ONCE UPON A TIME Is All About "Family"

Article first published as ONCE UPON A TIME Review Season 4 Episode 6 Family Business on Seat42F.

Tonight’s installment of ABC’s ONCE UPON A TIME, “Family Business,” starts well enough, but quickly goes downhill by the halfway point. As everyone searches for the elusive Snow Queen (Elizabeth Mitchell), we see some of Belle’s (Emilie de Ravin) backstory, which sparks behavior in her that is not at all in keeping with her character. The Snow Queen’s mission, too, is revealed, but again, doesn’t quite make sense.

Let’s start with Belle. Introduced as a match to the animated version, Belle is a sweet woman who believes in the goodness of people above all else. “Family Business” finds her desperate to remember her mother’s (Frances O’Connor, Mr. Selfridge) death. This mission takes her to Arendelle and an encounter with Anna (Elizabeth Lail), Oaken (Darcey Johnson), and Grand Pabbie (John Rhys-Davies). Then, the Snow Queen shows up and Belle puts her memory before Anna’s life, allowing the Snow Queen to capture Anna.

One might argue that this experience is what makes Belle so good. Maybe this one mistake is why she learned her lesson and went straight, becoming hero-like, if not a full-blown hero. That would actually make sense. Except, in present day Storybrooke Belle lies to Elsa (Georgina Haig) and Rumple (Robert Carlyle) about knowing Anna. This is not something our Belle, who holds Rumple to a very high standard, would do. Then, she compounds her sins by using the dagger to control Rumple, again, breaking character completely.

Now, bad Belle is a device that moves the story along. Because of her, we find out the Snow Queen’s purpose. But that doesn’t excuse poor storytelling. There are any number of ways the same information could be conveyed without ruining arguably the show’s purest character, and that makes “Family Business” a huge disappointment.

The Snow Queen’s end game is also not befitting the character. In this episode, we learn the Snow Queen’s desire is to have the residents of Storybrooke turn on themselves and kill each other off until only she, Elsa, and Emma (Jennifer Morrison) are left alive. She thinks Elsa and Emma could then replace her departed sisters and the three could be a family. Yet, the Snow Queen sees in the flashback story that just wanting a family doesn’t make it so. How can she possibly believe that Elsa and Emma will want to be with her after everyone else dies? Even if the three are alone together, the girls would likely turn on their elder.

The dark magic introduced in ONCE UPON A TIME, the Snow Queen’s malicious mirror and the Sorcerer’s hat, are solid parts of a good story. I like them both and think they could be well used in the narration. Instead, making them part of this ill-begotten twist, they are tainted and probably won’t end up being what they should be. They present danger, but ignore the obvious threats they possess.

I’m confused about the prophecy surrounding Emma. The Snow Queen found Emma a long time ago and is dropping hints to remind Emma of this, presumably so Emma will remember how much she liked the Snow Queen and they can be a family again. But why take the memories away at all? And why didn’t the Snow Queen keep Emma when she had her? Why come back now? It just doesn’t seem like these pieces will come together satisfactorily.

We’re also left to wonder about Anna. Is she in Storybrooke? Is she back in Arendelle, still locked in the dungeon? What happened to Elsa in the meantime? This is too many questions posed for a story that has robbed me of my confidence in a comprehensive ending.

“Family Business” is not without its good parts. Regina (Lana Parrilla) telling Robin (Sean Maguire) she may not be able to save Marian (Christie Laing) is a rich scene, full of interesting pathos. Hook (Colin O’Donoghue) joking that everyone in Storybrooke is related is funny and right on the money. But these small gems aren’t enough to save this dud of an episode. ONCE UPON A TIME is not doing well with its exposition or the structure of its arcs, and those are to very important, vital elements of the show.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

THE GOOD WIFE Delivers a "Message" of Excellence

Article first published as THE GOOD WIFE Review Season 6 Episode 7 Message Discipline on Seat42F.

“Message Discipline” is yet another fine installment of CBS’s THE GOOD WIFE. Alicia (Julianna Margulies) struggles to be a politician, something she is not accustomed to and maybe not suited for, in order to keep a new opponent out of the race. Meanwhile, Cary’s (Matt Czuchry) legal woes face several ups and downs.

First, Alicia. Told that a popular commentator, Frank Prady (David Hyde Pierce, Frasier) is thinking about running against her and Castro (Michael Cerveris), Elfman (Steven Pasquale) encourages Alicia to get out in front of this and stop it. Alicia tries, awkwardly asking for Prady’s endorsement and screwing up a softball interview. In the end, she fails in every encounter with Prady, other than the final one, and he is now a very real threat to her candidacy.

Prady is an interesting character because he is introduced as so nice and likeable, but is actually a sleazy politician. The kind face is just a public image he puts up, and while it may not be obvious to the viewer what Prady is doing, Alicia figures it out, calling him on his crap late in “Message Discipline.” Someone who can rally legions of fans behind him but also plays the game makes for an excellent politician, at least so far as running for and winning office goes. It also makes for a dangerous foe for Alicia, though, who has so far only had to deal with the openly-despicable Castro.

