Brian Fuller's Hannibal: The Best Thing Since Sliced Sweatbreads.

I'm gonna say it. The first three episodes of this new series is better than all the previous Lector films combined. I'm gonna skip the song and dance to jump right to my gut feeling, which is that this is one of the greatest police procedural shows ever made.

Its scary, its atmospheric, its inventive, its trippy, and every role is perfectly cast as well as expertly acted. This isn't just a breath of fresh air, its a damn hurricane. The problem is, I find it very hard to describe to those who have already made up their minds. To some this looks like a desperate network going back to well that dried up years ago and that’s true. But Brian Fuller has tapped that old well and hit a oil geyser filled with new ideas and possibility. The first two serial killers alone are more interesting than either Buffalo Bill and the Tooth Fairy, and on a related note, don't eat mushrooms while watching this show. Its a bad plan and I promise you'll thank me later.

Fuller retained the essence of everyone's favorite cannibal while also ingeniously rebooting Will Graham into a basket case with a condition called “perfect empathy.” A hokey tacked on super power if written by the likes of other lesser shows, but the flashback scenes it allows to take place coupled with Hugh Dancy's devastating performance makes the implied ridiculousness hypnotic. That's actually a good way to describe the whole show: hypnotic. 

Each scene in Lector's massive office will arrest every bit of your attention as you search Mads Mikklesen's face for any shred of blood lust or unspoken malice. Some may call his performance too understated, or worse, boring. You won't see him sucking the air like a wood chuck on Hannibal, but you will see him go to town on a pair of lungs with a cleaver and come on people, with someone like Lector less is always more.

This is one of the very few shows I have ever had to watch through my fingers and I've sat through a couple Saws and the majority of Dexter's run. Hannibal still managed to shock my dulled senses and no one is more surprised that happened than me. Mutilation and desecration is the rule of law on this set and it is definitely not for everyone. But if you are starved for violent, though provoking, and beautifully shot drama? It's all on hulu.com right now. What in god's name are you waiting for?!

Recommended Viewing:

Mads Mikklesen:
After The Wedding
Flame and Citron

Hugh Dancy:
Black Hawk Down

42 Review: Chadwick at the Bat.

There's no getting around it, the film 42 is a relic. I could make a half-assed Indiana Jones joke here, but... nah.This is a movie straight out of the early 90's, but the thing is, it's still a remarkable film from the early 90's. The opening scene with Ford's tin eared “old codger” voice talking about how it's time to integrate pro baseball while bathed in bronze quasi-holy light is as hokey as they come. I was ready to bail, that is, until the film's namesake finally made his entrance.

Chadwick Boseman plays Jackie Robinson like his entire career was leading to this role while never tipping his hand to the audience of any shred of desperation. He is beyond exceptional and I suspect we will being seeing much more of him in the future. When Jackie makes it to the bigs we feel for him, when he laughs we laugh with him, when his heart breaks under the daily barrage of bigotry so do ours. I hate to use the phrase “a star is born” but he has, and with the help of his equally compelling wife in actor Nicole Beharie we cross the line from a passable project to an labor of love. Sure you have to sit through the obligatory proposal/marriage/”you're special” pep talks, but thankfully the two get to share a couple touching left field (sorry) moments that spice the pacing up when it needs it most. And to be fair the final pep talk is all kinds of adora-awesome, which is now, obviously a word.

The supporting cast is a mixed bag of swings and misses (I'm so sorry). Christopher Meloni has a nice run for the first quarter as the manager that has to knock the less agreeable Dodgers into line and Alan Tudyk absolutely nails the thankless role of Ben Chapman. As the most outwardly racist caricature in a film chock full of the suckers, he's a flesh and blood Yosemite Sam. That may sound like a knock, but seriously, he is an entirely convincing Yosemite Sam. But we need to talk about Ford.

He's bad, really really bad. There's a stuffy odor of white man's burden around the character on paper and his forced voice always broke my immersion. He hasn't been a character actor before, to my knowledge, and this is proof positive as to why he never should be again. That’s not to say he doesn’t have a good arch or that his voice does eventually become kind of endearing, but he wears you down instead of winning you over. If half of his scenes were cut it would have been a better film.

