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TV Review: GRIMM – Season 1 finale – “Woman in Black”

CARL CORTEZ — Mon, 21 May 2012 21:17:31 +0000

TV Review: GRIMM – Season 1 finale – “Woman in Black”

Stars: David Giuntoli, Russell Hornsby, Bitsie Tulloch, Silas Weir Mitchell, Reggie Lee, Sasha Roiz, Bree Turner, Claire Coffee
Writers: David Greenwalt & Jim Kouf
Director: Norberto Barba
Network: NBC, airs Friday nights
Original Telecast: May 21, 2012

The Season 1 finale of GRIMM is here, and the mythology of the series firmly takes over by scattering tons of intriguing plot threads that will need to be resolved when the series returns in the fall.

Throughout the season, cop Nick Burkhardt (David Giuntoli) has been dealing with his newfound ability to see Vessen – creatures that we thought only existed in fairy tales. He’s also one of the last in a long line of Grimms who can also stop these creatures from doing harm to others..

After essentially neutering witch Adalind (Claire Coffee) early this season (Nick extracted her witch essence), there’s a bit of revenge to dish out. So Claire decides to punish Nick’s girlfriend Juliette (Bitsie Tulloch) by giving her a cat scratch.

Nick knows there’s more to the cat scratch, though Juliette thinks Nick is over-reacting. This becomes the big moment where Nick tells Juliette his big secret about being a Grimm – and she doesn’t believe him.

Juliette ends up in the hospital and no one knows what’s happening to her. Meanwhile Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) start working on some kind of remedy.

Meanwhile, a mysterious thug appears looking for the gold coins that were established in “Three Coins in a Fuchsbau”. Nick suspects this man might also know who killed his parents.

There’s a Woman in Black who appears throughout the episode – she has kick-ass fighting skills and she’s played by Mary Elizabeth Mastrontonio (in a big coup). The big twist – she’s Nick’s mom.

While “Woman in Black” doesn’t let us know what’s happened to Juliette and adds the next mystery that Nick’s mother is still alive, there are many reasons to goose viewers back when the series returns in August.

It’s actually kind of exciting too, since the series has played coy with its mythology throughout Season 1 and now it feels like there may be a bigger dose of the mythology finally entering the series.

Juliette does wake up in her hospital bed – but it looks like she may be possessed or something. It could be interesting to see if Adalind has made Juliette into a Vessen (if that’s possible). More conflict for Nick would actually be good.

Still, in many ways, this cliffhanger episode isn’t enough. I guess TV series have gotten to the point where they pile on so much in that last episode of the season, this GRIMM episode is too evenly paced in comparison to expectations. Yes, it works, but, I guess they did do their job well because it’s making myself and the rest of the GRIMM fans wanting more – and now!

It will be interesting to see where GRIMM heads in Season 2, but hopefully the mythology stories will end up coming more to the forefront. All the Vessen species, characters and travails have been set up properly – now it’s time to let all hell let loose and really pay-off the premise for a kick-ass Season 2.

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TV Review: SUPERNATURAL – Season 7 finale – “Survival of the Fittest”

RACHEL REITSLEFF — Mon, 21 May 2012 17:07:11 +0000

TV Review: SUPERNATURAL – Season 7 finale – “Survival of the Fittest”

Stars: Jared Padalecki, Jensen Ackles, Misha Collins, Jim Beaver, Mark A. Sheppard, James Patrick Stuart, Osric Chau, Larissa Gomes
Writer: Sera Gamble, series created by Eric Kripke
Director: Robert Singer
Network: The CW, Fridays @ 9 PM
Original Airdate: May 18, 2012

Before getting into discussing the episode proper, let’s take a moment to appreciate the SUPERNATURAL tradition of beginning each season finale with a montage of what has come before set to Kansas’ “Carry On, Wayward Son.”

It takes a certain type of show to earn a tune it can return to every year (HIGHLANDER fans will recall “Bonnie Portmore” filled a similar function, albeit not always at season’s close), but SUPERNATURAL, in its own purposefully crazy way, is one of them. By now, there’s something touching in this annual ritual that honors the characters and fans alike with the little clips that remind us of cool moments along the way while getting latecomers up to speed. It’s fun to see the bits the producers and editors choose and there’s something strangely inclusive about this annual ritual.

Meanwhile, top Leviathan Dick Roman (James Patrick Stuart) has summoned/trapped King of Hell Crowley (Mark A. Sheppard) to make a deal .Crowley and his minions can continue negotiating for the souls of Canadians, while the U.S.will belong to the Leviathans. Additionally, of course, Crowley will give the Winchester brothers a vial of demon blood that isn’t his. Since the boys specifically need Crowley’s blood to make a weapon that can kill Dick, they’ll make their run at Dick unprepared and he can kill them. Crowley agrees and pulls out an enormous Hell contract, which he and Dick proceed to haggle over in legal terms.

Bobby (Jim Beaver) loses possession of the unfortunate hotel maid (Larissa Gomes) and contemplates letting her go. Alas, Bobby spots a headline about Dick Roman in the newspaper and becomes so infuriated that he repossesses the maid and continues to head for Dick’s headquarters.

Castiel (Misha Colllins) has found that the Leviathans seem to have slaughtered all of the angels of Castiel’s former garrison. Still fairly unhinged, Castiel has made organic sandwiches for Dean (Jensen Ackles) and Sam (Jared Padalecki) as a peace offering, but he continues to insist he cannot help them fight Dick Roman.

Crowley arrives at a bad moment for everyone else – Meg (Rachel Miner) would rather he not see her, as he’s furious with her and Castiel isn’t one of Crowley’s favorite beings either, though Crowley soon sees the angel is fairly bonkers. Crowley gives Sam and Dean the vial of his blood – or is it? He explains about the deal with Dick, but he says at present, he’s more interested in getting rid of the Leviathans than in getting the Winchesters killed. Dean and Sam aren’t sure whether they can believe him or not.

