The "Shameless" Gallagher Family: Waiting for Resolution

By Jeffrey Preis

A pill popping Mother and Father drive around town with their infant on the ground of the backseat; an enraged Father beats a teenage boy up for believing he impregnated his daughter when, in fact, said Father drunkenly impregnated his daughter; another pregnant teenage girl finds out her Mother is having sexual relations with her former Fiancé; and a Brazilian is trapped in a crate on a barge to bypass customs into the country.

For the Gallagher Family, this is any ordinary day. These are just some of the storylines from Sunday’s episode of Showtime’s Shameless.

Most, if not all, of the Gallagher ways are unorthodox, they always remain a tight-knit family unit through each episode, as evidenced in this weeks show with the reappearance of Monica, their Mother. They are a real family and similar to any working class family trying to keep their heads above water, but do so in their own bizarre way. They rely on the chaos and spontaneity of their deadbeat Dad, but they aren’t prepared once Monica reenters the picture.

As Shameless approaches the end of its second season, the character building has subsided and the outrageous storyline has played out in full force. With a cast of eleven actors—and more than eleven different conflicts—the show never ceases to flirt with the line between reality and unbelievable lives.

Monica—Frank’s ex-wife and Mother of the six children—returns in this episode after years of abandonment from her children. Off of her medicine for her Bi-polar disorder and ready to re-enter the lives of her children as abruptly as she left them, Monica moves back in with Frank jumping immediately into their former lifestyle of drugs and alcohol. The younger children can’t understand while the older three siblings have such distaste for their Mother—Monica acts like a good Mother at first, interacting with her Children, making their lunches, and trying very hard to reconnect. She assures everyone that she’s fine and capable of maintaining order—as far as order can be maintained in the Gallagher house.

Fiona, the eldest and responsible for the other five children (and her Dad, Frank), believes with her Mom back in the picture, the possibility of college and work is actually attainable. As Frank tells Fiona, “you only get one mother,” so she lets her guard down at the sight of her younger siblings enjoying their parents together (never soberly) which causes the house to crumble in a matter of days. Monica stole the money from their secret stash of cash—the “squirrel fund”—and spent it on a busted car, gifts for the younger kids, and a plethora of drugs and alcohol.

With only one episode left and so much occurring, I find myself questioning not what will happen, but who’s storyline will play out. The season could have easily ended with Frank appearing on Monica’s door, letting her know his Mother died (how the episode before this week ended). Instead, it kept going and everyone’s conflict seems unresolved.

Throughout the second season of Shameless, it’s become more apparent than ever how this dysfunctional working class family actually wants to have something concrete in their lives—they want a foundation of stability and cling to any hope of it, even if it is their outrageous Mother who left them years before.

In all twenty episodes to date, there has never been a dull moment in this series. This episode didn’t fail to deliver either. Like the Gallagher family, I too depend on the craziness and unpredictability of all eleven characters. Showtime allows a glimpse into a working class family that survives in the most criminal of ways—something a comedy/drama hasn’t done before.

I’m left to believe that Monica will be around for the next couple of episodes (and potentially into the beginning of season 3), since the Gallagher’s now have her to turn to for lunacy. It was definitely a nice change of pace—something different from the usual who’s trying to kill Frank, or which member of the family is dodging the police this week. With Monica off her medication and on a bender with no end in site, the season finale should be filled with drama that can more-than-likely be pointed to their deadbeat Mother—which might be a nice change for you and me, but much to the Gallagher’s dismay.  

"The Descendents" Embodies the Ordinary and the Imperfect Faces of Everyday

By Jeffrey Preis

There are few movies that take place in Hawaii that don’t take advantage of the Eden at hand, playing up the idea of a paradise, problem free lifestyle. During a voice-over at the beginning of the film, Matt King (George Clooney) questions why his friends think that because he lives in Hawaii he’s “immune to life.”

TheDescendants does a beautiful job of showing the imperfections in every family; the tumultuous problems that occur in a lifetime happen to Matt King all at once as he tells his wife goodbye, parenting two children with problems of their own, finding out about his wife’s love affair, and selling off his extended family’s land that dates back to the earliest white settlers and Hawaiian royalty.

It is apparent that Matt has been distant from his wife and children. He’s a successful real-estate attorney who focuses more on his work and only realizes once his daughter, Alexandra (Shailene Woodley), tells him— and after his wife is in a coma—that his wife had an affair with a local real-estate broker (Matthew Lillard).

After hearing this news, Matt leaves his house and clumsily slips on his boat shoes and begins running, rather goofily, down the street. At first it’s unclear where he’s going, if anywhere, perhaps just running from the problems that keep amounting in his life. This scene, which I understand is not atypical of director Alexander Payne, holds some natural truth to it that we’ve all faced—the need to get out.

As the self-proclaimed “backup parent, the understudy,” Matt King must step up as the Father he never was to his 17 and 10 year old daughters when his wife goes into an irreversible coma. After finding out about his wife’s affair, he wants to confront the man to let him know of his wife’s imminent death. Matt’s also is faced with the challenge of selling his family’s 25,000 acre property on Kauai, constantly facing pressure from his comically pushy cousins.

Payne directs scenes—such as Matt fleeing from his house—flawlessly. He makes it almost too recognizable, something most people can relate with directly. The film is about a broken family and the path they take to heal while constantly having to take two steps. Payne focuses on the imperfections in life and maintains this until the final scene in the movie.