Castro exposes himself for the villain he is this week. Finn (Matthew Goode) goes after Cary on behalf of Castro and the DA’s office, introducing new evidence that makes Cary look hella guilty. However, when it becomes clear in the course of the investigation that Cary is innocent, Finn wants to switch gears. Castro refuses to do so, indicating he really is after smearing Cary, and by extension, Cary’s partner Alicia, rather than fighting for justice. Castro is a weasel of the worst kind, and when confronted with undeniable proof of this, Finn quits. He has to.

Finn has been a wonderful addition to the cast of THE GOOD WIFE and his sudden unemployment frees him up to take a bigger role. He talks of opening his own firm, possibly in Alicia’s building, and that is one way to go. A better way might be to somehow get him hired on. He and Alicia have a flirtation, and if he is hired, she would be his boss, basically putting Alicia in the opposite position from where she was with Will. That, and the pathos that goes with that, I’d like to see.

Speaking of the offices, it is extremely weird to be back in the Lockhart/Gardner space. I understand the reasons for it, but as I mentioned in past reviews, it feels like a rare step backward for the series. The setting needs to undergo a major redesign quickly to avoid this.

Back to Cary, I’m gratified to see that the case against him falls apart, thanks in large part to Kalinda (Archie Panjabi). Unfortunately, the witnesses who can clear Cary’s name are murdered, not an unexpected happenstance, and Cary goes right back to square one. Now, he doesn’t have Finn, a righteous man, on the other side, though, and so Castro will likely come at Cary ever harder, completely undeserved. This is depressing because one wants to believe that our legal system works and truth will win. But it does make for some excellent drama television, constantly keeping the audience guessing what will happen as fortune shifts back and forth rapidly.

I’m not sure I completely buy the strong pull between Kalinda and Cary in “Message Discipline,” the one weakness in the hour. Last time they are dealt with as a couple, Kalinda hooks back up with an old girlfriend to help Cary. Isn’t he still mad or jealous? Has he forgiven her so easily? They do make a hot pairing so it’s something I’d like to see again. Except that would lead to Cary breaking his parole again and landing in very hot water, which he doesn’t need.

Things are chaotic in Peter’s (Chris Noth) office, too. He hires Ramona (Connie Nielsen, The Following, Boss), who quickly establishes herself as a voice opposite Eli’s (Alan Cumming). Unfortunately for Eli, Ramona is smart, not like the bimbos Peter has gone for in the past, so she won’t be easy to get rid of, especially once Peter starts sleeping with her, which seems a foregone conclusion. Who will this dynamic shift hurt more in the long-run: Peter or Eli?

I may lament Cary’s troubles, but they don’t necessarily have to be over yet. The Cary / Kalinda / Diane (Christine Baranski) side of the episode pairs nicely with Alicia struggling to stay afloat and the chaos in the governor’s office. All together, they make “Message Discipline” another great episode in the larger arcs of the season, forgoing a case-of-the-week, as the series thankfully often does.

THE GOOD WIFE airs some time on Sunday nights, depending on when CBS finally stops worshipping football above all else for the day. Yes, I’m still angry about the network’s poor treatment of an outstanding program, even if stupid sports is how they make money, and football overruns actually raise THE GOOD WIFE’s ratings.

"Slabtown" Full Of THE WALKING DEAD

Article first published as THE WALKING DEAD Review Season 5 Episode 4 Slabtown on Seat42F.

AMC’s THE WALKING DEAD finally shows us what happened to Beth (Emily Kinney) this week in “Slabtown.” Beth wakes up in a hospital run by not-completely-altruistic people. She is told she will need to work off what she owes, payment for services rendered, before she can leave. But after just a day or two, she begins to see the dark side of the place and isn’t all that sure she’ll ever be allowed to go back to her friends.

The only main character seen in “Slabtown,” other than a brief cameo at the end which we’ll get to, is Beth. THE WALKING DEAD has presented this type of hour on many occasions, and often, they are among the best since the installment is able to dig a little deeper on a single person, rather than having to split its time. But this can also be frustrating because we want to know what is happening with everyone else. When “Slabtown” doesn’t get Beth back to the others, promising at least a little more of Beth solo, it’s not quite as expected, though still a good episode overall.

We see a growth for Beth in this one. In THE WALKING DEAD as a whole, Beth has gone from meek daughter to Walker-killer. In “Slabtown,” she has a mini-arc, from cowed patient to a woman who stands up for herself and will willingly take a beating to help others. At first, she has to get the lay of the land, so she can be forgiven for her passive behavior. But by the end of the episode, we see a Beth that has earned her place in the main group, and one that no longer seems quite so expendable in the cast.

There are a number of others who populate this episode, which makes it not completely Beth-centric, but add to the world Beth is in, making it a little different than past single-character installments. Some of these people are good and some are bad and some are in between, but they’re an interesting makeup of a group, one THE WALKING DEAD has not seen before.

The hospital is run by Officer Dawn Lerner (the great Christine Woods, Hello Ladies, Perfect Couples). She’s tough, too tough, yet we also get to see the reason behind that, a woman very much struggling to hold together a failing system. This makes Dawn a great villain, one created by circumstance and weakness, not malice. Dawn’s biggest problem is that she is in denial about the current reality, and wants to keep living life the way it used to be. To do this, she makes too many compromises to keep people playing her game. Dawn will surely be back on the show again, and I’m curious to see if there’s any hope for her; I doubt it, since she’s likely to double down on her current course, even though she knows it’s not working.