We take a brief pause here to wonder what’s stopping the Winchesters from demanding that Crowley donate his blood in front of them so they can be sure of its provenance. Sure, there’d be arguing, but if Crowley wants them to go in (as it turns out he does), he’d ultimately oblige. Okay, end of pause.

Sam and Dean do the ritual with the various bloods (angel, Alpha, King of Hell) on the bone of a righteous nun (taken from a crypt). There’s no sign that the ritual took.

Dean and Sam head for Dick Roman’s headquarters, only to see the possessed hotel maid on the grounds. Realizing this is Bobby, Sam tries to stop him/her. Bobby, within the maid, almost chokes Sam to death before realizing what he’s doing and leaving the woman’s body.

With the woman safely in a hospital, Sam, Dean and Bobby’s ghost have gone back to the cabin. Bobby apologizes for thinking he could remain a ghost without giving in to the rage that overtakes all spirits not at rest. He tells the boys they should have burned the flask much sooner. Bobby says goodbye, hoping to see them again on the other side – “but not too soon.” Dean sadly puts the flask on the fire and the camera remains on the boys’ faces as they watch Bobby’s spirit silently burn.

Castiel at last agrees to come along and help. Dean and Sam pull out all the stops, using Dean’s beloved Impala as a decoy, with Meg smashing it into the corporate logo in front of the building and beheading Leviathans so that Sam, Dean and Castiel can get inside.

Dick has used the arm of the real Dick Roman to make other Leviathans that look like him, but Castiel is able to point out the real one. Dick is stabbed with a fake bone, which doesn’t do anything, but the real bone is brought out. Dick is stabbed through the neck and disintegrates in what appears to be a dimensional wave. When he has gone splat, Dean and Castiel, who were behind him, have disappeared.

Crowley shows up. His demons grab Meg and he takes charge of the teenage prophet Kevin (Osric Chau). Crowley tells Sam that, without their leader Dick, the Leviathans are now just one more monster, so long as they don’t organize again. Crowley says he has no idea where Dean and Castiel have gone, leaving Sam absolutely alone.

Dean and Castiel, in fact, have been yanked into Purgatory. Castiel vanishes in the middle of explaining this fact to Dean, who is absolutely alone, in a dark forest surrounded by the souls of monsters.

Hey, it’s a SUPERNATURAL season finale, you were expecting Sam and Dean not to wind up totally screwed once again?

As an episode unto itself, “Survival of the Fittest” – evidently, this refers to Crowley– is a combination of fun and poignancy. Putting together Crowley and Dick and having them go over the epic contract is not only conceptually funny, it allows Sheppard and Stuart, both splendidly at home in their roles, to zing off each other. It’s delightful stuff.

Losing Bobby – well, it’s SUPERNATURAL, so don’t be too sure we’ll literally never see him again – is handled very affectingly and intelligently, giving us the sorrow of this departure without graphic images of Bobby’s spirit in flames. Ackles and Padalecki both handle the wordless scene with grace and nuance.

Collins appears to be enjoying and is certainly enjoyable in Cass’ whimsical but friendly new persona. Chau as Kevin is such a well-realized character that we hope he’ll figure into next season (Crowley’s grabbing of him would seem to signal this will happen).

Looking back on SUPERNATURAL Season 7 as a whole, it feels a little more like an extended episode than some others, with the appearance of a new monster at the beginning and the defeat of the monster at the end, rather than something that inherently challenges Sam and Dean and causes some sort of epiphany. Sam getting rid of Lucifer doesn’t count, as that was via Castiel’s intervention, rather than Sam being able to prevail on his own.

Still, there are things specific to Season 7 that we’ll miss. Fans of the superb Jim Beaver ought to be able to catch him on Season 4 of JUSTIFIED, as his not-wholly-unlike-Bobby character on that series has been elected county sheriff, but we’ll still miss Bobby’s wry, dry incredulity and Beaver’s sure-handed performance. (Who or what the heck are they going to use to leaven the mood next season?)

Then there is Stuart’s smug, expertly-realized Dick. Season 8 may yet provide the greatest adversary of all time, but it’s hard to imagine how SUPERNATURAL, or any other show, will ever come up with a villain with such an apt name that every single actor obviously relished saying so much, or that the writers ran with so far in such blissful silliness. (It would be interesting to know if the creative team actually took the high road in not overdoing the “Dick”/ “boned” puns in this final episode, or if Broadcast Standards did that for them.) Stuart deserves a lot of credit for playing the smarmy corporate monster with utter confidence and a great balance between twinkle-eyed humor and conviction.

So carry on, SUPERNATURAL. In a time when many genre shows feel a little interchangeable, you’ve got your own crazy identity, and we’re glad you’re not ready to lay your weary head to rest just yet.

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Related Link: Interview with SUPERNATURAL star Misha Collins

Related Link: The scoop on SUPERNATURAL – Season 7

Related Link: Details on SUPERNATURAL – THE ANIME SERIES

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Exclusive Interview: Robert Sean Leonard on the end of HOUSE

ABBIE BERNSTEIN — Mon, 21 May 2012 16:38:14 +0000

Exclusive Interview: Robert Sean Leonard on the end of HOUSE

HOUSE ends its eight-year run tonight with a two-hour finale beginning at 8 PM on Fox. We caught up very briefly with Robert Sean Leonard, who has played Dr. James Wilson, exasperated best friend of Hugh Laurie’s difficult-to-get-along-with Dr. Gregory House, for the entire run, and got his views of two topics – his love of theatre and his dislike of the term “bromance,” especially as applied to Wilson and House.

