As GLEE hits Season Two, the balance between karaoke and reinventing classic songs has lately fallen into the bland karaoke treatment. And with the latest CD (and digital release) THE ROCKY HORROR GLEE SHOW, we get predominantly karaoke. Good karaoke, mind you, but karaoke nonetheless.
After the “!!!!” moments of last week’s episode “Practically Perfect,” it makes sense that in feels like both DEXTER the series and Dexter the character (Michael C. Hall) are taking a little time to recover from various shocks and plan ahead. A good portion of “Beauty and the Beast” is concerned with Dexter’s dilemma over Lumen (Julia Stiles), the young woman who was captured and tortured by Dexter’s latest target. Problematically for Dexter, Lumen witnessed him killing Lumen’s captor. Dexter tries to nurse Lumen back to health – she’s got criss-crossing cuts all over her back – while trying to figure out what he can do that won’t cause either of them to die. Harry’s shade (James Remar) urges Dexter to kill Lumen, as the number one rule remains “Don’t get caught,” but Harry instead tries to get the wary woman to trust him. When she does, it turns out that Dexter’s victim wasn’t her only tormentor, and now that Lumen knows she’s not going to be killed, she wants payback.
Someone behind-the-scenes at CHUCK must have been paying attention to how much the quality control had been suffering the last couple of weeks and made some drastic changes that got the show back on track. With “Vs. The Couch” we get a Casey-centric episode which finally gives the under-utilized Adam Baldwin some cool stuff to do after being sidelined the last couple of weeks as his character had an “injury.”
Although parts of CONVICTION have no doubt been fictionalized to make a better story, the heart of the film is what in fact happened. When Kenneth (Sam Rockwell) was convicted of a vicious murder and lost his first appeal, his sister, small-town barmaid Betty Anne Waters (Hilary Swank) put herself through law school for the purpose of becoming a lawyer so she could re-open her brother’s case and exonerate him. The entire process took eighteen years.
With gorgeous locations in London, Paris, San Francisco and Hawaii (this last standing in for Indonesia) and the agreeable company of Matt Damon as a tamped-down, but not hopeless man who is trying to change his life, HEREAFTER is quite pleasant. However, one gets the feeling that director Clint Eastwood and writer Peter Morgan (of THE QUEEN and FROST/NIXON fame) had something a bit more affecting in mind, and the movie seldom connects on a fully emotional level. Indeed, it actually generates more intellectual curiosity about the story’s claims of scientific proof of some sort of shared afterlife.
What happens to old CIA (and MI-6, and KGB) agents once they’re put out to pasture? Well, according to RED (the film’s acronym for the status of Retired, Extremely Dangerous), they can lead absolutely mundane lives. Unless of course somebody tries to kill them, in which case, they return to form in no time flat.
Crafted by the Walter (John Noble) on the other side, up until “Do Shapeshifters Dream of Electric Sheep?” the only knowledge of shapeshifters we have seen are unstoppable killing machines that are the only beings (unless a super portal is opened or you have Cortexiphan kids at your disposal) that can cross over into our universe without getting torn into little bits.
After a couple of bumpy weeks, GLEE gets back to basics with a solid story that forces the show choir kids to put on their best “Duets” for a free meal at a restaurant called bread sticks. The competition really brings out the best (and some times worst) in the students, as they all vie for the prize. It also allows the show to focus on the characters themselves in simple and effective ways.
There are only a few shows I look forward to week after week like CHUCK, yet the first part of Season Four has produced three rather lackluster episodes in a row. The show is fumbling. It doesn’t know what to do with the relationship between Chuck (Zachary Levi) and Sarah (Yvonne Strahovski) resulting in silly shtick like (“is our relationship going good?” “Would she marry me if I asked her?”) as opposed to finding quirkier ways of handling these topics that don’t feel as forced.
Bless DEXTER. Five seasons in, it still has the ability to surprise us with twists small and large. In “Practically Perfect,” the show is paying off so many threads already that we aren’t missing the one huge arc of a season-long villain. The show runners have said essentially they can’t attempt to top John Lithgow’s Trinity Killer right away, and that seems a sensible assessment. Instead, they give Dexter (Michael C. Hall) a whole new kind of problem.
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