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The Fabulous Baker Boys (1989, Steve Kloves)
The Fabulous Baker Boys opens with pseudo-protagonist Jeff Bridges saying goodbye to his latest cocktail waitress one-night stand (always his decision, never hers–Baker Boys is all about taking advantage of patriarchal privilege). Under the opening titles, he walks to work. Baker Boys takes place in Seattle and regularly features its skyline, but director Kloves is careful never to show the Space Needle. Much like its characters, the film exists on the edge of reality.
Bridges plays one half of the Fabulous. Beau Bridges play the other. Beau’s the responsible one who has a wife and kids in the suburbs. Jeff is the love-them-and-leave-them, hard-drinking jazz pianist with a heart of gold (he gives Ellie Raab, the tween who lives upstairs, a safe spot when her mom’s got a fellow over). They’ve been playing piano together for thirty-one years, starting as kids, turning it into a profession. They’ve played all over town for years, and they’re getting played out. No one’s going to clubs with pianomen.
After one particularly disheartening experience, Beau decides they’re going to need to have someone along to sing a song. Cue an amusing (albeit unkind) audition sequence, which starts with Jennifer Tilly’s off-key attempt. Baker Boys appreciates having Tilly (she even gets a special end credit), and she’s a lot of fun. She brings the first lightness to the film. While it’s never too dark, it does… wallow in melancholy at times. Tilly shakes up the momentum nicely.
The audition sequence ends with Michelle Pfeiffer, who can sing, and thus becomes the singer, even though she’s a little too brash for Beau’s tastes. She doesn’t even rate a blip on Jeff’s radar initially, but once they all get performing and realize they’ve found a good thing… he takes notice.
There are some fantastic scenes during this portion of the film. There’s a mix of dismay and exuberance–Pfeiffer’s new to the live entertainment business, excited at various potentials. Beau and Jeff have years of experience and are appropriately downtrodden about the whole thing. They think they’ve hit their peak, not realizing Pfeiffer’s contributions will change their lane. Jeff plays most of his scenes silent and sullen. He’s a tortured artisté (no one says he’s the best jazz pianist in the town, but it’s definitely the vibe, and he’s given that up for Beau, who’s just good). But when Pfeiffer and Beau clash, Jeff gets these twinkles in his eyes, and they add up to character development and chemistry.
Lots of Baker Boys is about chemistry. Jeff and Pfeiffer spend a solid portion of the second act circling each other, trying to find an angle where going for it isn’t a mistake. Beau sees what’s going on and tries to stop it. The sequence where he can’t is spectacular, where Kloves shows off he, cinematographer Michael Ballhaus (it’s such a gorgeous photography job, it’s never not stunning), and editor William Steinkamp’s abilities in an entirely new context. They’ve got light drama, light comedy, and sexy but not tawdry lounge singing down, but they can do so much more.
Baker Boys is a character study. It’s a strange one because despite spending the movie with Jeff, it’s not clear until he and Pfeiffer start alternating clashing and crashing; it’s all about him. The character’s distant from everyone; why would the audience be any different.
But Kloves doesn’t let the sub-genre dictate the format. Even as a straight drama–despite the hot and heavy, it’s not a romance or a romantic drama–there’s time for screwball, there’s time for laughs, for smiles. The first act sets up the Baker Boys, but there’s a lot more to say about them, it turns out, right into the third act. After an unevenly paced present action–the film takes place over any number of months, with New Year’s being around the center–the third act is a few days at most.
Because there’s not a lot to wrap up other than everyone acknowledging the state of their situations. One of the problems is the lack of communication (no one ever points out Jeff being smirking, smoking, or sullen is a significant contributor, unfortunately), and the way Kloves layers in those reveals is exquisite. The characters often argue about something the audience doesn’t know about or know how to contextualize, and Kloves has to get the reveals in just right. Even though the audience can’t know (with some exceptions) how things will hit, the film’s got to be ready to situation them on demand. The thing about the arguments and the character turmoils is they’re fast-paced. When Jeff lashes out to hurt people, he does it rapidly, and Kloves makes sure the audience is never behind.
