merely want to state what this is before moving forward to talk about it. It is completely fair for someone to make a movie with a specific purpose in mind; many movies fall into that category. What is unusual is for a piece like this to come out when public opinion is still divided, at a time when our country has rarely been more partisan, with racism having been brought back to the forefront yet again, and many of the players involved are still in positions of power. Confirmation itself is a narrow story, but the issues it brings up are many, varied, and still very relevant.

Played by Scandal‘s Kerry Washington, Anita Hill is a sympathetic woman who did what she had to do in order to pursue a career in her chosen field, but who also has strong principles she cannot ignore when this man she was harassed by is given the chance to join the highest court in the land. She takes a little urging to come forward, but she refuses to lie even before that, and she does believe Clarence Thomas (Wendell Pierce, Treme, The Odd Couple) doesn’t deserve a job on the Supreme Court and should be stopped.

Despite it being clear where the writers think the truth lies, Confirmation does a pretty decent job of showing the different viewpoints various individuals involved have, providing a more complex story than the above description indicates. There are the female staffers like Ricki Seidman (Grace Gummer, Mr. Robot, The Newsroom) and Carolyn Hart (Zoe Lister-Jones, Life in Pieces) who are frustrated at the limitations their bosses follow. There are the white men on the judiciary committee like Joe Biden (Greg Kinnear, Little Miss Sunshine), Ted Kennedy (Treat Williams, Chicago Fire), Jack Danforth (Bill Irwin,Interstellar), Orrin Hatch (Dylan Baker, The Good Wife), and Alan Simpson (Peter McRobbie, Lincoln) whose own actions and political positions color how they see the situation, and whose race and class makes it hard for them to fully understand all sides. We see Thomas’ wife, Ginni (Alison Wright, The Americans), and how she believes what she has to. And there are others, played by the likes of Eric Stonestreet (Modern Family), Jeffrey Wright (Boardwalk Empire), Malcolm Gets (Caroline in the City), Erika Christensen (Parenthood), Kimberly Elise (Close to Home), and Jennifer Hudson (Dreamgirls) that each bring a little something to add to the overall picture, too.

So while the movie itself is, at its core, quite biased, because of a very strong cast and good writing, the characters make the world seem more complex. It isn’t quite as straight forward as it might be. Add to that a very strong message of gender equality, how the race card can be misused, good historical context, and an empowered hero, and the result is something that, while not the most entertaining film made by this network, feels important and engaging. Because of what this movie says about our society, past and present, it is worthy of our attention.

The extras are sadly few and shallow. There are one-minute interviews with Kerry Washington and Wendell Pierce, and a thirteen-minute series of quick bios about each of the major players. That’s it. I really wish some documentary-style featurette were present to talk about the real events and the consequences of them, but that is left to a sequence in the end credits that, while satisfying for the viewing of the feature, is disappointing in fully fleshing out what Confirmation is. What’s missing most is a discussion about the angle that the movie takes and why that choice was made, as well as why other directions were not gone in.

Still, it’s a good film, so check it out. Confirmation can be bought digitally now, and will be out on disc on August 2nd.

AMERICAN ODYSSEY Too 'Merican

Article originally published AMERICAN ODYSSEY Review on Seat42F.


If you like semi-political thrillers, thought Homeland was just a little too complex and conspiracy-driven for you, but 24 is too action-packed and flat, then NBC has you covered with AMERICAN ODYSSEY. Set in the Middle East, Africa, and the United States, it has shady government agencies, murdering terrorists, and secrets that must be exposed for the good of the public, chock full of dangerous villains and noble heroes. Is it all too on the nose, though?

Were AMERICAN ODYSSEY the first program of its kind to the table, it might stand a chance at being something worth watching. The problem is, not only are there already a plethora of choices out there, but this one doesn’t rank near the top in quality. If you want a show like this that will keep you guessing, watch Homeland. If you like spy games, check out The Americans on FX. If you want to see a government that keeps secrets, well, The X-Files should be back on the air in the fall. All of this makes American Odyssey pretty unnecessary.