ASSIGNMENT X: You’ve been on Broadway twelve times so far. Do you have a preference for doing series television or theatrical film or stage?

ROBERT SEAN LEONARD: Yes. It’s hard to say this without sounding like you’re fishing, but I think I’m fine on the show; I think I’m better on stage. But I’m me, so it’s how I feel. So how it looks or comes across, I don’t know, but that’s how it feels. So I look forward to [doing more theatre work]. I feel better when I’m doing it, but I love the show [HOUSE] and I love my part and I love the job, but I feel better as an actor when I do plays. I think I’m better at it.

AX: And do you want to hit the person who coined the term “bromance”?

LEONARD: I do. It really annoys me. It just seems kind of a cheap shot, [that is also insulting to] gay people. Why is that the place you go with it? And even if you do go with it, is it to be funny, or to be coy, or to be – to me, it’s like saying about a gay couple, “Oh, they seem so straight.” Well, what’s the point of that? I think it would offend the gay couple to hear that. So anyway, I find it odd when people use sexuality in that way. I don’t know what it means, I just find it odd. And I find it slightly loaded, even though I don’t know what it means.

AX: And it’s been coming up a lot.

LEONARD: Yeah. And I just feel like, “No, they’re not gay and next question. What are you talking about? I don’t know why it’s even intriguing.”

AX: Well, BFF is more like a female term, which I also don’t like because there’s a snarkiness about it. It sounds like it means the opposite.

LEONARD: Yeah, slightly frenemy-ish.

AX: Yeah. “Frenemy” at least describes what it is, as opposed to “BFF.” But House and Wilson are, at the end of the day, not frenemies but real friends?

LEONARD: Yeah.

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CD Review: NOWHERE TO RUN soundtrack (3,000 edition)

DANIEL SCHWEIGER — Mon, 21 May 2012 14:08:09 +0000

CD Review: NOWHERE TO RUN soundtrack (3,000 edition)

Jean-Claude Van Damme would get one of his best starring roles in this successful, if now relatively unsung 1993 film that sees his ex-con step into Shane-like shoes (via motorcycle), taking on the evil mining barons out to murderously toss out attractive homesteader Rosanna Arquette and her kids. RUN‘s impressively subdued and intelligent handling can be squarely credited to director Robert Harmon, who wisely reteamed here with his HITCHER composer Mark Isham.

Where the composer had handled that picture’s visceral atmosphere with ethereal, electronic tones, NOWHERE TO RUN saw Isham significantly beef up his approach with the weight of a full orchestra, one capable of unleashing waves of percussive fury upon the bad guys (even if RUN has an almost shockingly low body count). But like THE HITCHER, atmosphere is the key to Isham’s mostly understated approach, beginning with the tentative strings and tender bells of Van Damme becoming a father figure. With the family’s waves of grain, Isham’s music also takes on a soothing Americana quality, with the story’s western aspects captured by a guitar. But ultimately, action’s the thing here, with Isham unleashing brassily punishing hits, a victorious symphonic pounding that he’d next take to far more punishing heights for Van Damme’s other great vehicle TIME COP.

Leave it to Perseverance, a label who’s shown much love to the muscles from Brussels with their releases of KICKBOXER, NO RETREAT NO SURRENDER and DEATH WARRANT to give what’s arguably the action star’s best score the full treatment, including alternates and appreciative liner notes by Gergely Hubai that offers new observations from Harmon and Isham.

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Movie Review: HYSTERIA

ABBIE BERNSTEIN — Sun, 20 May 2012 18:59:53 +0000

Movie Review: HYSTERIA

Rating: R
Stars: Hugh Dancy, Maggie Gyllenhaal, Jonathan Pryce, Felicity Jones, Rupert Everett
Writers: Stephen Dyer & Jonah Lisa Dyer, story by Howard Gensler
Director: Tanya Wexler
Distributor: Sony Pictures Classics
Release Date: May 18, 2012

Surprisingly enough, the vibrator was invented during the Victorian era. Though HYSTERIA’s account of how this came to pass can be taken with a grain – or perhaps an entire shaker – of salt, the film’s overall look at the juxtaposition of extreme sexual prudishness (to say nothing of sexism and classism) and the upper-class medical theories of the day are hilarious and appalling at the same time.

Dr. Mortimer Granville (Hugh Dancy), a young physician trying to cure the sick in 1880 London, has a problem with hospital hygiene. That is, the hospital where Granville has been working doesn’t believe in hygiene, and when he tries to press the issue, his supervisor fires him, which is indeed a problem for our penniless hero. However, Granville eventually finds employment with the eminent Dr. Robert Dalyrimple (Jonathan Pryce), who is making a not-so-small fortune by treating “hysteria” in his wealthy female patients. Hysteria was the popular diagnosis at the time for any number of emotional conditions in women, ranging from severe grief to lustfulness (something well-bred women weren’t supposed to experience) to pretty much being anything but utterly docile and demure. While we learn later in the film about some barbaric treatments inflicted on women in the name of their own good (and, more importantly, preserving the social order), Dr. Dalyrimple has a benign if unexpected method of treating hysteria, which fits securely within his own sense of propriety and is satisfactory to the patients.

When Dalyrimple adds Granville to the practice to lend a hand, business booms. Granville falls for Emily (Felicity Jones), Dalyrimple’s Victorian ideal of a daughter, a relationship that has Dalyrimple’s blessing. What could go wrong here? Well, for one thing, there’s Dalyrimple’s other daughter, Charlotte (Maggie Gyllenhaal), who insists of providing needed medical services to the poor. Dalyrimple threatens to cut Charlotte off entirely if she doesn’t return home, but the threat doesn’t phase her. Meanwhile, the practice has gotten so popular that poor Granville can’t keep up. However, he has a moment of inspiration …

The screenplay by Stephen Dyer & Jonah Lisa Dyer, based on an original story by Howard Gensler, does an impressive job of juggling a variety of story points that all serve to illustrate one another. Much of the comedy here comes from how seemingly improbable elements (like the aforementioned invention of the vibrator) become positively inevitable.