The acting’s outstanding. Jeff really gets to come into it towards the end of the second act, while Beau plays sturdy support. Pfeiffer deserves those effusive “revelation” statements. There’s not really a cast besides them; hence Tilly is making such an impression.
Outstanding technicals, fantastic Dave Grusin score, The Fabulous Baker Boys is, obviously, fabulous, but it’s also a superb achievement from cast and crew. There’s a lot of exceptional work on display here.
This post is part of the It’s In the Name of the Title Blogathon hosted by Gill of Realweegiemidget Reviews and Rebecca of Taking Up Room.
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Briefly, TV (12 May 2024)
Last Week Tonight with John Oliver (2014) s11e10 “May 5, 2024: Public Libraries” [2024] D: Paul Pennolino. S: John Oliver. It’s another crowd pleaser episode with the feature covering attacks on public libraries throughout the United States. Well, maybe not throughout. Lots of solid jokes, and some good running bits. The news of the week covers students protesting Israeli’s attack on Palestinians, which gets fairly heavy. The library feature gives Oliver something where civic involvement still has a chance.
Black Mirror (2011) s03e02 “Playtest” [2016] D: Dan Trachtenberg. S: Wyatt Russell, Hannah John-Kamen, Wunmi Mosaku, Ken Yamamura, Elizabeth Moynihan, Jamie Paul. Appealing performance from Russell doesn’t make up for the rest of the episode, which is a “plug-the-brain-into-the-computer and not know reality anymore” story. Charlie Brooker’s script doesn’t bring anything to the genre. John-Kamen is good as Russell’s love interest, Mosaku as the technician talking him through the “experience.” The performances deserved better writing.
Beacon 23 (2023) s02e05 “Song of Sorrow” [2024] D: Ayoka Chenzira. S: Stephan James, Natasha Mumba, Noah Lamanna, Ellen Wong, David Tompa, Tenika Davis, Dylan Taylor. Did BEACON 23 just jump the shark? Maybe. After bringing in guest star Tompa, who doesn’t appear to be a professional actor, James and Wong find themselves contending with even more unexpected horse guests. It’s an exceptionally weird episode. Including major world building exposition dumps, which terrify because the show’s awful with those devices. Wong’s great, James looks bored.
The Big Door Prize (2023) s02e02 “Visions” [2024] D: Steven K. Tsuchida. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Damon Gupton, Ally Maki. Ish episode about O’Dowd and Dennis deciding to go ahead with their “don’t call it a” separation. Plus awkward social moment comedy, the fortune telling machine actually being magic, and not much else. Either they’re all too one dimensional or it’s a LOST situation. Seems like the former. Good Gupton performance. He’s the only standout. Again, concerning.
Crashing (2016) s01e03 “Episode 3” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Best episode so far about an extremely uncomfortable dinner party for the regular cast. Molony’s making multiple curries, Waller-Bridge’s getting drunk, Ford’s getting embarrassed, and Bailey’s getting jealous. Very intricate cringe humor–Waller-Bridge’s script this time is phenomenal–and some good laughs as well. Excellent performances, pacing, timing, all the things. It’s an exceptional half hour.
My Life Is Murder (2019) s04e02 “Tough Love” [2024] D: Michael Hurst. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Lisa Chappell, Chelsie Preston Crayford, Anna-Maree Thomas. It’s murder at the country club when a jerkhole tennis pro (Jonno Roberts) ends up dead on the court–killed by his own tennis ball machine. Likable supporting cast of suspects (prick victim helps) gives everyone a nice featured scene or two. Lawless gets to have fun messing with fellow private investigator Chappell. They’ve got their formula down.
My Life Is Murder (2019) s04e01 “To Dye For” [2024] D: Michael Hurst. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Erik Thomson, Albert Cho, Albert Cho,Sia Trokenheim. Lawless and Vagulans are back with a straightforward murder mystery episode–a wellness influencer washes up on a beach, only she’s been drowned with champagne, not water. And she left her estate to her cat. The investigation quickly focuses on Thomson’s hair salon and rising star Cho. Lots of twists and turns to fill the runtime, but it’s swell.