The plot is extremely formulaic. As we are introduced to the various stars, there are several scenes early in the pilot to introduce the factions and get things moving. Multiple bits in a row basically feature one of the leads running into someone they know but haven’t seen for awhile and learning something vital from said acquaintance. The first time this happens seems hokey; by the third instance in less than ten minutes, I was completely out of the story and marveling at how American Odyssey may know what pieces to play, but no sense of style in playing them.

The cast is great, but how many new dramas out there can’t boast that these days? Sadly, it takes more than familiar, talented faces to make a show like this worth watching right now, and this one just doesn’t make the cut.

In case you’re still curious, though, there are really three leads in AMERICAN ODYSSEY. The first, Odelle Ballard (Anna Friel, Pushing Daises), is the lone American survivor of a security force massacre conducted by military contractors, trapped far, far from home. Her husband, Rob (Jim True-Frost, Treme), and daughter, Suzanne (Sadie Sink), are told she is dead. Luckily, Odelle finds some assistance in the form of young Aslam (Omar Ghazaoui), who helps her evade the man who just missed killing her, Frank Majors (Adewale Akinnuoye-Agbaje, Lost).

Activist Harrison Walters (Jake Robinson, The Carrie Diaries) won’t let the public go on believing Odelle has been lost because he knows those no-good officials are up to their wicked schemes and is determined to stop them. Getting a tip from hacker Bob Offer (Nate Mooney, It’s Always Sunny in Philadelphia) and assistance from reporter Ruby Simms (Daniella Pineda, The Originals), Harrison is soon hot on the trail of Colonel Stephen Glen (Treat Williams, Everwood) and the others.

Thirdly, Peter Decker (Peter Facinelli, Nurse Jackie) is a lawyer who realizes something is up when a firm he is working for makes some strange moves. While Peter’s wife entreats him not to do anything rash, comfortable with the life they live, Peter is just too noble to look the other way, soon getting himself involved in the plot. He’d better be careful, though, because he has a daughter, Maya (Elena Kampouris, Labor Day), to look out for.

If all of that sounds a little too melodramatic, that’s because AMERICAN ODYSSEY is a little too melodramatic. It takes itself a hair too seriously, and tries too hard to sell its product. The fact that the show was retitled AMERICAN ODYSSEY when it was originally just called ODYSSEY basically tells you what you need to know about the direction the production is going in.

Which is too bad. NBC could use a good, strong political thriller with a sprawling cast like this, just one that is written and developed at a little higher quality. AMERICAN ODYSSEY isn’t bad, but it’s not great either, and with plenty of superior options, it doesn’t make enough of a blip on the television landscape.

AMERICAN ODYSSEY premieres this Sunday at 10 p.m. ET on NBC.

White Collar's fourth season is now "In the Wind"

Article first published as White Collar's fourth season is now "In the Wind" on TheTVKing.

USA's White Collar completes its fourth go-round this week with "In the Wind." Reese (James Rebhorn) warns Peter (Tim DeKay) not to trust Callaway (Emily Procter, CSI: Miami), who apparently is in the pocket of Senator Pratt (Titus Welliver, Lost, Sons of Anarchy). Since the FBI is closing in on the evidence box in the Empire State Building, and Peter doesn't think he can get around Callaway professionally, he asks Neal (Matt Bomer) to cross the line and get the evidence himself.

"In the Wind" is an action-packed episode. There is a death by shooting, a couple of twists, some running around, and an escaping blimp. There's subterfuge and betrayal, all in a gorgeous location shoot. All of this is very exciting, especially when the evidence is kept out of Callaway's hands in an original way.

But the best parts of "In the Wind" are the emotional moments. Most obvious is that involving the relationship between Neal and his father, James (Treat Williams). Mozzie (Willie Garson) never quite trusts James, and so viewers may be inclined to look at him with suspicion, too. Even as we hope that James turns out to be the innocent man he claims to be, for Neal's sake, we see the signs that everything he says is not on the up and up.

In the end, it's not finding out that James is guilty that hurts. It's the fact that James is not a good guy nor dad, refusing to stick his neck out for Neal. It's understandable that James doesn't want to risk going back to prison, but after all of the pain he has caused Neal throughout his life, when Neal begs him for a favor, and this favor is selfless, James should definitely comply. He doesn't, and I feel like this is the end of their emotional journey as father and son. James can never really return to Neal (even if the actor guest stars again), and Neal can never forgive his father.

