Tuesday, February 7 2012
‘Doomsday Preppers’: Planning for the End of Times
If you’re a statistically average person, what are your chances of following these people’s lead and successfully preparing for social collapse? Well, pretty long, unless you have quite a few acres of land lying fallow in the country and a couple hundred thousand extra dollars.
‘The River’: Secrets and Allusions
Hopefully, the found footage gimmick will give way after the first episode, since it would be a shame to shoot all of the Amazon from one camera on some guy’s shoulder.
Monday, February 6 2012
‘Smash’ Is a Drama for Adults
All of the central characters are people working at jobs. They're creative, highly skilled jobs for which few people are qualified, but they are jobs nonetheless.
Saturday, February 4 2012
‘Secrets of Eden’ Is Superficial and a Little Prim
The victim's childlike shuttling between male authority figures in times of crisis made me want to shake her, while her underdeveloped context made me want to shake the writer and director.
Sunday, January 29 2012
‘Luck’ Features Vivid Moments of Primal Action
At the end of every race in Luck, the viewer exhales, looks upon the faces of the horse track faithful, and thinks, “So that’s why they do it.”
‘The Good Wife’: Will Alicia Still be Good?
At this late hour, Peter sees that to destroy Alicia or even Will is to destroy himself.
Wednesday, January 25 2012
‘Touch’: The First Episode Is Stunningly Effective
The premiere sets a high bar. In addition to Martin and Jake, we meet a half dozen other characters around the world that who out to be connected, each striking in his or her own way.
Friday, January 20 2012
‘Drew Peterson: Untouchable’: Rob Lowe: Unbelieveable
Drew Peterson: Untouchable tells the story about a controlling man, his supposed charm and charisma, and his startling arrogance.
‘On Freddie Roach’: New Angles on Boxing
As actual and consequential as fighting is in On Freddie Roach, it's also figurative and allusive, shaping self-images as it reshapes physical bodies.
Thursday, January 19 2012
‘Archer’ Returns, with Burt Reynolds
Creator Adam Reed doesn't seem too concerned about making Archer accessible to newcomers, but rather, trusts the audience to keep up.
FX’s New ‘Unsupervised’ Is Too Familiar As a Faux ‘Beavis and Butt-head’
If it lacks original ideas and a general reason for being, Unsupervised does show flashes of inspiration in smaller moments.
Tuesday, January 17 2012
‘Justified’: More Macho Posturing
As old-fashioned as Raylan may want to be, in Justified, he's got to keep up.
Monday, January 16 2012
‘Alcatraz’: Standard Procedural and Brainy Sci Fi
The thing is, mixing brainy sci-fi with a standard procedural hasn't worked in years.
‘Lost Girl’ Is a Pleasant Diversion
Bo learns that the Dark Fae will clean up any messes from her kills and find her a good job in the human world. Plus, they "have dental."
Sunday, January 15 2012
‘Napoleon Dynamite’ Is Not a Delicious Bass
Yes, a Mad Max parody. This show is precisely that original.
‘The Fades’ Has Horror, Humor, and Heart
While it recalls both Attack the Block and AMC’s The Walking Dead, The Fades stands on its own merits.
Thursday, January 12 2012
‘The Finder’ Features Bromantic Repartee
Lest we are led to understand his mental perturbation as being entirely advantageous, Sherman’s condition has also turned him into a goofy eccentric.
Wednesday, January 11 2012
‘Are You There, Chelsea?’ Is Missing… Chelsea Handler
Actually showing Chelsea shitfaced probably struck the producers as dropping at least one too many umbrellas into the piña colada of bad taste, so they demurred.
Sunday, January 8 2012
‘The Firm’: Mitch’s Decisions Do Not Bode Well
Of course Mitch and Abby believe every child can be saved, and if Mitch's legal methods toward achieving that end are a little disingenuous, well, they're always well intended.
‘House of Lies’ Relies on Tricks
In House of Lies, Marty Kaan is supposed to be the best at management consulting. But he seems deeply uncomfortable with the person it has made him.