There are a number of ways director Tamara Wexler could handle the material. She maintains a genteel and gentle drollness throughout, which sometimes makes the jokes funnier and sometimes doesn’t push them enough, but always respects both the characters and the tone. When we get to the film’s eventual indictment of the era’s hypocrisy and brutality, it comes naturally and has been earned by the steady good humor preceding it.

Dancy does a fine job playing a young man of rectitude who has his resolved challenged on a number of fronts. Gyllenhaal is properly spirited and charming, Jones makes Emily interesting and her own person and Pryce is perfect as the doctor who supposes that playing by the rules will be rewarded. Rupert Everett, as Granville’s friend and benefactor, gives his character just the right sort of debonair eccentricity.

HYSTERIA is actually quite well-mannered, especially given its title. It is also appealing, deft and has a truly memorable closing credits sequence.

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TV Review: COMMUNITY – Season 3 – “Digital Estate Planning”

SEAN ELLIOTT — Sun, 20 May 2012 18:52:30 +0000

TV Review: COMMUNITY – Season 3 – “Digital Estate Planning”

Stars: Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Alison Brie, Donald Glover, Ken Jeong, Chevy Chase, Jim Rash
Writer: Matt Warburton
Director: Adam Davidson
Network: NBC, airs Thursday nights
Original Telecast: May 17, 2012

COMMUNITY has done its fair share of interesting episodes, including stop-motion Christmas specials and alternate reality exploring board games. This first of the final three episodes for season three, “Digital Estate Planning” takes us to yet another place that COMMUNITY hasn’t been before, the 16-bit frontier.

Basically the whole gang is taken to a warehouse by Pierce (Chevy Chase) where they are met by guest star Giancarlo Esposito (ONCE UPON A TIME) playing Gilbert, the executor of Pierce’s father’s will. The entire group is forced to play a video game created by Pierce’s father (Larry Cedar) that will ultimately leave the Hawthorne fortune to the winner.

As a video game fan this episode is one of my favorites of the show so far. There have been plenty of video game jokes and references up to this point especially with Troy (Donald Glover) and Abed (Danny Pudi), but seeing how the entire Greendale study group survives inside a nostalgic video game is completely AWESOME!

Troy spends a lot of the down time aimlessly jumping around, every time Shirley (Yvette Nicole Brown) moves, her character picks up its skirts, and rampant racism and general waspishness of the game make every second a chortle.

One of the best moments is Annie (Alison Brie) and Shirley, after a misunderstanding with the blacksmith deciding to kill his whole family and burn the shop to the ground. This of course leads to Abed falling in love with Hilda a girl in the village (who happens to be the deceased blacksmith’s daughter). Abed stays behind and when the group returns to the village a little bit later there is a castle built by Abed and his ‘wife’ and their bizarre slave army of children that Abed has figure how to make the game produce. There are all kinds of wrong with slave children labor, and even a tiny skeleton hanging in a cell.

The group works together and defeats the game, but let’s Pierce’s half brother Gilbert get the inheritance in the end. They go for drinks and Abed puts his ‘wife’ on a flash drive for later.

The animation, dialogue, and ridiculousness of parts of the game only get more ridiculous when Abed essentially hacks it from inside, and anyone that loves classic video games will get a kick out of this gem of an abstract episode.

Sadly, we probably won’t be seeing any more COMMUNITY like this with the firing of show runner and series creator Dan Harmon. Boo NBC — you renewed the show just to axe the man that has made it so brilliant. Once again proving that Network logic doesn’t resemble our Earth logic at all.

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Related News: COMMUNITY creator confident for Season 4

Related Link: NBC explains why they put COMMUNITY on hiatus

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CD Review: TITANIC soundtrack (2CD Anniversary Edition)

DANIEL SCHWEIGER — Sun, 20 May 2012 18:27:03 +0000

CD Review: TITANIC soundtrack (2CD Anniversary Edition)

“My Heart Will Go On,” and on and on and on with the popularity of the most waterlogged movie to win Best Picture, especially for the concurrent 100th anniversary of the ship’s sinking and the 15th years since the movie’s release. So what better time to make hay of all things musically TITANIC than with multiple releases of its Oscar-winning score and song? While a four-disc soundtrack set offers copious source music and extra instrumentals, chances are TITANIC non-fanatics will be more than sated with this 2CD anniversary edition, which contains the lion’s share of Horner’s score, and, of course, Celine Dion. But it’s a new, shining musical star that really steals the refurbished boat here.

All Celine over-exposure aside through the years, there’s still no denying the epic, emotionally thematic power of TITANIC‘s song and score. Carried by what’s likely the cinema’s most romantically iconic melody next to “As Time Goes By,” Horner’s music captures a similar feeling for pure, ill-fated love, as caught amidst the grandeur, and self-sacrifice of one of history’s greatest tragedies. As a composer whose nautically influenced style could be heard all the way back to STAR TREK 2 and COCOON, Horner also brought a sense of seafaring adventure to TITANIC, while also ensuring James Cameron’s goal of making the music feel “timeless” by combining his strings with ethereal synths, as well as Uilleann pipes for the liner’s Irish port of origin. But all compass points will lead to the fateful iceberg, with Horner unleashing, terrifying, metal-rending percussion and orchestral thrills that could easily have played in Cameron’s ALIENS. Yet amidst the score’s desperation to abandon ship, it’s old-fashioned emotion that truly floods through every passage of the score, music that achieves a beautiful sense of transcendence from the tragic.