You can usually tell when a film is made by people who wanted to be there versus when it was more of an obligation and 42 is definitely the former. It's a good story with good casting with a familiar yet affecting path to the end credits. Yes it's hokey, yes Ford is painfully miscast, and yes the racism is more than a little melodramatic. But you know what? I'd bet money on that part of American history being just as melodramatic as this film depicts it. And for every go nowhere scene with the Dodger malcontents there’s one with Jackie and Rachel, which is more than worth it. Also the scene near the end with a small white child reacting to a racist crowd was appropriately dark and showed a draft of a much better film that was probably sanitized...probably. I loved that scene and I really liked this movie. It's not a showstopping grand slam (SORRY!) but rather an honest, heartfelt double play. (I have a problem...)

That's the real Rachel in a picture that made my whole damn week.

Don't Starve Review: The Shadow over Farmville...smouth

Don't Starve is a game that really doesn’t want you to know what kind of a game it actually is, in fact, “Don't Starve” is the only direction you're ever given. 

As a lovcraftian mad scientist named Wilson, you make a devil's deal with a stranger in a suit for knowledge of the natural world. But upon the completion of your masterwork; you find yourself whisked away to an otherworldly wilderness where pigs live in houses, mushrooms drive you insane, rabbits scream, and frogs want you dead. What the hell are you supposed to do about any of this? Figure it out.

“This man did not know cold”

First I noticed that my character was upset by night fall, so I looked over at my building options on the other side of the screen. I saw a option for fire. Naturally I wanted a big stone fire pit, but I had no stones, and I had no logs. So I was left to my sapling twig devices and rode out the night lighting torch after torch, fearing the big white eyes blinking just out of reach of the light. 

The next day would be different I scoured the land for some flint, my option bar dinged and I could now cobble together an axe! A few more flints and I made a pickaxe. Now all I had to do was chop some trees and break some boulders and now I had my fire pit... but I couldn't light it in time and the darkness took me. Game Over.

“The fire provider had failed”

You're going to die in Don't Starve. You are going to die many, many, times. The only thing you can take with you is knowledge. Knowledge like “I really shouldn't go anywhere near giant spiders” or “I should try cooking raw rabbit meat before shoving it into my face.” Each time you die (and start over) you've hopefully died trying something different and thereby testing more limits of the game world. 

But dying isn't without it's own reward, the number of days you manage to survive are tallied into experience points on death. Which are then used to unlock new, more effective, or versatile characters. Maybe Wolfgang the body builder and his bigger stomach is more your speed or Wendy the little girl whose dead sister's ghost protects her at night (it's that kind of game). DS is very observant of how best to alleviate the tedium of starting over, from random wilderness generation to the new characters, no single play through is exactly alike. It works...for the most part anyway.

Whoa, whoa, whoa, STOP! ...where did you get that hat?

“It was a clear day, and yet there seemed an intangible pall over the face of things"

Don't Starve remains an experience I wanted to like more than I actually did. Which isn't to say I feel disappointed, or worse, ripped off. No, instead I can only call it a very good game instead of a great one. The resource management becomes a tremendous pain in the ass. For all the grass it takes to make a bed roll why does it magically disappear in the morning? You will probably end up spending half your time in the game picking berries or pulling up grass, and as disturbingly compelling as it is in the moment, you will find yourself getting up from your seat wondering “What the hell did I just spend the last hour and a half doing?”

This inspired lunacy can be yours for $14.99!

“It's Instinct Told a Truer Tale”

Here boy! Have thirty founds of manure.

But if I’m being honest, I just can't stay mad at this game. Its atmosphere and art style oozes wit and personality. It feels like something we'd like to imagine Tim Burton creating, instead of the drivel he actually makes, and that is an art direction worth praising. For every game day I spend picking grass, I’ll find something new and interesting the next. Maybe I’ll stumble across my beloved bouncing pet backpack Chester! Or a pig-friend resurrection stone, or a dead adventurer clutching a ruby, or... I don't know what! All I know is that I can't wait for DS to surprise me again.