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Briefly, Comics (11 May 2024)
Legion of Super-Heroes (1980) #311 [1984] W: Paul Levitz. A: Gene Colan, Keith Giffen, Larry Mahlstedt. Thank Granny Goodness for this issue. It’s good. The first story has good art, good story. Brainiac Five finally fails to stop evil AI Computo from escaping. Giffen and Mahlstedt have never done better art. Then it’s Dawnstar and Wildfire’s tragic friends without benefits thing. With space Native American arranged marriage stuff and Colan pencils. Gorgeous but so yikes.
Legion of Super-Heroes (1980) #312 [1984] W: Paul Levitz. A: Karl Kesel, Keith Giffen, Larry Mahlstedt. Kesel’s inks are a let down from last issue but Giffen’s still going all out so it’s okay. Not always successful, but sometimes and significantly. The Legion help the Science Police with terrorist threats the Big Brother computer can’t predict. Lots of tension, lots of horny Legionnaires. And a surprise guest star who the artists are thrilled to draw.
Legion of Super-Heroes (1980) #313 [1984] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. It’s an okay finish to the Science Police turncoat story. The art’s not the peak, but not bad. Fun to read. It’s basically a mystery issue; the Legion has to identify the traitor. There are a few subplot checkins, but nothing substantial besides Shrinking Violet kicking ass. Oh, turns out Science Police are bad fascists. Final issue before a series split.
Legion of Super-Heroes Annual (1982) #3 [1984] W: Paul Levitz. A: Curt Swan, Keith Giffen, Larry Mahlstedt, Romeo Tanghal. Swan and Tanghal do an awkward Silver Age-y take (only with eighties outfits), fitting the protracted story. Mordru is back–sort of–but the Legion isn’t prepared because it’s just an annual story. There’s some okay plotting throughout but it’s hard to take it too seriously with the art. Then there big twist finish is a complete whiff.
Superman ’78: The Metal Curtain (2024) #1 W: Robert Venditti. A: Gavin Guidry. Venditti’s writing hasn’t improved since last series. Still using whole bits of dialogue from the movies, risibly juvenile when he’s not. Like a young readers adaptation. Guidry’s art is okay, though his attention to detail is off. Lois investigates crooked Army guys, selling arms, while the Soviets have kryptonite and an American conspirator. It’s eventually at least interesting.
Superman ’78: The Metal Curtain (2024) #2 W: Robert Venditti. A: Gavin Guidry. Improvement over the first issue because Guidry does all right with the action. It’s too fast but also sublime in the pacing. And the story’s better. Superman brings Lois home to meet the parents (who live in Kandor), and is going to try to tell her the secret (again). Too bad Soviet Metallo attacks some American fighter jets.
Superman ’78: The Metal Curtain (2024) #3 W: Robert Venditti. A: Gavin Guidry. It’d be nice if Venditti liked Christopher Reeve Superman. The character. He seems to loathe him. Or Guidry drew it wrong. The art’s all over the place but if it’s supposed to be Lee Marvin as Sam Lane, right on. There’s almost some nice Lois stuff (if just mooning girl stuff, it’s cute). It’s half over and nothing’s happened.
Superman ’78: The Metal Curtain (2024) #4 W: Robert Venditti. A: Gavin Guidry. Based on Guidry’s Gene Hackman Lex Luthor, it’s clear he didn’t get it any more than Venditti. Such bad dialogue for Lex; so joyless. This book’s a bummer. Metallo invades the U.S. There’s a fight. While some of the fight composition is good, many times the details are too broad. It’s like no one involved saw the movies.
Superman ’78: The Metal Curtain (2024) #5 W: Robert Venditti. A: Gavin Guidry. It’s so bad. Venditti’s Superman is a disaster. Both he and Guidry bungle Lex. Sam Lane flops. The issue is about the second act ending at Superman finding out he can’t beat Metallo. Thank goodness he believes everything will be okay for him. Venditti writes Christopher Reeve Superman as a dipshit narcissist. Joy. Thank goodness it’s almost over.