More straight-forwardly evil is Officer Gorman (Ricky Wayne, Real Steel), a creep and probable rapist. Unlike Dawn, who will never be a Big Bad but does get to stick around, Gorman dies in “Slabtown,” which is as it should be. Had he lived any longer, he definitely would have forced himself on Beth, as he is already trying to do, and while rape is expected in this world, no one wants to see a beloved character undergo it.

Beth’s one friend in the place is Noah (Tyler James Williams, Everybody Hates Chris, Go On), the janitor. He tells her the truth, unafraid of being caught and determined to get out. This is a kindred spirit for Beth, someone brave and dedicated to escaping the prison. They work together to get out and Noah manages to, even if Beth doesn’t. I hope we see him again as he’d make a fine addition to the company.

Noah’s plot gives me a theory about who Daryl (Norman Reedus) has in the woods last week. Might it be Noah? Daryl is following a car to the hospital so he’d be around that area not long after Noah escapes. Maybe Noah can tell the group what has become of Beth and how horrible the hospital is and Rick (Andrew Lincoln) will lead an assault to rescue our missing girl.

This theory also works with the end of “Slabtown,” which sees Carol (Melissa McBride) end up in the hospital, too, injured. She looks like whatever happened to her is survivable, and her presence here explains why she isn’t with Daryl. Although an alternate theory is that Carol purposefully got hurt to get inside to rescue Beth while Daryl (and possibly Noah, who’d just have time to meet them prior to this) are waiting outside to provide support.

But those are just theories. We’ll see.

The final important character in “Slabtown” is Dr. Steven Edwards (Erik Jensen, Gravity). He positions himself as an ally to Beth, protecting her from abuse, but he also plays by Dawn’s rules, content to be terrorized a bit in exchange for protection. He’s a wimp and he knows he won’t survive on his own, so he stays here, thinking it better than the alternative.

One can understand why Beth ends up not liking Dr. Edwards, who kills to keep his position, but should he himself be murdered? The end of the episode has Beth headed towards stabbing him until Carol is brought in and distracts her. I get that Beth is potentially saving other lives, should another medical professional be brought in that Dr. Edwards would kill, too, but he helps a lot more than he hurts, and Dawn would take serious revenge on Beth for the act. Shouldn’t Beth stab the cop first?

That’s really my only gripe in an interesting episode. It’s not the best single-character story, but it is one that fits well with this part of the series, which will contain other mini-arcs before the characters get to D.C., and it gives us another side of Beth, one which earns viewer respect. Plus, Noah is a welcome addition.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

ELEMENTARY Has Good "Enough" Characters

Article first published as TV Review: 'Elementary' - 'Enough Nemesis to Go Around' on Blogcritics.

I’ve almost given up watching CBS’s Elementary on multiple occasions. It’s not that the show is bad; I do find it enjoyable. It’s just that it far too often is a case-of-the-week procedural, something CBS airs a lot of. When the story plays out basically the same week after week, I get bored and lose interest, especially with the plethora of high-quality programming on cable networks, and a limited amount of time to watch television. I tend to prefer writers that stretch themselves and tell an original story.

The reason I stick with this series, however, even when there’s a string of repetitive drivel, is because the characters and the actors playing them are just so darn good. Few would dare criticize Johnny Lee Miller’s take on the emotionally damaged, brilliant, socially challenged detective. Perhaps more surprising, though, is Lucy Liu’s version of Joan Watson, who at first seems gimmicky, but has grown into a solid part on her own that deserves equal billing with the great Sherlock Holmes. Add to that some wonderful recurring characters boasting complex relationships with our leads, especially Sherlock’s brother, Mycroft (Rhys Ifans), and it’s hard to turn away from the show.

Last spring’s finale ends on quite the cliffhanger when Sherlock accepts a job in London, presumably leaving behind his partner and housemate, Watson. This week’s premiere, “Enough Nemesis to Go Around,” picks up months later. Watson is now working independently as an investigator for the department, and is none too pleased when Sherlock shows back up, a new protege named Kitty (Ophelia Lovibond, Titanic: Blood and Steel, in which she was also named Kitty) in tow.

The way Liu plays Watson in this episode is extremely impressive. This is a hurt Watson, deeply betrayed when Sherlock leaves without a word. You can understand her desire to have nothing more to do with him, ever.

But even through that, she still has compassion for the broken man she’s played a huge role in putting back together. She sets boundaries so that Sherlock knows what he does is wrong, making him take responsibility for his actions. At the same time, she allows him to come back to work at the department, albeit not as her partner, unable to turn him back out on the street. Liu is able to convey the inner turmoil and layers of this duality and make it look easy.

Joan’s sympathy likely stems from the fact that Sherlock is brutally honest with her. He admits why he left, why he replaced her with Kitty, and why he has come back. He isn’t trying to manipulate her. He really exposes his vulnerabilities, and that gets to her. He still doesn’t deserve everything going back to normal, and you cannot blame Watson for refusing to let that happen. However, she leaves the door open for him, and should Sherlock work valiantly to repair their relationship, which he will because he needs and misses Watson, then some day, they can be friends again.