         

Off My Chest: The Ratchet and Clank Movie, why I'm optomistic.

Yesterday I awoke to the startling news that there was

 A. A feature length film based on Ratchet and Clank was in the works, but more importantly...
 B. It was actually getting a theatrical release! 
The prospect was to me, a no brainier. Insomniac Game's animation has always been nothing short of feature quality. In fact, after finishing “Crack in Time” a few years back I was half convinced I’d already seen the R&C movie. The cut scenes were just barely below Pixar standards. So I’d like to get into why this property has the chance to be a real charmer as well as a movie that breaks video the game to film transfer curse, so lets get to it.

1. The Central Cast is on Board

Whether it's due to budget constraints or not, the cast of R&C wasn't broke and Rainmaker Entertainment isn't going to “fix” it with disinterested celebrity talent. As seen in the delightful teaser Clank sounds like David Kaye, Quark sounds like Jim Ward, and Ratchet sounds like James Arnold Taylor. Which is great because Taylor was the best damn thing that ever happened to the series and he remains an underrated actor in general. He's just one of those guys that can make any line sound funny, tense, or dramatic, whenever the script needs that little extra push. The stupidest thing the studio could have done was to recast him, so BRAVO.

   2. The Writing has Always been Solid

I was reminded the other night after catching “Paranorman” on Netflix of just how big a pass animated films get on scripting. Now I thought the film had its moments and the dramatic irony that’s revealed near the end was absolutely brilliant, but if I’m being honest with my self, the script was GOD awful. Even in Pixar films sometimes I find myself twitching in my seat if the characters start reading lines in a way no rational actor would read lines and it bothers me that no other critic seems to care. Because no live action film under the sun would get away with a character so bizarrely abusive as Norman's dad.

I now realize I have never had this issue with any R&C production. Never! While the stories almost always loose their steam and direction, the characterization and general dialogue was reliably witty and brisk. Seeing as “Crack in Time's” writer is clacking away at the script I could not be more pleased, as that was the most emotionally resonant chapter of them all... but not the best one. Speaking of which:

  3. Ultimate Supreme Executive Chairman Drek

Drek is confirmed as the villain and I am over the moon. Kevin Michael Richardson had simply too much fun playing what was essentially a loving homage to both Gordon Gekko and the Vogons respectively. His PSAs apologizing to planets he was about to rip to pieces were fantastic and echoed with diminishing returns in the series's subsequent villains. I'm certainly looking forward to Ratchet and Clank's initial more antagonistic dynamic, as Taylor wasn't cast until the second game, but choosing Drek over other more popular villains allows for faithful a re-boot of the origin story and that was honestly some of its strongest work. (and I just hope to god he gets to keep his ponytail.)

   4. It Means We're Not Done Yet

  
The last real entry into the franchise was over three years ago, since then there's been two poorly received multiplayer and tower defense re imaginings of the core gameplay. With the movie on the way it is simply not possible that there won't be a cannon entry either before or during its release.This is a good plan seeing as "Crack in Time" was the closest we've seen to a perfect R&C. In fact I think if they gave it another six months and made it just bit longer they really could have ended the whole series on one mother of a high note. But unlike say, god of war, there is a certain timelessness to these characters and situations that can (and has) stand the test of time and could very well go on forever. Nobody thinks Mario's outstayed his welcome, why shouldn't these guys stick around just a little bit longer? So to sum up my feelings on the movie...

It's about Friggn' Time.

Top of the Lake: The Best Kept Secret on Netflix

I don't know where it came from or when it got here, but after stumbling over this gem of a miniseries I am now honestly afraid to cancel my account ever again. Because after over twenty years there is finally( finally) a worthy successor to twin peaks, with Elizabeth Moss and the New Zealand wilderness as its stars.

Moss plays a detective brought in on a case involving a suicidal twelve year old girl and her eventual disappearance. Rote stuff on paper but the script, setting, and casting will make it so even the most bitter cynic will at least give the first couple episodes a shot. Because besides Kenneth Branagh's “Wallander”(also worth your time) there is really nothing else out there quite like it...and buddy this show is out there.

