17 April 2015

Justified — Series End

After six seasons, Justified called time on its run, and it's a damn' cryin' shame, too.

Better to quit while you're ahead, but. Seasons one and two remain the standouts, with this final season a not-all-that-close-but-still-decent third. A bit like its sidewindin' dialogue, the other seasons meandered a little, even repeated itself some, but Harlan County was always a welcome place to spend thirteen hours each year.

The show captured Elmore Leonard's ear for dialogue and eye for character, the guest and supporting characters often stealing scenes and hearts with their tiny and often tragic arcs. I'll miss Damon Herriman's little-boy-lost Dewey Crowe, Duke Davis Roberts' Forrest Gump-gazzumping Choo Choo, and Ron Eldard's foggy-stoner-killer Colt just as much as Marshall Raylan Givens and his nemesis, Boyd Crowder.

Good enough to buy and add to the collection.

15 April 2015

Better Call Saul S01E10

… Is that it? A season ender that is more well-uh…-okay than gosh-gee-I-can't-wait-for-season-two? What just happened? Do I care?

27 March 2015

Powers S01E03

What makes the comic so much fun (and damned good) is the chain-linking of fully realised characters cracking wise as their actions propel the plot.

What makes the small-box adaptation such a disappointment is the absence of believable characterisation (thanks in large part to shit dialogue) and plotting that makes each forty-minute-plus ep feel like eight fucking hours.


25 March 2015

Dirty? Never.

On the local rag was this sissy pants apologising for exercising choice.

When the choice is between Telecom Spark's Lightbox (hey, you remember when you fucked your customers over when you had a monopoly?), or Sky's Neon (why would I give my hard-earned money to this fuckin' cable monopoly?) or Netflix (bringing you Netflix content… except that which has already been licensed by Sky or Spark or whoever the fuck), I'll make my own way, thank you very much.

Because I has internet.

12 March 2015

Powers Pilot (Playstation Network, 2015)

Ten minutes in and they've repeated the backstory for our lead character Detective Christian Walker (Sharlto Copley) what feels like four fucking times.

The dialogue is — there's no other way of putting it — shitty boring-arse exposition, the pacing is slow and meandering, the actors are game, the casting is interesting — besides Copley there's Noah Taylor and Eddie Izzard — and blah blah blah snoooore.

I've read that things don't improve until ep three but ten minutes in, my love for the comic may not be enough to wade through this rubbish.

… I've watched worse, but.

12 February 2015

Bosch S01E01–03 (Amazon Studios, 2014)

The guy who played the antagonistic D.A. from The Good Wife. The guy who played the up-and-coming kingpin from The Wire. The kid from Iron Eagle. A truckload of faintly recognisable character actors. Even behind the camera there's heavyweights from Wire, Homicide: Life on the Street, and Law & Order.

So why is this procedural so goddamned boring? Lead Welliver is stoic in his portrayal; sidekick Hector has fun being a clothes-horse detective partner; Gedrick shines with an understated performance as a serial killer. The supporting characters provide welcome moments of levity and wit that are sorely lacking from the eponymous lead's interactions with everyone.

Could it be I'm so used to Welliver playing dicks that I'm just having trouble buying him as a hero? Or could it be his channelling of Gary Cooper's High Noon performance is just one-note and tiresome?


16 October 2014

The Flash S01E01-02 (The CW, 2014)

The Flash has things I hate in a network show: men with square jaws and women with coltish figures, their average age suggesting recent graduation from the Mouseketeers; and childhood flashbacks requiring child actors to emoting loss, grief, and rage.

And yet…

The lead is disarmingly clumsy and charming while his supporting cast is intelligently characterised, subtly acted, and sharply defined. And those flashbacks… they gave me a lump in the throat, goddammit.

There's honesty in the writing that's connecting with me. Where Arrow is all shadowed clenched jaws and adrenalised high drama, The Flash, with the lightest of touches from the its makers, seems to have really captured lightning in a bottle.