Given how fond CBS shows usually are of the status quo, this will likely happen sooner than it should. I give it three episodes, max, before Kitty is out and Joan is back to working with Sherlock. It should be more like ten, but for now, I’m trying to just enjoy the delicious drama and tension Elementary is delivering.

Part of why Joan is able to stay as strong as she is, not giving into Sherlock’s demands, is because he helps make her who she is just as much as she has helped him. She is a bit adrift when she first comes to stay with Sherlock. By “Enough Nemesis to Go Around,” she has things so together that she’s become an invaluable police asset on her own. It’s telling that Captain Gregson (Aidan Quinn) only allows Sherlock to return to work with Watson’s permission. Part of that is because Joan has formed close bonds of friendship with Gregson and Detective Bell (Jon Michael Hill). However, emotion would not override talent, and Watson has proven herself quite capable at her job.

At the same time as Joan soars, Sherlock is at his weakest, able to figure out why he is the way he is, but unable to fix it. It’s funny that he tries to mold Kitty into the new Watson, not understanding that what he has with Joan is not something that can be copied. There is an ineffable quality to their relationship, and in typical Sherlock fashion, he only concentrates on the quantifiable qualities, which is why he fails to bond with Kitty in the same way he has with Watson. One day, he will have to learn better.

Elementary would be smart to remember how good the dynamic is between Sherlock and Watson in “Enough Nemesis to Go Around.” Their chemistry is ever-changing and they play very strongly off of one another. These are two personalities that belong together, but aren’t yet a perfect fit. The character-study aspect of the series is one of its best elements, beautifully developed. With Liu and Miller helping shape them, this is a duo I’ll keep watching for years to come.

Elementary airs Thursdays at 10 p.m. ET on CBS.

"Edward Mordrake" Haunts the FREAK SHOW

Article first published as TV Review: 'American Horror Story: Freak Show' - 'Edward Mordrake' on Blogcritics.

“Edward Mordrake” is American Horror Story: Freak Show‘s two-part Halloween episode, airing last week and this one. In it, Edward Mordrake (Wes Bentley, The Hunger Games, American Beauty), the ghost of a circus man-gone-mad, comes to Jupiter to evaluate the freaks that make up our cast, intent to kill one of them to join his damned crew. His troupe will not accept just anyone, though.

In a character-driven series, this is a great device to delve deeper into the backstories of many of the players. With each of the freaks Edward encounters, he makes them tell him their deepest pain, judging whether they are acceptable to join him or not. This leads to some really interesting revelations, as well as phenomenal performances, something the FX anthology show is known for.

In part one, the best actress award goes to Kathy Bates. Her Ethel Darling is a transformative role for her in an already celebrated career, understated and underused until this point. Ethel is ready to die, having gotten news from her doctor that she’s got terminal cancer, drinking to speed up the dying process while she tells Mordrake’s story to the troupe. But in spilling her own tale to Mordrake, she realizes she wants the short time she has left and she begs for mercy. Mordrake doesn’t take her, but Bates takes our hearts in a compelling, layered performance of a woman facing her own mortality.

In part two, the award goes to John Carroll Lynch as Twisty the Clown. He is delivering a truly creepy character this year, the clown being the only one to really be afraid of in the first four episodes. In “Edward Mordrake,” though, the clown actually speaks and justifies his actions. He is a simpleton who doesn’t believe he’s doing anything wrong. It’s a brilliant take and Lynch sells it, making us feel genuinely sorry for him, as well as happy that he has a place where he is finally accepted when Mordrake chooses him to join the band.

Honorable mention goes to Jessica Lange, whose Elsa Mars has a very dark and very bloody past, and whom actually is accepted by Mordrake before he hears the clown. Elsa is a pathetic character, one whose insecurities make her freakier than those in her show. She is also the one who summons Mordrake, accidentally or not, so there would be a certain poetic justice if she goes with him. She can’t, of course, because Lange’s contributions to American Horror Story are too valuable to write her out four episodes in. But I like that she almost is taken because that feels right.

I would be remiss without also giving a shoutout to this year’s break-out star, Finn Wittrock, who plays Dandy Mott. Dandy has less screen time in “Edward Mordrake” than in previous weeks, but he is the most chilling character in American Horror Story: Freak Show. Seemingly normal, Dandy is as twisted as they come, and his growth in just four episodes, from restless spoiled brat to ruthless killer, filling the shoes of the departed Twisty, has been amazing. We don’t need Twisty any more because we now have Dandy, who may just be ten times worse.

It is sad that Dandy’s transformation leads him to murder Patti LaBelle’s Dora, whose sassy attitude towards him is terrific. We barely know her and she will be missed. But it makes sense for the story.

The other major development in “Edward Mordrake” is that Jimmy Darling (Evan Peters) becomes a hero, single-handedly getting the townspeople to accept the freaks camped on their borders. This arc has been brewing since the beginning, too, with Jimmy intent on showing folks that the freak show performers are just like anyone else. He doesn’t make any headway until he rescues three children from Twisty, but once he does, the attitude change is quick, one father even shaking his lobster hand without flinching. Jimmy has accomplished his original primary goal.