It would not be fair to mention the directing without the acting. Together, the movie works wonderfully and each actor did an awesome job of portraying the struggles their characters face. Clooney makes it easy to see the years of disconnect and the obvious fear of Matt examining himself. He maintains a calm but with obvious signs of struggling—something only a seasoned actor might know how to convey. Woodley plays Alexandra whose contemptuous behavior and obvious rejection for parenting are matched by many 17-year-old girls. Every role, no matter how small, fit in perfectly and adds to the intentional slower pace of the movie.

Together, Payne, Clooney, and Woodley score almost perfectly in this difficult theme of bereavement under unique circumstances. Payne focuses on the good and the bad within us, the love and hate, and the emotions that only surface under certain—usually tragic—conditions. The Descendents embodies the ordinary—Matt King—and the imperfect faces of everyday.  

Once Upon a Time: A Step Ahead of Disney

By Brittney Hubbard

Nobody likes when the bad guy wins.  Yet the sweet and misplaced fairytale characters of Storybrooke, Main in ABC’s new fairytale drama Once Upon a Time continue to suffer the omniscient reign of the Evil Queen (alternately known as Regina and played by Lana Parilla).  This has been my main problem with the past few episodes of this show.  But at last, the writers have made a slight shift from the back stories of the characters.  The plot thickens and some characters beliefs are tested: watch to see who finds their faith and whose is set adrift. 

This week’s theme: the power of a broken heart.

Something at one point or another we can all relate to.

The drama begins in the first scene where Prince Charming (alternatively known as David and played by Josh Dallas) and Red Riding Hood (alternatively known as Ruby and played by Meghan Ory) were searching for Snow White (alternatively known as Mary Margaret and played by Ginnifer Goodwin) being chased by the King’s men.  Red assuredly tells Charming to go on after Snow and she’d handle the group hunting them.  Little did he know what she planned to do when she looked up at the moon and took off her cloak? 

We finally see Snow, and I almost wrote the scene off as a typical Disney script.  To my surprise, we see that Rumplestilskin made quite the powerful potion.  It was a potion that Snow drank to make her forget her true love.  But Rumple teaches us that all magic comes with a price, and all medicine comes with a side effect.  Snows potion left her bitter and hateful towards everyone.  Snow was in her cottage humming “With a Smile and a Song” when she reached out to a blue bird and abruptly whacked the bird with a broom! The snarling Snow even managed to tick off the most agreeable of dwarves-- Happy.  The dwarves stage an intervention, which quickly backfired.  That’s when Snow decided to kill the source of her problems- the evil queen.  We see Snow go from trying to kill the vermin in the cottage to taking out the Evil Queen.  Seeing Snow White as such a blood thirsty ravenous killer was hard for my predispositions to swallow and got me questioning who the evil one is now? 

Once Upon a Time is fascinating in that it takes a fairy tale world we thought we knew and makes it more than we ever dreamed. 

Back in Storybrooke, Maine we have a crime on our hands- the murder of David’s wife, Kathryn (alternatively known as Abigail played by Anastasia Griffith).  David and Mary Margaret are both suspects.  Once the evidence points to Mary Margaret, David questions the truth of her alimony.  Combine that with the scene in the fairy tale world where Snow tells Charming she will always find him as they drag him away.  My heart can’t take any more pain for this couple.  Just how many times will life’s forces cause them to forget each other, be separated, and once again have to find one another? 

At the close of this episode there are many answers still to be revealed.  Is Kathryn really dead?  Will all the lost couples ever reunite again? Will good ever trump evil?  But as I reflect on this episode I repeat the words of the Evil Queen (Lana Parilla) in this week’s episode “Having your heart broken can make you do unspeakable things.” 

And I challenge us to think, do you still have faith in the power of love or Once Upon a Time? 

“Smash” Needs a Workshop for “The Workshop”

By Maggie Siu

NBC’s “Smash” started as a perfect balance of theatrical fulfillment and just enough edge-of-your-seat soap opera drama. However, “Smash” fell short in last Monday’s episode. “The Workshop” suffered from romantic entanglements and its failed attempt to make “Marilyn: the Musical” appear disastrous.

The production team of Derek, Julia, Tom and Eileen host a workshop to showcase “Marilyn” for potential investors. Like most important events on TV, everything can go wrong. The overworked air conditioning breaks down. Julia runs out during rehearsal overwhelmed with her emotions. Ivy stumbles over lines in front of the audience and her own famous Broadway star mother. Following Ivy’s errors, Karen ends the show’s performance with a tumble off her stool. In the end, the investors find “Marilyn” unfit for Broadway and the production team is forced back to the drawing board to improve the show.

Six episodes into the series and we have three females leads to root for. But “The Workshop” truly confused me on how to perceive the first female character we were introduced to, Karen Cartwright. In past episodes, Karen has emerged as the hopeful, young underdog we want to like. She uses the flair of sexuality and independence, all the while maintaining her own personal essence.

However, this episode painted Karen as completely naïve or at least in my opinion, really dumb. She finally reaches a break when she impresses hotshot music producer Bobby Raskin. Raskin calls her for a recording session, but she turns down the offer and commits to staying at the workshop that she “wouldn’t miss for the world” to prove her loyalty to the play. Honestly, why would Karen pass up an opportunity to record with a legendary producer only to sit around in the chorus at a workshop?