Superman ’78: The Metal Curtain (2024) #6 W: Robert Venditti. A: Gavin Guidry. Well, then. Venditti finally figures out his hook and it has nothing to do with the comic. Or, really, the movies. It’s not as cynical as I’d been expecting (I thought Venditti would just cop out). But it’s trite and bad editing in addition to writing. Venditti once again fails to meet the SUPERMAN IV bar, much less III.
Werewolf by Night (1972) #34 [1975] W: Doug Moench. A: Gil Kane, Tom Palmer. The art is not good but Moench’s haunted house story is solid. The heroes have to go to the house on haunted hill and find the secrets of resurrection for a rich old eccentric. Of course, the secrets will also save Buck. Decent couples interplay between Jack and Topaz, and lots of danger, tension, and streams of consciousness!
Werewolf by Night (1972) #35 [1975] W: Doug Moench. A: Bernie Wrightson, Jim Starlin. Jack’s got to defeat the werewolf at the start, wrapping the cliffhanger. It doesn’t really figure in. Moench keeps going with old dark house tropes and they keep working out. There’re also some intense horror visuals. Everyone still feels in danger; Munch doesn’t let up on the tension. Not quite good, but the horror aspects almost gets it there.
Werewolf by Night (1972) #36 [1976] W: Doug Moench. A: Don Perlin. The haunted house story doesn’t end here; one more to go. The story is so relentlessly tense, relief would be welcome. Instead, Moench just puts everyone in worse and worse danger, from the evil ghost and each other. The ghost possesses people and can cause visions. Half the comic’s about Jack losing it. Terrible art but big writing swing.
Werewolf by Night (1972) #37 [1976] W: Doug Moench. A: Dan Adkins, Ed Hannigan. The issue ends setting up a new direction for the series, but doesn’t actually do anything in the story to prepare. Moench ingloriously shuffles out the supporting cast, who’ve just been through a hell house, with knowing to show for it. The final battle is okay. It’s overwrought but appropriate, given the stakes. Shame about the art, as ever.
Werewolf by Night (1972) #38 [1976] W: Doug Moench. A: Don Perlin. So the bold new beginning for the series is a complete bait and switch. Moench didn’t even keep the supporting cast away. He makes a point to check on them. And he brings back an old, temporarily forgotten subplot (ex-werewolf Raymond Coker). There is one big change, however. The werewolf is a killer. Maybe for the first time.
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Briefly, TV (4 May 2024)
American Gothic (1995) s01e13 “Resurrector” [1996] D: Elodie Keene. S: Gary Cole, Lucas Black, Brenda Bakke, Sarah Paulson, Nick Searcy, Jake Weber, Tina Lifford. Guest star Greg Travis asks Cole to help turn his radio career into a television one. Except the TV folks don’t want Travis’s wife (Irene Ziegler), despite her doing all the work on their show. How ever can Travis free himself… Meanwhile, Black starts trouble trying to get Paulson’s spirit back. The continuity’s rocky, but acting solid. Especially Searcy.
American Gothic (1995) s01e14 “Inhumanitas” [1996] D: Bruce Seth Green. S: Gary Cole, Lucas Black, Brenda Bakke, Sarah Paulson, Nick Searcy, Pat Hingle, Tim Grimm. Strong episode about Paulson finally attacking Cole head on. Cole’s improper relationship with town pastor Hingle figures in, as does (to a lesser extent) Cole’s attempt to corrupt local attorney Grimm. Black’s around (and is excellent as ever) but he’s somewhat superfluous except as the de facto pawn in Paulson and Cole’s supernatural battle. Lots of retconning and reveals.