That doesn’t mean Jimmy’s story is done. Like Lange, Peters is essential to American Horror Story, serving as arguably the primary protagonist this season, or at least one of the core few. His bitterness at the police for killing his friend and his budding romance with con-woman Maggie (Emma Roberts), which likely turns somewhat genuine after she sees him in noble action, should keep him busy. But it’s a bold choice for the show to make to wrap up his first plot early and allow his thread to make a significant detour here.

American Horror Story: Freak Show is excellent, fully deserving of FX’s best ratings ever, which it is currently pulling down. I like past seasons a lot, but this one is definitely in the running for my favorite edition. Its characters are excellent and its performers are even better, giving meaty material to actors who deserve it and own it. In the past, I haven’t covered this show on a weekly basis, and admittedly, I did combine this two-parter into one review, but if it stays this good, expect to see a lot more from me on it.

American Horror Story: Freak Show airs Wednesdays at 10 p.m. ET on FX. Its run times vary, so make sure your DVR records the full length, as some weeks have aired almost half-an-hour past 11 p.m. and you won’t want to miss the endings.

"Octopus Head" Shouldn't Make You GRIMM

Article first published as GRIMM Review Season 4 Episode 2 Octopus Head on Seat42F.

Tonight’s GRIMM on NBC is called “Octopus Head” because of the type of Wesen causing trouble in town. Trubel (Jacqueline Toboni) continues to hunt the creature, past the boundaries Nick (David Giuntoli) sets for her, which of course leads her into trouble (yes, I know what I just did there and I am appropriately ashamed). But the killer isn’t the only problem in town as Nick remains without his Grimm powers, which not everyone thinks he should try to get back, and Captain Renard (Sasha Roiz) is dead.

Thankfully, Renard stays dead only a very brief time before his unseen-until-now Hexenbeast mother revives him. Sure, there is something to be said for killing off main characters, and it is an effective tool that GRIMM has yet to use. But the way in which Renard dies isn’t high on dramatic impact, so it’s better that he survives now to die another day.

Besides, Renard is our connection to the European royalty, namely, Viktor Albert Wilhelm George Beckendorf (Alexis Denisof), whom Adalind (Claire Coffee) returns to in “Octopus Head.” Adalind took Nick’s powers in the hopes that Viktor would give her baby back, but since Viktor doesn’t have the infant, that presents a problem. This means Adalind winds up in a dungeon instead of reunited with her child, something that seems totally in-character for Viktor to do to her. I’m sure he’ll let her out again as soon as he has another use for her, but poor Adalind is merely a piece in someone else’s game these days.

Unlike Adalind, Trubel resists any attempt to be a pawn at every turn, refusing to go along with what anyone tells her to do. This streak is noticeable in her before, and on a show like GRIMM, that means it’s only a matter of time before she gets hurt. That happens twice in “Octopus Head,” once when confronting the Wesen she’s hunting, who gets the drop on her, and again when she is kidnapped by Agent Chavez (Elizabeth Rodriguez).

Viewers are not clued into what Chavez’s plans are yet, but since she doesn’t immediately kill Trubel, the girl is probably safe enough for now. When Trubel does eventually get out of the situation, though, will she have learned her lesson? Or will she be as fool-hardy and independent as ever? I get her life up to this point has prepared her for the latter and a quick taming isn’t in the cards. But I also see the way she relates to Nick and Juliette (Bitsie Tulloch), craving their approval, so I hope she calms down before something really bad happens to her, which, since she’s not a main character, could be her fate.

With Trubel out of action, Nick needs to be a Grimm again more than ever, but it’s no simple task to restore his powers. Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) are skipping their honeymoon to try to find a cure, but Juliette asks them to hold off, thinking her life might be simpler if her boyfriend was not a hunter of the supernatural. She’s right, I’m sure, but that doesn’t mean she’s making the right decision.

I don’t think anyone believes Nick will stay Grimm-less for long, no matter what Juliette says; the fact that Monroe and Rosalee ignore her request to halt their work supports that. However, I’m more interested in what it will do to Juliette and Nick’s relationship if she doesn’t come around. Things are already rocky between them after Adalind tricks Nick into sleeping with her. Nick ignoring Juliette’s wishes could further jeopardize the union.

Something else in jeopardy is Wu’s (Reggie Lee) place in the dynamic. He knows Nick and Hank (Russell Hornsby) have been lying to him. He has put the pieces together about Trubel, if not the Wesen. He’s clearly getting into the loop one way or the other in the very near future. The question is, will Hank and/or Nick ease him in, or will he force his way in, causing conflict among the main cast? The latter option is more interesting, of course, and seems to be the way GRIMM is heading, but eventually, we’ll want to get to the former so the detectives better quit burning bridges with the under-used officer, who, as a fan of Lee, I’m excited to see take on a larger role.

“Octopus Head” is an episode that moves the larger arcs forward, but doesn’t stand on its own. This is the type of installment I prefer, advancing the story without worrying about a procedural format. GRIMM often does this well, though not always on a weekly basis.

GRIMM airs Fridays at 9 p.m. ET on NBC.