As for our other well-known protagonist, Ivy Lynn juggles a toxic relationship with Derek the director and a rocky relationship with her estranged mother. Ivy’s mother Leigh Conroy, a cameo played by Bernadette Peters, waltzes into Ivy’ workshop and instantly steals the spotlight with her rendition of Liza Minelli’s “Roses Turn.” While the show does not fully introduce Leigh, Peters actually nails the role of Ivy’s famous mother who tries to dissuade her daughter from Broadway. Ivy digs deep into her role cast as Marilyn Monroe in “Smash,” and we finally see a new side to her when she stands up to Leigh with an admirable speech.

However, this past episode didn’t focus much on Karen or Ivy. Instead, the screenwriters chose to open and close the episode with Julia’s gut-wrenching affair with Michael. Julia’s affair pulls some emotional investment from me because most audiences can probably relate to having to face a former lover. As for the affair, I would have liked to see more background on the two characters. From the first moment Michael Swift walked onto the set, Julia was already doe-eyed for him. There was never any indication of unhappiness in her current marriage or much history behind her past with Michael. It just seemed to happen quickly and this episode also ends it too soon.

Julia has already cheated on her husband twice. Her son Leo witnesses a goodnight kiss between the two, thus more tension is strained on the Julia and Michael affair. Finally, Julia gains some sense to end the affair after observing Michael with his wife and young son. Julia decides to fire Michael from the show altogether as a definite way to avoid seeing him and to prove to Leo she is serious about ending it. All would seem well, but Julia just fired her Joe DiMaggio, the man who had been the male-lead of her play.

The feel of “The Workshop” seemed to get lost in the relationship drama. The episode framed and centered each character’s subplots rather than the play itself. Apparently, the investors and production team thought “Marilyn” was a disaster, but the episode does a poor job on properly portraying it as so. Sure there were a few line stumbles and hiccups in the choreography but the play didn’t suggest anything was completely off. I thought a talented cast, catchy songs and a well-written script could outdo the minimal negatives. Especially since Ivy’s performance stood out, enough to even impress her disapproving mother. I just wish the episode focused more on the actual workshop instead of the relationship antics. After all, every show is capable of dysfunctional relationships and emotional obstacles, but I am more interested in the original story that began “Smash” as a show representing the New York City Broadway scene.

"Parks and Recreation" Finally Finding It's Place Among Workplace Comedies

By Meg Goggans

In the small town of Pawnee, Indiana, a team of terribly clumsy government employees attempt to make their town a better place. Led by deputy director of the Parks and Recreation department, Leslie Knope (Amy Pohler), the show documents her and her co-workers throughout their day to day government duties, often with hilarity and entertainment. Once suspected to live in the shadow of “The Office”, the NBC comedy “Parks and Recreation” may have actually swayed a few “Office” viewers’ loyalties. With a strong cast (other characters include Aziz Ansari, Nick Offerman, and Rashida Jones), this parks department is not only making strides in Pawnee, Indiana, but also as a strong contender in the competitive primetime comedy lineups. 

In Episode 17 of the show, Leslie Knope continues hot on the trail for office in Pawnee’s local elections. Her biggest competitor, the incompetent but wealthy Bobby Newport (Paul Rudd), has hired a Washington pro, Jennifer Barkley (Kathryn Hahn), as his new campaign manager. Leslie’s own campaign manager/boyfriend, Ben (Adam Scott), has a new strategy, “The Grey Vote”, or Pawnee’s elderly vote. Leslie and Ben plan to “Ramp Up Pawnee” by installing electric lifts outside of buildings, but soon find their idea has been stolen by Barkley and dubbed “Rise Up Pawnee”.

Back at the office, it appears the locals have a disgusting habit of placing their entire mouths over the water fountain nozzle. Seeing this as a clear health hazard, Leslie’s best friend and public relations director of the Pawnee health department, Anne Perkins (Rashida Jones), describes this odd problem as “kissing one water fountain drinker, you’re kissing everyone in Pawnee.”

After trying to solve the water fountain problem ends in a water balloon fight and the city’s most underachieving official, Tom (Aziz Ansari), hiding under a desk clutching to his precious suede suit, Parks director Ron (Nick Offerman) agrees that the Parks department could use another hand around the office while Leslie campaigns. April the intern (Aubrey Plaza) unexpectedly comes through with a simple, yet effective, idea to reduce the spit swapping leaving Ron impressed, and making her Leslie’s temporary fill in. 

After another setback with Barkley on local talk show, “Heard with Perd”, Team Knope leaves defeated again. As Leslie notes Barkley’s most impressive attribute being that she has eaten egg salad with Colin Powell, Barkley is clearly more qualified, just as peppy, and well-aware that her candidate and his hokey campaign are beneath her. With her subtle sarcasm, Hahn is extremely well cast as Leslie’s perfect campaign foil.

Though this episode ends in defeat for Leslie, April’s uncanny triumph seems to balance the storyline’s mood and Ron and April’s mentor/protege relationship has served as one of the best chemistries the show has. As a fan of April’s laziness and humorous cynicism, I look forward to her having more responsibility to mismanage while watching her character develop.

Still on the campaign trail, Episode 18 of Parks and Recreation, “Lucky”, opens with the millionth reason why Leslie Knope is awesome: a montage of highly inappropriate campaign outfits, including pleather Sandra Dee style pants with “NYMPHO” branded across the back. Written and directed by Parks’ own Nick Offerman, this episode has the entire cast at the top of their game, reminding viewers why we each character is vital to the show’s brilliant dynamic.