Beacon 23 (2023) s01e01 “Corbenic” D: Daniel Percival. S: Lena Headey, Stephan James, Natasha Mumba, Stephen Root, Wade Bogert O’Brien. Mining-based future sci-fi derivative with mineralogist with a secret Headey crash landing on space lighthouse keeper with a secret James’s lighthouse. There’s a nice bracketing technique to gin up suspense and Headey’s a strong lead in a middling effort. James might not be up to the task. Decent production values also help.
Beacon 23 (2023) s01e02 “Wreckers” D: Daniel Percival. S: Lena Headey, Stephan James, Natasha Mumba, Wade Bogert O’Brien, Paulino Nunes, Marnie McPhail, Jaeden Noel. Better than last episode even with some thin guest star performances. Headey is really good in a lead part (even this one), as it turns out she’s got some big secrets. No time to reveal them though, because she and James have to team up to fend off space pirates. Or are they? James is better, which also helps.
Beacon 23 (2023) s01e03 “Why Can’t We Go On as Three?” D: Daniel Percival. S: Lena Headey, Stephan James, Natasha Mumba, Wade Bogert O’Brien, Sandrine Holt. Somehow, Holt arrives from a spaceship to have a fight scene with James. The fight’s the only action, with the rest a maudlin play about Holt, James, and Headey. Holt forces them into a love triangle, except it’s also a big secret reveal episode, so things go sideways. Headey’s great. The episode’s often thin, but she’s so good.
Beacon 23 (2023) s01e04 “God in the Machine” D: Erskine Forde. S: Wade Bogert O’Brien, Barbara Hershey, Eric Lange. Flashback episode reveals the show’s space magic context we’ve been missing. Also, repairman-with-a-secret Lange arrives on the beacon (a hundred years before the series’s time). Can station keeper Hershey figure out his agenda while having a weird Motherboy relationship with AI O’Brien? O’Brien’s more obnoxious than usual, and Lange’s thin. Hershey tries her best.
Beacon 23 (2023) s01e05 “Rocky” D: Oz Scott. S: Stephan James, Lena Headey, Natasha Mumba, Bo Martynowska, Stephen Root, Wade Bogert O’Brien. There’s another ship on its way carrying danger for James and Headey. While they wait, we get the story of James vs. Root for control of the beacon. Lots of narrative devices–flashback, video playback, hallucinations, dream sequences. Then there’s a big leap for the cliffhanger. Can it land? Who knows. James’s best episode and Headey’s great too.
Beacon 23 (2023) s01e06 “Beacon Twenty Three” D: Oz Scott. S: Wade Bogert O’Brien, Carolina Bartczak, Marc Menchaca, A.J. Simmons, Sydney Ozerov-Meyer, Matilda Legault. It’s another flashback episode. Beacon AI Bogert-O’Brien recounts the story of the magic rocks to space terrorist Menchaca. Bogert-O’Brien’s the least annoying he’s been to date, and eventually nearly good. Bartczak’s solid as the first beacon-keeper. Simmons and Ozerov-Meyer less so as later ones. Nicely directed, compelling. The show’s hit a stride. Maybe.
Beacon 23 (2023) s01e07 “End Transmission” D: Greg Beeman. S: Stephan James, Lena Headey, Natasha Mumba, Wade Bogert O’Brien, Marc Menchaca, Jess Salgueiro, Daniel Malik. It’s slightly too busy with extraneous guest stars, but this episode ties together the previous six, revealing which flashback episodes were most important (maybe). Menchaca returns (because there’s always got to be a new visitor) ten years after his last appearance, knowing more about Headey than she knows about herself–until now. Great performance from Headey, as usual.
Beacon 23 (2023) s01e08 “Adamantine” D: Tessa Blake. S: Stephan James, Lena Headey, Natasha Mumba, Eric Lange, Marc Menchaca, Jess Salgueiro, Daniel Malik. The season closes with some slips thanks to Salgueiro and Malik, who get more to do and do nothing with it, and the script, which dumps in overdue ground situation by the ton. Returning guest star Lange finally ties everything everything together, but no context for the stakes. The show’s herky-jerky plotting kicks it in the pants here.