MALEFICENT Not Quite Magnificent, But Jolie Is

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

Disney’s Maleficent, a re-telling of the classic fairy tale Sleeping Beauty with a twist, comes to Blu-ray and DVD this week. Starring Angelina Jolie (Salt, Mr. & Mrs Smith) in the title role, this film seeks to give layers to what has often been a one-dimensional villain, unspooling the story from a different perspective. It’s one that mostly works. I admit to having relatively low expectations going in, despite a friend’s defense of it, which means the enjoyable result is a pleasant surprise.

Maleficent begins with the titular fairy as a young girl (played by Isobelle Molloy, EastEnders). She’s innocent and bold, loving life and the world around her. One day, Maleficent meets Stefan (Michael Higgins), a human. Despite his bad traits, such as a penchant for stealing, the two hit it off. Little does the girl know, though, that Stefan will grow up to be a manipulative man (Sharlto Copley, District 9) who will betray her in order to become king.

This is when Maleficent turns dark, somewhat early in the running time. After her wings are stolen in a moving sequence, her need for revenge is understandable. That she takes it out on an unborn child makes less sense,  but even this wronged version of the character is not one who will murder or maim, so perhaps it’s done in an empty-threat, kick-the-can-down-the-road sort of way. Once Aurora (Elle Fanning, Super 8) is born, though, and sent to live with three inept pixies (Harry Potter‘s Imelda Staunton, Fleming‘s Lesley Manville, and Killer Joe‘s Juno Temple), Maleficent can’t help but be drawn to the child, whom she comes to like and protect, which makes the fulfillment of the curse somewhat complicated.

While not normally a huge fan of Jolie, I don’t think the movie would work in practically anyone else’s hands. The role is perfect for her. Jolie captures the coldness and danger lurking beneath Malefient’s exterior, but also the vulnerability and magic of the part. She plays this evil-looking, yet still gorgeous, witch in a way that never feels scary, and that pairs nicely with the perpetually-sweet Aurora. Make no mistake about it, Jolie is the number one reason to watch this film.

The story itself isn’t bad. It’s a tad simplistic and predictable, while also weak in logic periodically. Yet it’s cohesive and plays out in a way that makes sense for the characters. Fast-paced enough to hold a child’s interest, the material is deep enough for adults to engage with, too, striking that rare balance in a movie that the whole family truly can enjoy.

Maleficent does push the boundaries of the PG rating. There is no cursing or sex, but there is plenty of violence, including some Lord of the Rings-esque battle scenes, which tend to be required for this type of movie these days (though they’re mostly unnecessary in this case). The humor, mostly delivered by the three pixies, who are well-cast with three terrific, somewhat underused actresses, is more silly than edgy, which may be a good thing for the target audience.

The visuals of Maleficent are mostly stunning as presented in 1080p high definition. There are some moments where certain characters are noticeably digital renderings, rather than actors, but the creatures that populate Maleficent’s moor, as well as the world the movie is set in, are beautiful. The pixies are done by blending the actresses’ actual features into animated creations in a very cool way. I only wish a 3D version were to be officially released in the U.S. (Amazon does have a region-free version listed) as this movie practically begs for that added depth, but it’s still a very good presentation. The audio levels are mixed in such a way that action scenes are a LOT louder than dialogue ones, so you do have to keep a hand on the remote. However, the clarity in the DTS-HD Master Audio 7.1 mix is crystal and music and voices coexist nicely when combined.

Maleficent does have a decent amount of extras, too. There are deleted scenes. The ones featuring the pixies better round out the characters than how they are shown in-film, so I wish they hadn’t been cut. There’s a featurette on Aurora, having Fanning talk about her part, which should appeal to young fans. For the older crowd, we see how the movie is made, the creation of the battle stuff, a look at the visual effects, and Maleficent’s costume elements.

While Maleficent is far from perfect, with Stefan making a forgettable villain, it is well-made and much more enjoyable than I expected it to be. It’s definitely worth a watch for the effects and Jolie’s performance, which are both excellent.

Maleficent arrives on Blu-ray and DVD November 4.

"The Magician" Irrelevant to ARROW

Article first published as ARROW Review Season 3 Episode 4 The Magician on Seat42F.

This week’s episode of the CW’s ARROW, “The Magician,” picks up right where last week left off, with Nyssa al Ghul (Katrina Law) standing in Team Arrow’s base, an arrow pointed at our heroes. Fans of the show know why she’s come; her love, Sara, is missing, and Sara is last known to be in Starling City. We also know what happened to Sara, short dead by an archer. Is Nyssa here for justice or revenge?

I don’t think most people believe Nyssa will shoot Oliver (Stephen Amell) or the others, at least without good reason, and it’s clear very quickly she doesn’t believe they did Sara harm. They are Sara’s friends. Plus, Oliver tells Nyssa the truth right away, and offers to help hunt for the killer, since Oliver has already been looking. Nyssa declines, blinded by anger and grief, but it’s not too tense a scene, and kind of a wimpy cliffhanger.

Since Oliver and Nyssa are both looking into the same thing in “The Magician,” their paths can’t help but cross anyway. Much of “The Magician” concerns their hunt for the responsible party, and while they do not find them, tension does eventually erupt between them. Nyssa suspects Malcolm Merlyn (John Barrowman) of being guilty and Oliver steps in to protect him. Now, Nyssa has her father, Ra’s (Matt Nable, Riddick), and his League of Shadows mad at Oliver, which surely will lead to further conflict.