When an interview with an arrogant Indianapolis talk show host (Sean Hayes) is canceled last minute, Leslie, Tom, and Anne decide to ditch the tightly wound Ben and head out for a few flaming tequila shots. Shortly after, Ben calls with seemingly good news: the interview is back on. A very drunk Leslie hurries to the airport for the interview, slurring her speech in an attempt to salvage the publicity opportunity. When the interview goes downhill, the campaign crew hops in Tom’s stretch limo (with its convenient built in hot tub), drive to Indianapolis, and steal back the tape of Leslie’s inebriated rambling. 

Meanwhile in Pawnee, the unsuccessful City Hall shoeshiner, Andy (Chris Pratt) has passed his Women’s History class. In celebration of his P (for pass), Andy, April, Ron, Andy’s teacher Linda (Danielle Biscotti), and city manager Chris (Rob Lowe) go out for a steak dinner. Though April attempts to set up Chris and Linda, Chris leaves early and Linda unexpectedly decides to go home with Ron. At the office the next day, Chris admits he is lonely and plans to ask Linda out and Ron is forced to let him down easy as the two share an awkward man hug, revealing both Chris’ vulnerability and Ron’s often guarded emotion. Here we see Ron Swanson as more than a man about meat, but a man with a heart (perhaps Offerman slid that one in their for his own benefit). 

The episode ends on an uplifting and optimistic note, much different than last weeks end of defeat. Chris’ character becomes more developed, admitting his loneliness, and Ron (pause for reaction) shows compassion. Offerman’s writing and directing has made this episode among the season’s best. Amy Pohler is at her prime and we’re reminded  why many of us watch Parks and Rec: Leslie Knope drunk, hilarious, and ever endearing.

"'Vampire Diaries' Special Liaisons"

By Chelsey Willis

In an episode titled “Dangerous Liaisons,” one would expect deceit, betrayal, revenge, lust and romance among beautifully dressed characters set against a lavish backdrop. Director Chris Grismer and writer Caroline Dries deliver on all accounts in the latest episode of The CW’s supernatural drama, The Vampire Diaries, which has the main characters attending a ball hosted by the Originals, the oldest and most dangerous vampires. There’s a lot to digest in this episode so it’s one not to be missed. While the number of characters might confuse new viewers, it’s a great introductory episode to a show that’s experiencing a creative high.

Based on the book series by L.J. Smith, The Vampire Diaries originated as a simple story about a human girl tangled in the “lives” of two feuding vampire brothers. Over three seasons, it transitioned into a more complex show with more inventive storytelling and characters that continually grow and change. Never a family-friendly show, it’s taken on an even darker, edgier tone that began last season with the arrival of the first Original. Combined, these factors demand a lot from the show’s viewers, but the high level of creativity involved makes watching it a pleasure rather than a headache.

Humans knowingly rub elbows with vampires, werewolves, witches and a few other supernatural beings. Every character and every plotline help to explain the show’s intricately detailed folklore. Nothing is ever random. This show not only tells you the what, but also explains the how and why. It also doesn’t take itself too serious. With Kevin Williamson (Dawson’s Creek, Scream) at the helm, the show nicely mixes fast-paced, witty dialogue and pop culture with big drama, romance and bloody violence. In other words, this isn’t Twilight: The TV Show. Here, vampires actually feed on humans and rip out their hearts, but we still like them.

“Dangerous Liaisons” is the follow-up to last week’s high-drama episode that ended with the bombshell that Esther (Alice Davis), the Originals’ mother and creator had returned. Thought to be murdered by her son, Esther—the original witch—returned not to seek revenge, but to reunite her family. The ball marks their homecoming celebration and everyone in Mystic Falls is invited. Even Matt (Zach Roerig), the show’s token “normal” guy receives an invitation, but it’s clear that after three seasons, the writers still don’t know what to do with the character.

Of special interest to Esther is Elena (Nina Dobrev) whose bloodline is an essential element of the Originals’ backstory. Esther used the blood of Elena’s ancestor when she created vampires. However, Esther’s motives may not be as they appear which arouses suspicion from vampire brothers—and Elena’s suitors—Damon (Ian Somerhalder) and Stefan (Paul Wesley) Salvatore. What follows is a series of events that lays the foundation for the remainder of the season. The episode also explores the shifting dynamics between Damon, Stefan and Elena which began earlier this season when Stefan turned off his humanity—a vampire’s greatest weakness.

Having Stefan’s humanity removed was a smart move by the writers. It brought out Stefan’s dark side (something Wesley clearly enjoys portraying) and forced Elena to grow a backbone. It also allowed Damon to worry about someone other than himself. More importantly, it re-energized the show’s central love story as it pushed Damon and Elena closer together. “Dangerous Liaisons” not only beautifully captures this newfound dynamic, but also turns it on its head when two characters make big emotional breakthroughs.

One of the most surprising developments of the season is the budding friendship between Klaus (Joseph Morgan) and Caroline (Candice Accola) which is front and center in the episode. It’s a relationship that shouldn’t work—Klaus is an Original who destroyed the people closest to Caroline. Yet it does. For weeks, Morgan has chipped away at his character’s tough exterior revealing an insecure, lonely guy underneath which we see again in this episode. Caroline has also grown emotionally after embracing her new life as a vampire. Stronger and self-assured, Caroline has a way of bringing out Klaus’s humanity. It’s a testimony to the writers and actors that we believe (and maybe even root for) this coupling.

The Vampire Diaries specializes in spectacle and the cast and crew deliver in “Dangerous Liaisons,” one of the biggest episodes to date. With the exception of a few characters, the entire cast is featured, but the Originals steal the show. Their presence means trouble for everyone, especially the Salvatore brothers who remain the heart of the show. Questions are answered, secrets are revealed and lies are exposed. Now with the last of the Originals introduced, the season’s next chapter can truly begin and “Dangerous Liaisons” is the kick off to what is sure to be one big thrill ride.