With so much conversation about the captain’s table, and even more commotion going about on deck, it’s little wonder that the source music performed onscreen by I Salonisti didn’t get the recognition it deserved. But now this chamber quintet for strings and piano gets a well-deserved, solo-disc spotlight on this set, their music proving as impressive as Horner’s in its own right. Accomplished composer John Altman (FUNNY BONES) commanded the group as TITANIC‘s historical music advisor, his knowledge of the popular tunes of the day making for a lilting, spot-on replication of the White Star Line’s shipboard band, whose on-demand playlist he whittled down from over 200 songs to about 25 for the picture. Their repertoire of waltzes and “pop” tunes is still eminently recognizable, from the “Blue Danube” to cartoon stalwarts like “Pop and Peasant,” as well as a top-ten number like “Alexander’s Ragtime Band.” But no melody is as moving as “Nearer My God to Thee,” their somber hymn building with emotion as the ship goes down. While most chamber music of this sort can become grating very quickly, I Salonisti’s soulful playing has the resonance of a full orchestra, not only transitioning between numbers with beautifully classical ease, but transporting the listener on board the Titanic itself to relax in the company of its house band. Not only does the music carry the sense of refined civilization, but it also helped provide a sense of order that likely resulted in saving a few more lives. Never has a conductor’s appreciation for his band been more moving.

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CD Review: GALAXY QUEST soundtrack (3,000 edition)

DANIEL SCHWEIGER — Sun, 20 May 2012 18:08:12 +0000

CD Review: GALAXY QUEST soundtrack (3,000 edition)

If there was ever a geek desert island movie, and score, then it would be 1999’s GALAXY QUEST. Beyond its brilliant high-concept of throwing Classic Trek’s “ has-been actors into a real outer space adventure, what made the movie work was just how much love it really had for Kirk and company- a determination to make the premise anything but a shabbily extended SATURDAY NIGHT LIVE skit. For with just a few less degrees of satire, one could actually, almost buy these actors being on a spiffed-up Enterprise bridge, fighting Gorn to David Newman’s trumpeting theme for a cult TV show that never was- its “fake” fanfare equally endearing to QUEST fans as Alexander Courage’s real deal is to Trekkies. Now Newman’s previously, promo-only s QUEST gets launched as a limited edition from La La Land records, proving resoundingly just how many meta-levels his music works on.

Like this big-budget production that really did its homework on how to amplify the original show’s sometimes cheesy charm, Newman’s GALAXY plays like a checklist of the great CT scores by the likes of Sol Kaplan, Gerald Fried and Fred Steiner (not to mention the movie scores by Jerry Goldsmith and James Horner). There’s the proud military percussion, the noble strings of going boldly, spectral choruses, and drop-kick percussive action music- all given the symphonically grand, big screen life that makes QUEST‘s cast’s mouths drop when they step onto the Thermian version of the N.S.E.A. Protector. And having come up with a memorable theme that never becomes tiring, Newman is sure to have it every step of the way. But what also made him the perfect composer for GALAXY QUEST was a talent for antic comedies like THE FLINSTONES and THE NUTTY PROFESSOR. Indeed, few composers this side of Carl Stalling has written such dense, screwball “cartoon” music, Looney Tune antics that Newman crosses with the tongue-in-cheek derring-do he brought to his glorious comic book score for THE PHANTOM. The result is a soundtrack that’s simultaneously hilarious and truly thrilling, having at it with the musical conventions of STAR TREK while playing them straight. And it’s exactly this musical gravitas at a death of a kind Thermian, the humiliation of a cowardly captain, and the cast members’ final rise to true heroism that gives QUEST the stuff of real greatness- a la Elmer Bernstein’s work for the similarly themed THREE AMIGOS.

Once as requested an item as a videotape of the original Kirk-less pilot to “The Menagerie,” GALAXY QUEST‘s promo has now been given a bit more music in the bargain, with a truly retro Easter egg at the end of the album. Tim Greiving’s terrific liner notes feature a new interview with David Newman on the score that would likely earn him a place of honor at any STAR TREK convention, especially for musically taking their idols seriously in the name of satire.

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TV Review: GAME OF THRONES – Season 2 – “A Man Without Honor”

RACHEL REITSLEFF — Sat, 19 May 2012 21:11:53 +0000

TV Review: GAME OF THRONES – Season 2 – “A Man Without Honor”

Stars: Peter Dinklage, Lena Headey, Nikolaj Coster-Waldau, Michelle Fairley, Emilia Clarke, Aidan Gillen, Iain Glen, Kit Harington, Liam Cunningham, Isaac Hempstead-Wright, Richard Madden, Sophie Turner, Maisie Williams, Alfie Allen, John Bradley, Jack Gleeson, Charles Dance, Rory McCann, Stephen Dillane, Carice Van Houten, Natalie Tena, James Cosmo, Jerome Flynn, Conleth Hill, Sibel Kekilli, Robert Pugh, Gethin Anthony, Natalie Dormer, Gwendoline Christie, Patrick Malahide, Gemma Whelan, Donald Sumpter, Finn Jones, Julian Glover, Francis Magee, Joe Dempsie, Nonzo Anozie, Nicholas Blane, Oona Chaplin, Rose Leslie, Karl Davies
Writers: David Benioff & D.B. Weiss, series created by David Benioff & D.B. Weiss, based on George R.R. Martin’s “A Song of Ice and Fire”
Director: David Nutter
Network: HBO, Sundays @ 9 PM
Airdate: May 13, 2012

GAME OF THRONES is an overall amazing series, but even it (so far) has boasted few episodes like “A Man Without Honor,” which continually knocks the wind out of us, amazed by what’s happened and fearful of what may be coming next – and simply bowled over by scenes of feeling that are all the more powerful for their unexpected nature.