It’s always sad when good guys are at odds with one another. The League of Shadows isn’t completely altruistic; they are a group of assassins, after all. But considering Sara, a likeable, noble character is part of their contingent, they can’t be all bad. With Team Arrow and the League at odds, players who don’t deserve to get hurt very likely will.

Why does Oliver protect Malcolm? He’s a horrible dude who has done horrible things, responsible for many unwarranted deaths. Yet, he is also Oliver’s sister’s father, who steps in to protect Thea (Willa Holland) when she’s in danger. Perhaps Oliver feels that the more people looking out for his sibling, the better? Especially when one of those protectors is as capable as Malcolm? Still, it has to cost Oliver something to stand up for a guy so undeserving, someone who should be behind bars.

It’s really interesting how Thea lies to Oliver about Malcolm. She is angry for a very long time at the secrets Oliver and her mother keep from her. She makes peace with Oliver’s continued evasiveness, given the story he tells her earlier this season, but for her to keep the things she knows about Malcolm from Oliver is a turn for her character. I guess as she moves into that darker realm, training under Malcolm as a fighter herself, she starts to see the need for secrets. Or she’s just lost a bit of her soul and no longer cares. It’s a shame to see Thea go down this path, but it’s also understandable, given what she’s been through.

This does mean Thea probably won’t be getting back with Roy (Colton Haynes) any time soon. Sure, she’ll give him a job, and it’ll be nice to see them working together, but Roy is now a Goody Two-shoes who is honest and always does the right thing. He and Thea have reversed their roles, which means they are still out of sync with one another. They could be destined for a happy ending, but ARROW is nowhere near that point right now.

Speaking of people who have flipped, Laurel’s (Katie Cassidy) behavior is worrying. She still won’t tell her father, Quentin (Paul Blackthorne), that Sara is dead. Neither Nyssa nor Oliver understand this choice, but acknowledge it’s her decision, not theirs. Even with Quentin’s heart condition, though, it doesn’t seem a good idea to keep him in the dark. He’s in semi-regular contact with Sara and eventually he’ll figure out that something happened to her. He’ll be really pissed, then, knowing Laurel has explicitly lied to him about Sara.

“The Magician” is a fun little hunting episode with some decent character development, especially as it pertains to Sara’s death. As usual, the flashbacks in the hour feel completely unnecessary, but that’s a staple of ARROW at this point, so they’re probably not going away any time soon.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

No Need to Meet THE MCCARTHYS

Article first published as THE MCCARTHYS Review on Seat42F.

I usually complain about CBS being the home of the very tired crime procedural, done to death and copied over and over again by the network. In today’s review of their new comedy, THE MCCARTHYS, I get to complain about CBS redoing the very tired family comedy. Does that count as a change-up?

THE MCCARTHYS centers around Ronny McCarthy (Tyler Ritter, John’s other son), a gay man living in Boston. Dwelling very, very nearby are his parents, Marjorie (Laurie Metcalf, Roseanne, The Big Bang Theory) and Arthur (Jack McGee, Rescue Me, The Fighter), as well as his brothers, Sean (newcomer Jimmy Dunn) and Gerard (Joey McIntryre, from the band New Kids on the Block), and his sister, Jackie (Kelen Coleman, The Newsroom). Most of the together-all-the-time, overbearing clan is obsessed with sports, but Ronny and his mother still enjoy The Good Wife together, the family finding a happy balance.

That is, until Ronny decides to upset the balance by accepting a job in New Hampshire. Much of the pilot involves his family trying to make him feel valued so he will stay. I believe viewers will be able to guess the outcome of this, but THE MCCARTHYS does a decent job with the emotional arc that gets Ronny realistically to his decision.

The dynamic of family is both complicated and familiar. Every group has its own chemistry, with each member relating to every other person in a variety of ways. But the overall picture of love and acceptance, even when there is a lack of understanding, is the most traditional, recognized version of this. It’s not always realistic, but it’s what we all wish for and have become very comfortable seeing on our television screens.

THE MCCARTHYS is not a bad example of this. McIntryre and Dunn seem a little weak for now, but are good for a punchline now and again, and may improve in time when they get used to the format. Ritter channels his father, which earns him nostalgia that can only help most of the audience’s impression of him. Coleman has popped up on quite a few shows recently for good reason, as she’s terrific, and McGee is a reliable man. Metcalf, easily the best of the group and certainly the most recognizable, gives the kind of performance we expect from her, making for a decently strong ensemble.

But the writing just feels dated. In a time where Modern Family, About a Boy, and even, to a lesser extent, The Millers, have illustrated that the traditional family unit is no longer the only answer, seeing six individuals biologically linked together might almost be a novelty, if it hadn’t been down six thousand times in the decade prior. Plus, last year already saw the revival with The Goldbergs and others. The gay son is their nod to the present era, but it’s just that, a nod, not a primary focus, which is nice to see, but makes the show more mundane. THE MCCARTHYS doesn’t have anything new to say. Television has moved on from this stock image because it’s been worn out, so resurrecting it now is without benefit to the viewing community.