Note the fuzzy Chihuahua.

From the gleefully sexist local police station to the (kiwi neck?) meth cooking mini mafia as well as the battered woman’s naturist commune TOL has a riveting revolving door of sets and locations to the point where even if one gets on your nerves there’s another that’s worth sitting around for. There isn't a weak link in the cast and the brass ring of the leads are award worthy.

Really, if all I had was Peter Mullan I probably would have finished the series out of spite, because Mullan is honestly one of the best villain actors out there right now. But no, I also got Moss who not only nails the Australian accent, but gives the best damn performance of her career. After ten minutes of watching her play Det. Griffen I had all but forgotten about Peggy Olson. As a long time admirer of Mad Men, that was no small feat I assure you.

While the ins and outs of the ancillary conflicts of Laketop are interesting at first, when the case hits the doldrums around the middle of the third episode it hits them hard. It's not that I don't want to know why a bunch of middle aged women are living in shipping containers in the middle of a field, its just that I’d much rather know what happened to Tui and whether or not she's still alive. It's not a dip in quality...well it kinda is, but it remains very well acted and scripted. But it does turn into a soap opera for a good two and a half hours.

But you won't care once the finale revs up. It saves just enough little twists for the end to keep the average viewer entertained and rewards the more hard boiled police procedural veterans like me. So to sum things up, this a fantastic little miniseries for any one looking to scratch that creepy small town itch and for mystery lovers in general. Check it out.

P.S. There is a ton of middle aged nudity and sex. So now you know that.

Recommended Viewing

  Peter Mullan:

The Red Riding Trilogy

Session 9

Tyrannosaur






   









Elizabeth Moss:

The West Wing
  
 Mad Men...obviously.

ONCE MORE INTO THE FRINGE: a beginner's guide to a great, but convoluted, show.

Fringe is finally available for binge viewing on Netflix and it is arguably the best project Abrams has yet produced. When Lost was screwing up it's story and when the X Files was letting its lead characters calcify into marionettes, the writers of Fringe were behind them furiously taking notes.

This is a one of a kind project, in that we will probably never see a show this weird and wonderful with this kind of a budget ever again. Fringe, ladies and gentleman, is a science fiction unicorn and I’d like to help you get on the saddle. So here are, what I believe, to be the best points of entry to a  show whose first act was its weakest. Bear with it and it will fill that mad science sized hole in your heart in no time.

Season 1 Ep,7: In Which We Meet Mr. Jones

Perhaps you've see Jared Harris around these days, doing his thing all over Mad Men and Sherlock Holmes. This is the reason. His villain arch on Fringe's first season is a high water mark for the show and sci fi in general. While this may not the best episode featuring the good doctor, more on that later, its case of the week gives you a great idea of how accomplished the effects team handle body horror. Here the show gets screaming close to hitting its stride.

Season 1 Ep, 9: The Dreamscape

Oh, look at the pretty buterfliAAAAAAAAAAGGHHHH!!!

If you can walk away from this show after the cold open I'll really be impressed. I thought I’d never see something different in a dream sequence, but the writers and cinematographers found a way to make a warmly lit tavern scene oppressively eerie. If you don’t mind having the pilot's major cliffhanger resolved for you this is a tight little psychological horror gem.

Season 1 Ep 10: Safe

Stop me if you've heard this one before...

Here it is, the one where everything clicked into place. The one when all the cylinders fired for the first time. I don't want to give away too much but this was when the show decided it wasn't going to go the law and order route and dove feet first into it's already deep lore. But you can still catch on if you pay attention. But you'll want to poke through “The Equation” and the “The Ghost Network” to see how the heist all came together. Or at least I hope you'll want to.

Season 2 Ep, 9 Snakehead

Hands down, Snakehead is Fringe's best “creature feature.” Also now that I think about it, it may also be the best standalone chapter as well. Not only does it have a spectacular monster, but the writers drum up a sensible reason for it to exist in the first place. But that’s not why this is a great episode. Sandwiched in between the parable of socioeconomic disparity is Walter's efforts to deal with his doddering mind and old age in general. His sobbing breakdown next to a stranger at a bus stop is simply Emmy award worthy acting, and its a shame John noble never got one.