Beacon 23 (2023) s02e01 “Godspeed” [2024] D: Kevin Sullivan. S: Stephan James, Lena Headey, Natasha Mumba, Eric Lange, Marc Menchaca, Jess Salgueiro, Daniel Malik. Exit Headey? Exit the entire cast except James? The second season premiere plays more like a series finale, completing and postscripting every potential cliffhanger. It’s a very interesting move (especially if they mean it). But how would you know you’re even supposed to expect another episode? So many questions. Series best performances from Salgueiro and Lange, if they matter.
Beacon 23 (2023) s02e02 “Purgatory” [2024] D: Lewin Webb. S: Stephan James, Natasha Mumba, Tara Rosling, Robinne Fanfair, Aldrin Bundoc, Noah Lamanna, Hannah Melissa Scott. Imagine traveling the galaxy without a care only to discover bureaucracy is still a thing. After ending the show (sort of) last episode, this one focuses on AI Mumba’s ominous debrief. But what does James have to do with it? The episode’s stylish and enthusiastic, even when unsuccessful. And Mumba–who’s never gotten anywhere near this much–is outstanding.
Beacon 23 (2023) s02e03 “Iris” [2024] D: Angel Kristi Williams. S: Stephan James, Natasha Mumba, Ellen Wong. The show’s uptick flattens–at least for the first half of the episode, which introduces an entirely new character: another beacon-keeper, played by Ellen Wong. All of her initial character development is about being a girl in love with her penpal. It picks up when she goes to rescue James (as does Wong’s performance). Some rough going though.
Beacon 23 (2023) s02e04 “Berth” [2024] D: Erskine Forde. S: Stephan James, Natasha Mumba, Bo Martynowska, Noah Lamanna, Ellen Wong. Truly strange mishmash of an episode where James and Wong bond over mechanical crisis, while Mumba fends off evil AI Lamanna. Very herky-jerky but it mostly works thanks to Wong, Mumba, and James. The show’s also introducing lots of space magic, but in bits and pieces so it can keep kicking the can. Helps Wong is so good.
The Big Door Prize (2023) s02e01 “The Next Stage” [2024] D: Steven K. Tsuchida. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Damon Gupton, Ally Maki. The episode jumps back to Maki’s story, revealing how and why she came to town (before the series started), then deals with last season’s cliffhanger. It’s a “same-night” follow-up, which is successful, but it still has a dawdling problem. The timing’s off, especially for O’Dowd and Dennis. But solid. With strong performances from everyone at this point.
Crashing (2016) s01e01 “Episode 1” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Often very funny kick-off to the series about a group of almost thirty-somethings caretaking a hospital (which is left too unexplained). Waller-Bridge (who also writes the show) is the latest addition, visiting best friend Molony; they have more-than-friends chemistry. Where does that leave his fiancee, Ford? Sometimes repetitive jokes, but still a fine start.
Crashing (2016) s01e02 “Episode 2” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Not as uproarious as the first episode, but lots of good character development (and still lots of laughs). Ford gets Waller-Bridge a job at her work, then immediately regrets it and tries to sabotage her on the first day. Meanwhile, Bailey drags Shah out of work on what seems to be a whim but maybe not. Super good.
The Equalizer (2021) s04e04 “All Bets Are Off” [2024] D: Solvan Naim. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint, Mike Epps. Epps guest stars as a convict who can help Latifah and Kittles try to rescue his old partner from bad guy Elliot Villar. Epps easily walks away with the episode, even when he’s a little broad, and the script is even more so. There is some good emoting from Kittles and an earnest, if melodramatic, teen drama arc for Hayes.
The Equalizer (2021) s04e05 “The Whistleblower” [2024] D: M.J. Bassett. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint. Multiple guest stars pop up in this action-packed episode: Lapira’s brother (Alain Uy) comes to town with a league of assassins in pursuit. Good thing Lapira is a crimefighter. Meanwhile, Toussaint’s got romance problems with Gloria Reuben, Kittles worries dad Danny Johnson will be a deadbeat granddad, and CIA HR is after Latifah and Donal Logue. The pacing helps.