Bittersweet "Revenge"

By Lindsay Paris

“There comes a moment in each of our lives when the control that keeps us sane slips through our fingers…The best way to fight chaos is with chaos”. Gun shots are fired and a body falls face first in the sand.

With catchy intros, as seen above, Revenge grabs the viewers’ attention from the first scene to the very last of each and every episode, that’s smart TV. Many characters have been hated on in previous reviews but, being a huge TV critic, I say regardless to whatever role they might have performed in earlier dramas, each actor in Revenge plays up their characters flawlessly and naturally given each hectic situation thrown their way.

Revenge is set in the Hamptons with the first episode being on Memorial Day and the current episode taking place on Labor Day weekend. The show revolves around Emily Thorne originally named Amanda Clarke, daughter of framed terrorist David Clarke, before she changed names with a desperate friend and began a new life seeking revenge on anyone and everyone that played a part in her father’s sentencing and eventual murder. Each episode successfully grabs the viewers’ attention by choosing a compliment to the word “Revenge” and carrying that motive throughout the episode with the overlying umbrella being ultimate revenge.

This particular episode takes place Labor Day weekend the same as the first scene of the very first episode. Labor Day is what we now know also the engagement party of Emily and Daniel Grayson, heir to the Grayson Global family that framed David Clarke for an act of terrorism that they caused. After the gun shots are fired and the body hits the sand, we are taken back to 24 hours earlier right after Emily’s box of secrets and revengeful schemes were stolen.

This episode shows Emily, strong driven woman, at her most vulnerable state yet. The

importance of this “infinity” box of secrets has built up throughout the season. The desperately trusting girl who changed names with Emily has now also betrayed her and joined forces with a previous enemy that had been cast away. This episode allows for Emily to get a taste of some of her own medicine. She for once is scared and unsure of what’s going to happen next.

Emily portrays a nice, innocent girl but her life basis revolves around this image that is a complete lie. She does not stop at any cost knowing that she is going to hurt everyone in the end. Emily seeks the most crushing form of revenge on everyone in her path, some are even innocent but if they are linked to her revengeful plan, they will also be taken down in the end. Each episode intertwines and weaves the plot between the characters leaving the door wide open for anything to step into the scene.

The way things unfold is constantly intriguing and captivating. The intensity of the show is dramatized at the end leaving everyone questioning the next direction of the show.

Chaos is the theme for this particular episode and will continue to play a role in episodes to come. The writer uses the titles of each episode to teach the viewers about the details behind this vengeful show. Perception was a previous episode and, by the definition given, I continue to relate that concept to the overall show. Perception, Duress, Infamy, Commitment and similar other titles are described, defined and put into action throughout each episode. This is not a show that is going to leave you feeling stupid after the credits roll. It keeps you intrigued and wondering what’s going to happen next. Revenge is definitely a show to discuss with other viewers; it keeps one’s mind scrambling trying to figure out all the different pieces.

“The outcome of chaos can never be predicted, the only certainty it brings is the devastation it leaves in its wake.”- Emily Thorne

"Criminal Minds" Bounces Back On Track

By Matt Thompson

As CBS’ “Criminal Minds” entered its seventh season, I questioned whether the show’s fans would continue to embrace some of its darker themes. I also questioned whether I would continue to follow the police procedural drama on a weekly basis when crimes became increasingly heinous, and resolution and happy endings became more and more rare. But Wednesday’s episode, titled “Foundation”, helped settle some of these questions for me as I thought this particular episode was beautifully written. One aspect where I think CriminalMinds continually triumphs over other shows is their continuity of plot storylines. The show will often reference a team member, villain or issue from years past in a subtle way that re-energizes me as a viewer. It is an important point for me to know that the characters I watch and love from week to week are still learning from their past and evolving as a character. This week, that aspect became integral to the plot.

The BAU began their latest journey already boarding the plane on the way to Flagstaff, AZ, receiving background from computer-analyst Penelope Garcia on the fly. A child had been kidnapped in the area immediately upon the escape of another child, who had been held prisoner underground for years. The problem the BAU immediately encountered was that the original captive was so traumatized by his experience, he could not speak or identify his captor. That’s where Agent Derek Morgan and his backstory come into play. Morgan is able to earn the child’s trust slowly but surely throughout the episode, eventually coaxing him to talk by revealing his own past story of abuse. (This was featured several seasons ago in an episode and showed not only Agent Morgan’s roots, but also what makes him who he is and tells us why he eventually went on to join the bureau. In addition, it illustrates that the past continues to fuel and motivate Agent Morgan). As it usually does so brilliantly, the team is eventually able to track down the unknown subject – UNSUB to seasoned viewers – and give us what I thought was a surprising and upbeat conclusion.

(Spoiler Alert) As the writing is crucial to my opinion this week, the following is an analysis of that aforementioned surprising and upbeat ending.

Most noteworthy about this week’s conclusion is that they closed with a back-and-forth scene of the two boys reuniting with their parents. Many episodes, especially in recent seasons, have ended in a grim manner or at least one that didn’t end happily. I thought the reuniting scene was a nice change of pace for the series. At some point, viewers will tire of negative endings, and I thought this served to remind us that sometimes they catch the bad guy AND save lives. We know that the villain will be caught between 50 and 55 minutes past the hour, but we don’t know if the other characters end up okay. Usually, the conflict ends abruptly and leads into the team plane flying back to Quantico with little explanation or final resolution of events. It was good to see last night that everyone ended up okay.