Don't you just want to hug him?

Season 2 Ep 17, White Tulip

This is it, my last ditch effort. Don't watch this one out of order unless you absolutely MUST see the best Fringe has to offer. And this is one of the best. Unfortunately it directly deals with the fallout of the second season's biggest plot twist and with a show like this, surprise is often it's sharpest tool. But if that really doesn’t bother you, then treat yourself to one of the best time travel stories out there. Or at the very least... one of the very best time machines.

Off My Chest: Will the circle (of navel gazing hindsight) be unbroken?

I'm not going to call Bioshock Infinite perfect. I may even walk back the masterpiece label a few months from now, I may even refuse to give it my personal goty. But the backlash its been getting recently is becoming absurd.

The game had done the impossible. It built up expectations to ridiculous levels, and in the eyes of the first wave of critics, it meet them with aplomb. Which is great because I almost never get to use “aplomb.” Perhaps the reviews were too positive, perhaps it made people’s already soaring expectations even higher, or perhaps some chose to tear down something that didn't fit what they believed would help the medium. Can you guess which one I think it is?

Cliff Blezinski of Raleigh's Epic Games(Gears of War developer) and Kirk Hamilton of Kotaku.com have written articles on why they think Infinite's violence exists to largely diminish it's artistic impact. Hamilton writes “BioShock Infinite is in many ways so, so close to being That Game, the one we can show to our non-gamer friends and say "See? Look at this! It is so awesome! Check out the story! It's like LOST! How neat is this?" Blezinski, whose opinions are sound even though they scream double standard, blogged essentially the same sentiment.

yeah, it ain't subtle.

They make good points...the thing is... the thing that really bothers me...the thing that makes my right eyelid twitch is that both knew exactly what this game was going to be. The violence was on full display from a bare minimum of two years ago. Where were these opinions then? Why was it OK to let Irrational games get a pass only for these folks to rope off it's place in history for being what it never tried not to be? Its just too damn convenient.

The discussion of video game violence, in terms of market saturation, needs to happen. It's a problem. I'd personally love it if the industry took a year off and only produced non violent material. Think about how amazing that would be! Think about what new types of game play could be devised when avoiding the crutch of violent conflict became necessary. I have no problem with this debate, I have a problem with people projecting their personal hang ups on what is objectively a wonderful “product.” A product with a budget and coffers to fill.

Games of this caliber have always been, and always will be, profit first and art second. Violence is the easiest way to sell that product, and that’s the only way a game about 20^th century racism ever got a budget over $80 million dollars. The game trades off intellectualism with popular tastes and everyone knew that going in. So what the hell happened? A bunch of critics,in so many words, called it “art.”*

The actual game may not be as imaginative as this concept piece...but its scary how close it gets.

But could you call Infinite “art?” I'd certainly like too. Daniel Golding at ABC.net would try to choke me to death with his monocle chain, but I think time will be very kind to the game. I'm not even going to bother with Golding, he's...set in his ways, so I'm driving the conversation back to Kotaku. Hamilton wanted validation from his non-gaming peers. That's a great goal, and I hope he finds his bright shining example one day (portal 2). Yes, I agree there was too much shooting, and I would have loved for the last act of the game to have slowed down a bit and maybe eschewed violence all together. I wouldn't have seen that coming. But jumping from that point to practically dismissing its existence because its a shooter is sanctimonious and just plain mean.

These people didn't have to play it, and they don't have to like it. But they can't fault the developers who poured the last five years of their lives into a shooter only to have people like Hamilton hang the entire genre around their neck like an albatross. So please. Talk about video game violence. Talk about better ways for shooters to tell stories. Stop dragging Infinite into it, it knew it was never anything but popular entertainment and it tried some new things. It can't be everything to everyone and it shouldn't have to explain itself that way.

Lets all just take a step back, look at the game's strengths and weaknesses, and talk it out over some cotton candy.

Serenity from Spun Sugar.

 

*He doesn’t use the word, but he really really wants to.