At Harrenhal, Lord Tywin (Charles Dance) is still trying to figure out Arya (Maisie Williams), especially when it turns out she, claiming to be a stonemason’s daughter, knows more about the history of the Targaryens and their dragons than he does. Arya is very enthusiastic about the Targaryen warrior women. Tywin talks about how the Targaryen dragons destroyed Harrenhal Castle, designed to withstand any number of ground attacks, with fire from above.

At King’s Landing, Sansa Stark (Sophie Turner) tries to hide evidence that she’s begun menstruation, because this means she’s of childbearing age and will have to marry King Joffrey. However, Queen Regent Cersei (Lena Headey) is told and does her genuine best to give Sansa counsel, namely that a mother can only afford to love her children. Tyrion (Peter Dinklage) later visits Cersei, worried about the impending attack on the city by Stannis Baratheon. Joffrey still isn’t acting like a king. Cersei finally slowly acknowledges that her twin Jaime (Nicolaj Coster-Waldau), rather than her late husband King Robert, is the father of her children, and she fears that Joffrey’s violent nature is her punishment; after all, the Targaryens married brother to sister and half of that family was insane. Tyrion comforts his sister, saying that her two other children are actually good people.

Jon Snow (Kit Harington) continues to trek through the frozen wastes with his prisoner, the Wildling Ygritte (Rose Leslie), who teases him about his sexual response to her, then escapes and turns the tables on Jon, who finds himself surrounded by Ygritte’s tribe.

In Qarth, Ser Jorah (Iain Glen) tells the angry and stricken Daenerys (Emilia Clarke) that he will do whatever she wants. What Daenerys wants is to find out who has her dragons and then to get them back. When a meeting of the Thirteen Rulers of Qarth is convened, Daenerys is invited. Pyat Pree (Ian Hanmore) says that the dragons are at the House of the Undying and he wishes for Daenerys to join her children there – forever. Pyat and Xaro Xhoan Daxos (Nonso Anozie) stage a bloody coup on the rest of the Thirteen – Jorah helps Daenerys escape in the chaos.

Jaime, a prisoner in the Stark encampment headed by Catelyn Stark (Michelle Fairley) while Robb (Richard Madden) is temporarily away, gets some company when Alton Lannister (Karl Davies) is locked in the pen with him.Altonhero-worships Jaime, having squired for him. Jaime shares his own squiring stories with Alton– and then murders his young kinsman, effectively summoning a guard, who Jaime strangles. Jaime’s escape is shortlived, and he’s angered so many Starks by killing the guard that it seems he’s going to be lynched. When Catelyn comes to see Jaime, he acknowledges his lifelong affair with his sister and taunts Catelyn with the late Ned Stark’s infidelity (the proof is the bastard son, Jon Snow, that Ned brought home). Catelyn asks her knight Brienne (Gwendoline Christie) for the use of her sword.

At Winterfell, Theon Greyjoy (Alfie Allen) pursues the escaped Bran Stark (Isaac Hempstead-Wright) and his younger brother Rickon (Art Parkinson). Theon dismisses Maester Luwin’s (Donald Sumpter) warnings that Robb Stark will send an army to retake Winterfell. Gathering the residents of Winterfell into the stronghold’s square, Theon unveils the mangled, burnt corpses of two young boys.

Most of the scenes in “A Man Without Honor” – the title quotes Catelyn’s assessment of Jaime, but it certainly refers to Theon as well – leave us gaping. The scene between Jaime and Alton is so charming and full of gentle affinity that when Jaime tells Altonhe couldn’t escape until now, our reaction is sincere regret. We like Alton, but more, we don’t want Jaime to be the treacherous self-preservationist we know he is. Even after that, when he’s trying to goad Catelyn into killing him before he’s ripped apart by the mob, we’re amazed when Catelyn actually takes up a sword. The scene between the two of them, with Jaime taunting and Catelyn with a barely restrained fury of hellish proportions, is dramatically riveting, and Coster-Waldau and Fairley are both extraordinary.

The mental and emotional chess game between Tywin and Arya is subtler and less brutal – for now – but it is similarly gripping. Williams shows us Arya trying to remember this shrewd man is her mortal enemy and Dance makes the wealthy lord endlessly shrewd yet human.

The scenes in Qarth zip by. Daenerys is being somewhat bratty, but the slaughter in the Council is so wholly unexpected that we’re breathless. It’s a little unclear as to whether Xaro prevailed according to his plan or was betrayed by the warlocks, but presumably this will be clarified in future episodes. Since the dragons are likely to stay in the story and they need Daenerys to survive, we can surmise that a reunion will occur, but the suspense surrounding it ratchets up considerably.

As for Winterfell, actor Allen and the writers are turning Theon into a villain of virtually Shakespearean dimensions, a man who lets not only bitterness and ambition but futile desire for parental approval get the better of his humanity. We desperately want Theon to get a severe kicking, but we can’t help pitying him as well.

The scene between Tyrion and Cersei lacks the corpses and action of the other major plot threads. Still, the moment in which Tyrion instinctively almost embraces his sister, then falls back as they both realize this is closer than either can comprehend, is as startling and moving as any other high point in the entire series.

This leaves Jon and Ygritte. Yes, we know it’s a major storyline, and Leslie is likable as the spunky Wildling, but there’s something a bit slow and sloggy in these scenes, and it’s not just due to the difficulties of trekking through deep snow. Jon really is acting like a dope here, and while Harington gives us the character’s embarrassment and irritation, there’s no spark suggesting that there’s real desire underneath. In an episode that otherwise crackles like fire, the combative courtship here feels repetitive.

In all other respects, “A Man Without Honor” is an episode with greatness.