In fact, Mandy Patinkin, who played Agent Jason Gideon in the first few seasons, actually left the show because of its increasing level of violence, CSI-esque approach of revealing gruesome forensic pathology scenes and lack of happy themes. Obviously, many fans of the show come for these types of storylines, wherein forensics helps tie theories to villains. But for a while, I really believe the show was trying too hard to be emulate CSI. What I love about the show is the mental aspect, not the physical one. Getting inside the head and studying the behavior of criminals and our weekly protagonists is much more appealing to me.

And that’s why I must praise the writing of this particular episode so much. From Agent Jareau’s comforting motherly instincts to Dr. Reid’s cerebral analysis to Agent Morgan’s heartfelt recollection of his past, each character’s strengths were highlighted in a way to contribute to the team and still allow viewers to embrace their flaws as human and endearing. Each time I become disillusioned with the direction of “Criminal Minds”, I’ll think back to last night’s show. Just as the result inspired hope for the characters, my restored confidence in the writing will inspire hope for me each Wednesday at 9:00 p.m.

Vocal Mash-ups Make and Break the Competition

By Stuart Bryan

On Monday’s episode of The Voice, contestants continued their vocal smack downs in the “battle round” of the NBC reality show. Two hopefuls from each team must join forces to duet on a song, each trying to outshine the other. The winner is chosen by the team leader, one of the shows celebrity coaches Blake Shelton, Christina Aguilera, Cee-Lo Green, or Adam Levine.

The vocal mash-ups that make up the battle round, the second phase of the competition, can lead to some brilliant performances, like the Anthony Evans/ Jesse Campbell rendition of Alicia Keys’ “If I Aint Got You” from two weeks ago. However, the same cannot be said for all of the performances.

This week, the show started out with the train wreck that was the Shields Brothers “What’s Love Got To Do With It” duet with former model Erin Martin. Martin, whose voice sounds like a strained, wannabe Norah Jones, wants to be taken seriously for something other than her looks, which would be completely understandable if her voice didn’t suck.

Post-performance, the judges were speechless. “It was just so, so weird,” was the only critique Adam Levine could seem to muster. In what I consider to be the biggest mistake of the night, Cee-Lo Green chose to keep Martin and send the rock n’ roll duo the Shields Brothers packing. I chalk this up to Martin’s ensemble, complete with comically oversized shoulder pads and no pants. Garter belt included.

Luckily for the viewers, the show got better from there. Adam’s team is up next, with Georgia-boy Pip battling Nathan Parrett on the Amy Winehouse classic, “You Know I’m No Good.” Pip, who provides no last name, and thus leads to the conclusion that his name is indeed short for Pipsqueak, looks like a tiny Justin Bieber- if he wore bow ties and sounded like a Broadway belter. Parrett, who couldn’t seem to shake his nerves, ended up with the short end of the stick when Adam chose Pip.

Christina’s team members Jonathas (yet again, last name not included) and Ashley De La Rosa are next to the stage. In the name of “staying in character,” they gaze into each other’s eyes as they croon “No Air,” by Chris Brown and Jordin Sparks. For both artists, the performance was mediocre at best. Unfortunately, Jonathas’s profession of love to Christina while rehearsing couldn’t save him on this one, and neither could his business-on-the-sides, party-on-the-top modern day mullet. Christina chose Ashley.

One of the best singers in the entire competition, Jermaine Paul, is next in the ring with pop singer ALyX (are last names just not cool anymore?), singing Billy Ocean’s “Get Out of My Dreams.” Paul, whose day job as a back-up singer for Alicia Keys already has him at a huge advantage, coasts through the song with his silky-smooth voice, and wins with ease. He will turn out to be a huge asset for Blake’s team.

Closing out the show are Gwen Beck and Erin Willett, two powerhouse female singers also from Blake’s team. The two seem to have bonded during rehearsals of Pat Benatar’s “We Belong Together,” and show a great deal of respect for one another. Before the performance we learn that Willett’s terminally ill father is hospitalized and given only 24 hours to live. In a touching display of compassion, Blake, who also recently lost his father, sympathizes with her feelings and encourages her to continue to perform for her father. Willett does just that, and after a stellar performance from both artists, Blake chooses Willett. “Seriously, I wish it wasn’t that good,” he said.

The coaches, for the most part, added some serious talent to their teams this week. Adam will have a lot to do with versatile vocalist Pip, and Blake could see Jermaine Paul all the way through to the end. Cee-Lo, however, made a huge mistake in dismissing rock n’ roll duo the Shields Brothers, and he will have to make up for that next week if he hopes to contend in the finals.

"Safe House" Entertains Thanks to Good Acting

By Stuart Bryan

In cinema today, plot lines are recycled like old soda cans- especially in action thrillers. The Daniel Espinosa directed Safe House, is no different. Cue a CIA operative gone rogue, an idealistic young agent disappointed to find out his country’s hands aren’t as clean as he thought, and a trusted superior-turned-bad guy on the inside. Yawn. Luckily for Safe House, it has Denzel Washington. Washington, who just turned 57 but looks as if he is going on 30, adds entertainment to this been- there, done-that story. You get exactly what you pay for- to see Denzel Washington smirk and waltz around with his badass, confident stride and chew up the scenery.