The favor that Neal asks is to clear Peter's name. James kills Pratt in self defense, but Peter takes the fall for it. The evidence is damning against Peter, and the way it plays out actually feels smart, rather than contrived. Neal very much cares for Peter, and has shown that he will do almost anything for him. Neal is even willing to sacrifice his own father for Peter, which proves once and for all the level of affection between them, despite the sometimes rocky story.

The only thing that feels slightly off in this James-Neal-Peter arc is that Neal seems to suddenly regard Peter as a father figure. Sure, Peter is older and has authority over Neal. But I've always seen the two as best buddies, rather than mentor-mentee. They work in unison, not necessarily as a superior and an inferior. The power shift drawn here is a little weird.

Also, when Peter makes dinner plans with Elizabeth (Tiffani Thiessen), you just know something is going to happen to prevent the date. Usually, White Collar isn't this obvious, so it's a shame a move is telegraphed here, even if the way the story shapes up takes awhile to become clear.

Neal not only gets to connect with Peter and James, but he also has a wonderful scene with Sara (Hilarie Burton) in "In the Wind" in the Empire State Building. The relationship between them has been a highlight of the series, and there is definitely something real that works for the pair. Neal gets to confess his feelings in a very authentic way, even while performing a mission, and she responds to them. It's a shame the show is sending her off to London instead of keeping her around. "In the Wind" feels like a sad, but very well written and performed, ending for the couple.

I am not yet ready to cast judgment on Callaway. I miss Reese as boss, to be sure, despite the small role he usually plays. But Callaway seems like she just might be on the side of justice, and changes the dynamic in the White Collar Division in an interesting way. The evidence Reese brings to Peter makes her look bad, but not so bad that it can't be explained. She does try to keep Pratt away from the evidence that will take him down, and so I think there could be some redemption for her next season, should she stick around.

Ah, next season. I hate when Peter is away from his job, but a murder trial is too rich to just skim over. Let's hope White Collar delivers the goods in this arc, rather than cutting it short, as it sometimes, but not always, does with longer plots.

White Collar will return next fall to USA.

White Collar goes into the "Family Business"

Article first published as White Collar Season 4 Episode 11 Review on Seat42F

Grade: 89%

USA’s WHITE COLLAR resumes this week with “Family Business.” When we last leave our heroes (back in September’s fall finale), Peter (Tim DeKay) and Neal (Matt Bomer) are beginning to rebuild their trust, and Neal finds out that the man he believes to be named Sam is actually Neal’s father, James (Treat Williams). Plus, there’s the little matter of bringing Ellen’s killer to justice, who Neal believes to be Dennis Flynn.

WHITE COLLAR flirts with larger arcs from time to time, but mostly sticks with a case-of-the-week format. I want to complain, because I hate procedurals on principal. Yet, WHITE COLLAR manages to pull off these cases with great skill, often integrating them into the larger story, which keeps them from being dull or feeling all the same. They’ve been successfully doing so for years now, and the most recent installment is no exception.

 For instance, in “Family Business,” Neal and Mozzie (Willie Garson) go undercover with the Flynn family. The duo fakes booze and special bottles for the booze to go into, with the clear understanding that the episode will end with the bad guys being arrested. This is totally in keeping with the expected formula. However, the fact that the Flynn family is very involved in Neal’s back story, and Neal is intent on pinning more than just counterfeiting on them, to Peter’s displeasure, the caper means something more than just going after a random criminal.

Now, don’t get me wrong; WHITE COLLAR knows how to make a con interesting. Even were the Flynn connection not present, I’d enjoying watching Neal and Mozzie work together, especially when getting drunk while concocting a fake whiskey. Their chemistry is highly enjoyable, and the writing for them is smart. I’m just saying, it means more when things go a little deeper.

The trust does seem to be mostly restored between Peter and Neal this week, which is a slight disappointment. Previous episodes develop a huge gap between them, their partnership badly wounded, which finally begins to heal a bit in the previous episode. This one takes place pretty much right after the last, but because of the months in between air times, the writers probably assume we’ve forgotten just how precarious the relationship is when last we see them. I have not, and I’m sure I’m not the only one.