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Article: TV Review: GAME OF THRONES – Season 2 – “A Man Without Honor”

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Exclusive Interview: GRIMM co-creators David Greenwalt and Jim Kouf on Season 1 and the future of the series

ABBIE BERNSTEIN — Sat, 19 May 2012 04:16:59 +0000

Exclusive Interview: GRIMM co-creators David Greenwalt and Jim Kouf on Season 1 and the future of the series

Talking to GRIMM co-creators (credit shared with Stephen Carpenter)/executive producers (with Sean Hayes and Todd Milliner)/show runners David Greenwalt and Jim Kouf have been working together for ages. For one thing, their collaboration dates back to the screenplay for 1982’s feature film WACKO. Or you could listen to the way the two Los Angeles natives share opinions and complete each other’s sentences while talking about their current supernatural procedural drama

GRIMM has its first-season finale tonight at 9 on NBC; it’s already been renewed for next season. David Giuntoli plays Portland, Oregon police detective Nick Burkhardt, who is still dealing with the discover that he’s a Grimm, someone who can detect the true essence of nonhuman Wesen, creatures who have been the inspirations for centuries’ worth of folk tales.

Greenwalt and Kouf talk about the realities behind their mythmaking, just outside a ballroom at the Pasadena Langham Hotel.

ASSIGNMENT X: Mr. Greenwalt, around 20007-2008, you were thinking of retiring from the film and television industry. What brought you back?

DAVID GREENWALT: Well, I did sort of retire – I’d kind of had enough – but what brought me back was two things. One was Todd Milliner, who had this idea about doing a modern retelling of the Grimm fairytales, that was GRIMM, and two was that my old partner Jim Kouf agreed to do it with me. So it was too much to resist and it’s been a ball. I wasn’t sure, because I’ve been running shows for awhile and it’s hard, but it’s good, easy work- it’s not heavy lifting, you know [laughs].

AX: Among your many projects together was the screenplay for the 2004 feature film AMERICAN DREAMER …

GREENWALT: I remember getting to the point in the movie where we would go, “Wait a minute, who knows what in this scene?” And it was complicated. Because there were so many things going – there were always three levels going on in every scene. Two realities.

AX: You sort of have that going on now in GRIMM.

GREENWALT: We sort of do that in GRIMM, and we like that, because it amuses us, and it makes it more interesting, if you can pull it off.

AX: Was AMERICAN DREAMER good practice for this?

GREENWALT: AMERICAN DREAMER was good practice for everything we’ve done, I think.

JIM KOUF: Because that had action in it, romance, it had comedy, it had it all, so we’re going to try to do the same thing.

AX: Mr. Greenwalt, you worked on BUFFY THE VAMPIRE SLAYER and co-created ANGEL with Joss Whedon, and Mr. Kouf, you worked on ANGEL. Grimms, with their perceptions of and ability to combat the supernatural, aren’t entirely unlike Slayers. Are there elements where you’ve consciously gone toward the similarity and elements where you go, “No, let’s go away from that”?

GREENWALT: I think BUFFY and ANGEL were both really great, fresh shows, and this just seemed like another step – yes, it’s a similar genre. I think there’s a little more reality in GRIMM, even though people are morphing into critters and stuff, and it’s just such an exciting show, because such a hybrid – it’s half-procedural and half …

KOUF: Mythological. And also, with the characters, we’re trying to tie what they look like into a physical manifestation of their psychology or psychosis, so it exists within.

AX: Is there any particular division of responsibility between the two of you as show runners, or do you both just do everything?

GREENWALT: Jim and I do everything together.

KOUF: Yeah. We’re responsible for the show. We’re the last word on everything, pretty much.

AX: How do you design individual episodes? For example, can you talk about “The Three Bad Wolves”?

GREENWALT: Well, we knew we had Monroe [the werewolf-like Blutbad played by Silas Weir Mitchell] in our cast, so we knew we had a Big Bad Wolf, and I can’t quite remember the exact genesis of that, but it seemed like a neat idea of, “How can we take a fairytale and turn it on its head?”

KOUF: It’s “The Three Little Pigs,” and the Wolf has always gone after the Pigs. Well, it was time that the Pigs got their revenge on the Wolves. That’s where we came at it form.

AX: Overall, from episode to episode, do you normally think, “What would we like to have happen” and then look for the fairytale, or do you come up with a storyline for an episode and then look with a fairytale that fits it?

KOUF: It’s a bit of both. There are fairy tales that we seem to fit to real life. We get an event that’s in the newspaper, for instance, and then we say, “That looks like it was done by one of our fairytale characters.”

GREENWALT: Something that’s hard to explain, something that has an essential mystery to it.

AX: Can you point to anything that was born of a newspaper article?

KOUF: Depending on what the crime is, if it’s a fairytale, we try to match it to a crime that’s happening now; in the modernization of the fairytale, we try to base it in some real, factual stuff. Like in “Lonelyhearts,” the kidnapping of women, people finding people in basements who have been kidnapped and held there for long periods of time. That happens all the time. So we took that “Lonelyhearts,” which was based on Bluebeard, and matched it to events that we’ve read about.

AX: As far as the character Monroe, was he always sort of planned to become Nick’s unofficial partner, or was that the result of you seeing how well the character worked out?

GREENWALT: He was designed as a character to be a regular, and then he really popped terrifically.

AX: And was it always building to that moment at the end of “Of Mouse and Man,” where Monroe had the crap kicked out of him by other supernatural beings because of his alliance with Nick, and then decided, “All right, not just out of friendship with Nick, but for my own dignity, I’m gonna side with the Grimm”?

GREENWALT: I think we discovered that as a B story in that episode, and then we had, “How would you end that episode?” and Jim came up with the idea of them clinking beers and – because obviously, Nick would say, “You don’t have to do this any more,” and Monroe says, “Sweet, bring it on.”