THE MCCARTHYS is funny; I’ll give it that. I didn’t get bored watching it, and some of the over-the-top stuff that the characters do actually seems genuine to these eccentric personalities. Perhaps there really isn’t a family like them out there, but if there was, this is how they’d be. The characters are consistent and the jokes, while often unoriginal, have good delivery. There are a handful of relatively compelling hooks involving Arthur’s basketball team and Jackie’s secret that ask watchers to tune back in. Which means that THE MCCARTHYS has a chance at finding an audience and sticking around.

I just mourn the loss of opportunity. Why not try something different that we haven’t seen before? Or at least put some kind of new twist on it. It’s good, not great, and when the TV landscape is as crowded as it is currently, full of high-quality, ground-breaking stuff, good is just not good enough.

THE MCCARTHYS airs Thursdays at 9:30 p.m. ET on CBS.

MARVEL'S AGENTS OF S.H.I.E.L.D. Mends a "Fracture"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 6 A Fractured House on Seat42F.

This week’s MARVELS AGENTS OF S.H.I.E.L.D. on ABC runs the gamut of emotion and alliances. The episode, “A Fractured House,” begins with the U.S. government declaring war on S.H.I.E.L.D. after an attack on the U.N., executed by Hydra agents pretending to be S.H.I.E.L.D. Our heroes scramble to clear their names and protect their people. By the end of the hour, though, Coulson (Clark Gregg) strikes a deal with Senator Christian Ward (Tim DeKay, White Collar) that should end their need to hide, unofficially sanctioned once more.

The relationship between Christian and his younger brother, Grant Ward (Brett Dalton), has been touched upon on the show before. Grant talks of Christian as a manipulative bully, forcing Grant to cause pain for their youngest sibling. Christian says Grant is the king of liars, and nothing coming out of the double agent’s mouth can be believed. Who should we trust?

“A Fractured House” does a terrific job of setting up the complex Ward dynamic without revealing too much. We see Grant and Christian talking simultaneously, both telling their side of the story, but their narrations do not match up. The show doesn’t let us know who to believe, though. My inclination is to trust Grant because, despite being evil and insane, he is very insistent that he only speaks the truth, and we’ve known him longer. But Christian is a respected U.S. senator, never having worked for terrorist that we know of, who seems reasonable, even if there’s something in his face that feels off. It’s nearly impossible to know which brother we should be rooting for.

I think it will be very telling when we see how Christian reacts to Grant’s escape at the end of the hour. Christian could come down hard on Coulson, claiming Coulson never delivered the prisoner, thus their deal is void. If he does, that makes him more circumspect, putting personal feelings before what’s best for the country. If he continues to work with S.H.I.E.L.D., helping them hunt down and recapture Ward, then he’s probably a good guy.

I really want the deal to work. S.H.I.E.L.D. has not been in hiding that long and they seem to be able to stay ahead of the game easily enough, but it’s still frustrating. When Christian publicly renounces Hydra, simply saying S.H.I.E.L.D. no longer exists, he’s giving tantamount approval for their continued operations. It’s extremely satisfying to see the group and their hunter, Talbot (Adrian Pasdar), on good terms, and they will certainly be able to accomplish more together than apart. It’s been hard to watch characters we love butting heads with people who should on the right side.

Part of this conflict in MARVEL’S AGENTS OF S.H.I.E.L.D. exposes new villains in the espionage game. S.H.I.E.L.D. agents are lured to a safe house, which ends up being a trap ripe for slaughter. The way the drama unfolds keeps one guessing, never quite knowing what’s going on or who might turn out to be untrustworthy next. That’s a good thing for the viewer, making the show one that begs the audience to pay attention.

At the safe house, we get some really kick-ass combat from May (Ming-Na Wen), Hunter (Nick Blood), and Bobbi, a.k.a. Mockingbird (Adrianne Palicki). As enjoyable as that is, though, I am much more drawn into the relationship between Hunter and Bobbi, which is dealt with during the fight scenes. Hunter backs off from his “she’s an evil witch” stance, signaling he’s probably more hurt than angry with her. Bobbi, on the other hand, is very forgiving. We see why they once worked and why they don’t now, but it seems like there could be a nice balance struck, should she stick around. I hope she does. Not only is she awesome, but their dynamic is entertaining and different than anyone else’s on the show.

The other couple featured in “A Fractured House” is Simmons (Elizabeth Henstridge) and Fitz (Iain De Caestecker). She wants to be there for him, but doesn’t know how, he seemingly getting worse when she’s around. It’s a complex bond, one that can’t be easily sorted out, and while it’s natural to root for them to be together, it’s much more compelling to see them struggle like this, at least for now.

“A Fractured House” is full of great moments, from Ward unbalancing Skye (Chloe Bennet), to Skye tricking Ward, to Ward’s walk of shame out of the base complete with a death threat from Simmons, to May bantering with Hunter in the field, to the intense conversation between Coulson and Christian. A lot happens in the narrative structure, but not at the expense of the characters. MARVEL’S AGENTS OF S.H.I.E.L.D. seems to have found an excellent balance between moving scenes and scenes that move.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.