Tobin Frost (Washington), a dangerous former CIA agent who has been off the grid for years suddenly turns up in Cape Town, South Africa. After your typical deal-gone wrong Frost ends up in the American Consulate, where upon announcing his name gets taken to a nearby safe house for debriefing (read: torturing). Enter Matt Weston, played by Ryan Reynolds, a “housekeeper” charged with babysitting said CIA safe house who has dreams of becoming a spy. Reynolds, in a departure from his usual awkward, funny man character does a surprisingly good job in his first action role.

After a bad guy bust up that leaves Frost in Weston’s charge, we begin the meat of the movie: Weston, in a frenzied state of panic, trying to keep up with calm, cool Frost. As Weston desperately tries to maintain watch over sneaky Frost, Frost uses the opportunity to be intentionally manipulative and gets inside Weston’s head making him question everything he thinks he knows about the CIA and his future. At one point, drawing chuckles from the audience, Frost says to Weston in his breezy manner, “This is fun, you and me figuring shit out, like the Hardy Boys.”

Unfortunately for the audience, they will have to wait through almost the entire 117-minute movie to be let in on what it is that caused Frost to evaporate from the CIA and go rogue. Because this is a formulaic movie, you can instinctively assume Tobin is ultimately “good” and that the CIA has done something evil, but why wait the entire movie to let us in on what had happened to him?

Safe House is a violent little talk, lots of action chase movie that is generally made better by good acting on the part of Washington and Reynolds. Sam Shepard and Vera Farmiga also put up wonderful performances as CIA bigwigs trying to track down Frost. Swedish director Daniel Espinosa does a commendable job with the action in his film debut for American audiences. The brutal hand-to- hand combat scenes are gritty and intense and the back-to-back car chases are thrilling and terrifying at the same time. The plot line is straightforward and lacks complexity, but in a nonstop action romp like Safe House, the dialogue is really just there to further the action, not the other way around.

Here is the fundamental problem in the story: the audience is supposed to believe that newbie Reynolds can outfox action god Denzel Washington. Washington’s visceral bad-guy acting chops are pure and unadulterated. Lets chalk this up to art imitating life: Weston seems to be in awe of Frost, who has clearly been around the block more than a few times, just as Reynolds should worship at the altar that is Denzel Washington. The idea that Ryan Reynolds could out-badass the original badass is simply laughable.

Safe House, is rated R (violence and some profanity) and is in theaters now.

“New Year's Eve” Isn't Just About the Sparkles

By Martha Terrell

I have to admit I'm a sucker for cheesy, feel-good movies and “New Year's Eve” is the perfect example. While there is no puzzle to be solved or exciting new world to explore there is a basic sense of human kindness to be rediscovered. 

 Following in the footsteps of “Valentine's Day”, “New Year's Eve” delivers a mega star studded cast, and several plot lines which intertwine with one another. At times it gives that already-been-done feeling because let's face it, it has. But in the end who doesn't love New Year's with all of it's glitter, sparkles and romance? “New Year's Eve” definitely has plenty of that. From the huge ball drop in Times Square headed up by Hilary Swank, who plays the vice president of the Times Square Alliance, to a masquerade party thrown by a top record label and catered by Katherine Heigl; a broken hearted, career driven woman whose troubles stem from an incident in which her boyfriend, Jon Bon Jovi, propsed and then left her to go on tour. When Bon Jovi is booked to play at the same party Heigl is catering, the movie takes on a true rom-com feel. 

 The A-list cast goes on to include Ashton Kutcher, an anti-New Year's Eve comic strip artist, Lea Michele, an aspiring singer, Sarah Jessica Parker who plays mother to Abigail Breslin, and many other big names including Robert De Niro, who is clinging to life while laying in a hospital bed. De Niro's performance in the film leaves you with a hope that even the toughest of souls can be changed, and in the end it is all about family and those you love. 

 Perhaps the most interesting pairing and greatest lesson to be learned comes from Zac Efron and Michelle Pfeiffer. Efron leads the timid Pfeiffer on an adventure around New York to cross resolutions of her bucket list and ends up learning that a little kindness can go a long way. Meanwhile Hilary Swank gives a cheesy but touching speech that reminds us all to stop and appreaciate one another, as she struggles to pull off the perfect ball drop in Times Square.

 Although “New Year's Eve” does not deliver any gut-busting comedic lines it does have it's moments. Jessica Biel and Seth Meyers give the best comedic performance out of the bunch while racing to deliver their baby so it can become the first baby of the new year. 

 The biggest drawback to the film is the multitude of storylines. “Valentine's Day” pushed the limits when it comes to storylines and “New Year's Eve” goes a bit too far. It is difficult at the beginning to remember each plot and the many characters in the film. If you can make it halfway through all of the characters will have been introduced and it becomes easier to tie it all together. In the end any confusion is cleared up.

 “New Year's Eve” does become slightly predictable, or so it seems, but Gary Marshall adds a few twists and unexpected resolutions that ultimately surprise the audience. In the end everyone finds some kind of love and they all ring in New Year's Eve with someone special. It may be exactly what you expected, but isn't that nice sometimes? A movie that simply reminds us of the important things we sometimes forget. Let's face it. There is nothing wrong with a little sparkle and an old familiar story. 

The Somewhat Predictable Miracle

By Jonathan Shealy

The film Big Miracle, while at points predictable and formulaic, effectively tells the
heartwarming tale of three huge mammals stuck in the ice, and how their plight affected the lives of many people, at vastly different levels of society. The whales provide the reason for the story, but in the film simply stand as a backdrop in front of which all of the characters working to save them take the show.