AX: So is it ever going to be like the Three or Four Musketeers, with Russell Hornsby as Nick’s detective partner Hank Griffin and Bitsie Tulloch as Nick’s girlfriend Juliette both aware of what’s actually going on?

GREENWALT: [laughs] Stay tuned.

AX: Was it decided that Monroe needed a girlfriend, or did you just look at the sparks between actors Silas Weir Mitchell and Bree Turner as Rosalee and think you wanted to expand on that?

GREENWALT: We think there might be some sparkage there.

KOUF: It was such a great set, we didn’t want to lose it [laughs].

GREENWALT: Yeah, [Rosalee’s] spice shop set. And we wanted to bring in another female character, to balance that a little bit, and then we saw this natural attraction – there would be a natural attraction between these two.

[At this juncture, GRIMM special makeup effects designer/supervisor Barney Burman joins the interview]

AX: Unlike a lot of other shows where once somebody’s in prosthetics makeup for a scene, they stay in it, on GRIMM, you have the blinking effect where Nick sees somebody’s true nature and then they go back to looking normal. How do you schedule that, because it looks like you have to have the person in makeup very briefly for a scene?

GREENWALT: There are many different ways we do the special makeup and the CGI stuff. Sometimes it’s just CGI. But there’s a development period, so when we’re just breaking the story, if we decide, “Oh, it’s going to be a bat creature,” they’ll know right away it’s going to be a bat creature, or whatever the creature might be for that episode, and then they start sending us drawings, and then eventually, we all approve – NBC and Jim and I and Sean [Hayes] and Todd {Milliner] approve the drawings and then they either make a CGI version of it – if you’re not [focusing] on [the makeup] too long, you can get away with a CGI, but if you’re really on it for any length of time, you really need to build prosthetics, which Barney Burman does so great for us.

KOUF: It’s a big magilla.

BARNEY BURMAN: Yeah, but in the scene you’re talking about, it’s a CGI. We do [the brief shots] CGI – we don’t put them in the full-blown makeup unless we’ve got a big scene where they have to act in it for a long period of time.

AX: So do you have, as it were, the prosthetics in a computer and you just superimpose them onto the actor for the quick shots?

GREENWALT: Sort of.

BURMAN: It’s more built to the actor. We never want to lose the face of the person underneath. So that’s the idea of our show – it’s part of that individual. We don’t want it to just be somebody in a mask. We want it to be that individual. For CGI, we put dots on their face and then [the visual effects artists] can build the CGI to that particular face. So if we know we’re doing a quick morph – that’s how we refer to it – then we put the dots on the face.

AX: So it’s like version of motion-capture. Are you finding that there’s one type of Wesen that seems to work better than another – mammals, reptiles, ogres?

GREENWALT: Each one is a discovery and as Jim has said, we like it when the person even looks like the [Wesen version of the character], except sometimes, like with the guy who’s the bat [Murcielago] out there, they all look kind of like those Murcielago bats, because they’re more of a flock. But each one is different.

KOUF: We were going to do a dolphin at one point, and that actually became the bat, because there were some sonar things involved in that episode.

GREENWALT: We were thinking, “A dolphin’s going to look really weird, big nose and stuff, it’s going to be strange.”

KOUF: And not necessarily scary.

GREENWALT: And not that scary. So we kind of discover it as we go.

AX: Are there any entities that you discovered you couldn’t do, because of logistics?

KOUF: Not yet.

GREENWALT: I guess we wouldn’t do an elephant, but we’ve done a lot – I think we’ve done about twenty odd creatures.

AX: Do you see GRIMM as getting more and more arced or more and more standalone as it goes along?

GREENWALT: Both. We want to keep it a hybrid – we want to keep it so you don’t need a scorecard to watch this show, you’ll be able to tune in and just understand that’s that guy who sees those critters, but for the hardcore fans, the mythology will deepen and there will be more of that kind of thing.

AX: Is Sasha Roiz’s character Police Captain Renard going to be back next season?

GREENWALT: I think you can say he’ll be back next season.

KOUF: We have no plans to get rid of him.

AX: It’s just his character is so ambiguous …

GREENWALT: That’s the right word.

AX: Is he going to be made any less ambiguous by the end of the season, or any more ambiguous?

[GREENWALT and KOUF both laugh]

GREENWALT: You’ll know a little bit more about him, just like you’re going to learn more about Nick. You’re going to learn more about all the characters.

AX: GRIMM is one of the big successes of the 2011-2012 TV season and ONCE UPON A TIME is another. Do you think there’s something now in the zeitgeist that’s bringing people back to the traditional mythology and fairytales?

GREENWALT: There sure seems to be. GRIMM was developed years ago, so I think it’s just kind of a coincidence. Todd Milliner developed it –

KOUF: Five or six years ago.

GREENWALT: Yeah, five or six years ago, so I think it’s just kind of happy coincidence. But there seems to be something in the zeitgeist, people longing for those fairy tales from their youth.

KOUF: I think we’re bending ours a little more toward reality than [ONCE UPON A TIME]. We’re trying to ground ours.

AX: With GRIMM, there a strong element of, “I wonder what that person’s really like.” I mean, do you think that’s part of what’s appealing to people about the show?

GREENWALT: I think there are many things that appeal to people on this show. It’s a fun mystery, it’s a little horrific, it’s shocking, it’s fun. It’s meant to be just fun entertainment.

AX: Anything else you would like to say about GRIMM at present?

GREENWALT: Keep watching and stay tuned. We’ve got fun stuff coming at the end of the season, and next season, too.

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Article: Exclusive Interview with GRIMM co-creators David Greenwalt and Jim Kouf

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