We can tell that Peter trusts Neal again because he lets Neal go undercover, even though Peter knows Neal is too close to be at the top of his game, and the agent doesn’t automatically call things off when Neal crosses a line. Yes, Peter is ticked off, as usual. But when Peter stopped trusting Neal, he kept a tighter leash. Seeing Peter give Neal a little more slack is a sign that things are normalizing between the pair. This is what I want, what all fans are hoping for, but it comes just a little too easily.

“Family Business” addresses the bond between Neal and James. Now that James’s secrets are out in the open, the two can begin to talk honestly, and decide if they want to have a relationship. James definitely does, but Neal isn’t so sure, not in small part because he feels conned by James since James let his son believe that he was Sam.

How James begins to make up for this, and what James reveals about the crime he is accused of, I will not spoil. Suffice it to say, this episode does have some flashbacks that satisfactorily keep James from being a total scumbag. There is a door left open that I would like to see Neal walk through that leads to a real father-son style relationship. If WHITE COLLAR chooses to go there or not, well, that remains to be seen. At least it hasn’t been shut down right out of the gate.

“Family Business” is a good way to come back, catching us up on the bigger arcs, giving some family drama and mythology to the major characters, and still delivering a fun con job that results in a bad guy being taken off the streets. That last bit isn’t a spoiler; it happens in just about every episode of the show. This is WHITE COLLAR in good form, the way it’s best enjoyed.

WHITE COLLAR airs Tuesdays at 10 p.m. ET on USA.

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A "Vested Interest" in the success of White Collar

USA's mid-season finale of White Collar is not what I expected. Recently, White Collar finales have been marked by huge events, with a normal case-of-the-week disappearing in favor of larger-scale plots. Last night's, "Vested Interest," is a typical story, with a one-shot bad guy that must be caught. However, that can be overlooked because the episode does something important. It makes major progress on the trust that has been missing between Peter (Tim DeKay) and Neal (Matt Bomer).

Over the first two years of the series, this central pair build a lasting bond of friendship. In season three, this is put at risk because Neal is complicit in Mozzie's (Willie Garson) theft of the stolen Nazi treasure. This leads to Peter becoming regularly more suspicious of Neal. Peter stops confiding in Neal about things that he should, which makes Neal wary in turn. They still care a lot about one another, but they no longer have that unspoken relationship that pulls them together so strongly, and it looks like they may soon split completely.

"Vested Interest" does a lot to heal that. Much credit can be given to Peter, but then, we've already seen Neal stick his neck out for the other guy before, so it doesn't feel one-sided. Peter actually feels bad for how he has been handling the situation with Sam (Treat Williams, Everwood), so he sort of extends an olive branch. Neal bats it away at first, but realizes that Peter's instincts are usually correct, and so chooses Peter's side over Sam's. This is what finally allows them to heal the relationship.

Does that mean that things between Neal and Peter can get back to normal? What is normal for them? Their closest phase lasted only a short time, and considering the origins of their partnership and the still-missing treasure, there will long be a gap between them that can not be completely bridged. I'm not saying that, at the end of the series, we might not finally see complete trust. I'm saying, given the circumstances, that will be very hard to come by. As much as I like seeing them get along, it makes White Collar more interesting that they don't always.

As for the main meat of the episode, a story where Peter and Neal attend a conference where the inventor of a super bullet proof vest (Pawel Szajda, Generation Kill) is almost kidnapped, it works. It's definitely one of the more entertaining episodes, with Neal and Peter giving a public talk about their partnership with a moderator (Ned Eisenberg, Law & Order: SVU), and a thrilling shootout. Neal wearing the vest sort of cheapens his rescue efforts, but it works pretty well.

"Vested Interest" does end with a bombshell. Neal learns that Sam is actually his father. Was this man a crooked cop? What can he do to make up for missing most of Neal's life? Will he stick around as a recurring character for years to come, the preferred development, or will he soon be killed off or disappear again, the more likely scenarios? There are plenty of questions here to ponder.

White Collar will return to USA to finish its fourth season in January.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted on TheTVKing