The movie is based on a true event that happened in 1988, and focuses on the efforts to rescue three whales trapped in the arctic by rapidly expanding ice floes. I don't want to give the plot away, but since the movie isn't titled Big Disappointment, you can probably guess how it ends.


The film stars John Krasinski as a journalist who discovers the trapped whales just outside of
Barrow, Alaska, and Drew Barrymore, an environmentalist working for Greenpeace, trying to save the whales. Barrymore is Krasinski's ex, but their romance is but a small subplot that is alluded to but hardly visited. There are a lot of characters introduced who play different parts in the rescue mission, and none of them achieve enough screen time to put in any truly memorable performances. They are, as a whole, effective in their roles, and though no one steals the show, they do well overall.


There are a lot of subplots intertwining throughout the film, but the director does a good job of
pacing it so all of them make sense and they are easy to remember when revisited. This movie won't be remembered for a groundbreaking story or deep themes, but as a feel good family movie about whales, it does a great job in its role. By the end, the most unlikely combination of people have come together to try to rescue the whales, including an executive of an oil company, environmentalists, journalists, and even the Soviet Union. The plot would seem contrived, but since this is based on a true story, the writers can get away with it.


The movie offers few surprises, and for the most part you know how the story will eventually
end, but the fun part is seeing it get there, even if that makes the ending anticlimactic. Most everyone ends up happily ever after, and as a family movie, I guess that's a good thing. The history in the movie helps appeal to the older audience, while the giant CGI whales are sure to bring awe from younger viewers. The visual effects weren't groundbreaking, but did their job of creating a believable environment, and nothing looked too fake.


Everything did seem very glossed over, however, actors in negative degree temperatures rarely looked cold, and everyone's hair and makeup always looked untouched, even on the frozen tundra. I expect most of the intended audience isn't looking for a gritty realistic depiction of arctic survival, but a little more realism would have been nice.


Overall, this is a very good family movie, and while I don't expect it to be very memorable when
compared with every movie of 2012, I think it did a very good job in its role as a feel good heart warmer that's safe for kids. I didn't go in expecting Oscar winning performances or groundbreaking effects, and I was satisfied when I left the theater. If you have children or are a fan of animal movies I would definitely recommend it, if not, I'm guessing you probably wouldn't consider going to see it anyway. I give this film a solid B, nothing too fancy, but it gets the job done.

Dancing with the "Stars"

By Jonathan Shealy

I have had some experience as a ballroom dancer, but for whatever reason had never watched ABC's "Dancing with the Stars". So I decided to give it a shot and watched  this season's premier, though I had no idea what to expect. As a ballroom competition, the show does little to show proper technique, and the judges scores are completely subjective. That was disappointing, because I was expecting it to give some actual tips and criticism on ballroom dancing. What it did do well was putting on a crowd pleasing spectacle, and the dancing was top notch. It does seem a great idea for a show, but this season offers almost no interest, as most of the 'stars' are C list celebrities at best.

I suppose it has a strong viewing from its fan base, but there is nothing there to draw new viewers in. People wishing to see celebrities would shy away because there are no big names in the cast, and people wishing to see a ballroom competition would leave once they realized the judging was very subjective and it was really a popularity contest relying on viewers votes over the phone.

The judges offered almost no criticism, and even if they did they were always nice about it. The scores they gave were almost exactly the same for each couple, which made that aspect of the show almost boring. They of course followed the typical original "American Idol" formula for the panel, including a woman who was very nice and emotional, Carrie Ann Inaba, and a more critical man with a British accent, Len Goodman. He was the only one who actually tried to tell the dancers what they did wrong, but whenever he offered legitimate criticism the crowd would boo whatever he tried to say. The third, only original judge, was Bruno Tonioli, a very energetic Italian, but even he didn't really offer any helpful advice.

As for what the scoring actually means, they never explained it. I guess they just assumed everyone watching the show already knew what was going on, but some explanation would have been helpful for new viewers. I still don't understand how the show works, I just know somehow the viewers votes over the phone count, and at some point couples will be eliminated.

The actual dancing was very good, most of the celebrities did a very good job, and the professional dancers were top notch. They had obviously done a lot of training, though it would have been interesting if the show had dwelt more on the training than just showing a few short clips of it. To the audience everything looked amazing, but since everything was choreographed using very few actual basic steps, it would be impossible for anyone to learn how to dance simply by watching this show.

As a crowd-pleasing spectacle, this is an excellent show, and they seem to have found a formula that works. If they had a celebrity I was interested in, or had more actual ballroom tips and criticism, I might continue to watch the show, but as of now it has nothing to draw me in. In terms of dance competition shows, I much prefer "So You Think You Can Dance", as the judges in it offer much better criticism, and the contestants are in it for their talent, not necessarily their celebrity status.

Apart from this season's lackluster casting, this show accomplishes what it set out to achieve, and follows a formula that has given it a large number of fans. I was not familiar with many of the celebrities, and some of them were there because of fame they had in their childhood. Jaleel White and Melissa Gilbert have done pretty much nothing culturally relevant since their famous TV shows "Family Matters" and "Little House on the Prairie" many years ago. Most of the other 'celebrities' were completely unknown to me. This show has been around for a while, and has been very successful, but if they are unable to bring in any big names to compete it may spell trouble for its future.

So if you would like to see some good dancing, or one of your favorite obscure celebrities is a contestant, I would highly recommend it. If you wish to see an actual legit dance competition instead of a popularity contest, it would be best to look elsewhere.