Last Week Tonight with John Oliver (2014) s11e04 “March 10, 2024: State Medical Boards” [2024] D: Paul Pennolino. S: John Oliver. After some concerning election coverage, the main story looks at state medical boards and how they’re a racket. Doctors covering for each other on complaints, plus ignoring their due diligence when giving new licenses. As usual, it turns out self-regulating is just a way to facilitate graft. Not all doctors, of course; just twenty thousand or so.
Last Week Tonight with John Oliver (2014) s11e05 “March 17, 2024: Student Loan Debt” [2024] D: Paul Pennolino. S: John Oliver. Oliver tackles student loans and the lack of reform. It’s one of the technically not broken (well, still sort of) Biden achievements and the show gives it a decent trumpet. It reminds of the old Oliver, trying to arm people for family gatherings. Except this time it’s to prep talking to neo-libs.
Last Week Tonight with John Oliver (2014) s11e06 “March 31, 2024: Food Delivery Apps” [2024] D: Paul Pennolino. S: John Oliver. Fascinating deep dive into food delivery apps, post-Rona, with all sorts of interesting history about their backgrounds as tech startups. In terms of communication, might be the best episode this season. Also “helps” the apps are so worker-hostile they’re obvious supervillains. Plus some good pre-feature laughs during the news.
Last Week Tonight with John Oliver (2014) s11e07 “April 7, 2024: Death Penalty” [2024] D: Paul Pennolino. S: John Oliver. Really heavy death penalty episode with Oliver and the show doing a rare bit of investigative journalism and revealing the lab the U.S. government has been using to make lethal injection doses. It’s an industrial lube shop. Heavy feature about cruel, evil people. But there are two good dessert segments to round it off, for better or worse.
Last Week Tonight with John Oliver (2014) s11e08 “April 14, 2024: Medicaid” [2024] D: Paul Pennolino. S: John Oliver. Oliver covers the horrors of Medicaid: corruption, incompetency, and evil. The opening segment focuses on the Arizona abortion decision, with some great details, so the transition to the feature is bumpy. Once the story focuses on the people affected–and the very obvious people hurting them (medical company CEOs)–it’s outstanding. The final bit’s cute, if long.
Last Week Tonight with John Oliver (2014) s11e09 “April 21, 2024: UFOs” [2024] D: Paul Pennolino. S: John Oliver. After a really good segment white politicians (on both sides of the aisle and gender spectrum) being Islamophobic bigots about Biden nominee Adeel A. Mangi, Oliver does a deep dive into UFOs. It amounts to “someone should be more serious about it” and doesn’t even cover that guy bullshitting dummy House Republicans. Funny episode and clearly for the LOLs.
Resident Alien (2021) s03e05 “Lovebird” [2024] D: Andrew Seklir. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Judah Prehn, Elizabeth Bowen. Tudyk and guest star Edi Patterson’s romance starts to distract him from his efforts to defeat the evil grey aliens, leading to Tomko and Wetterlund intervening. Their plan involves multiple attempts, each differently hilarious (always showcasing Tudyk and Patterson). Unlike last episode, this one feels like it’s getting the momentum going—lots of subplots getting stirred here.
Resident Alien (2021) s03e06 “Bye Bye Birdie” [2024] D: Nastaran Dibai. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Tudyk experiences his first heartache thanks to girlfriend Edi Patterson (who keeps up with an extra-Tudyky Tudyk this episode) while Tomko and Wetterlund get into a big best friend fight. The episode oscillates between lots of laughs from Tudyk (but also Reynolds) and lots of heart with everyone else (including Reynolds). Really good episode for Bowen too.
Resident Alien (2021) s03e07 “Here Comes My Baby” [2024] D: Brennan Shroff. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Judah Prehn, Elizabeth Bowen. Great, penultimate episode brings back lots of previous guest stars for cameos while working to resolve many of the outstanding, parenting-related arcs. Tudyk’s alien baby comes back to Earth, Tomko has an arc with her mom and daughter, Wetterlund has one with her parents. Plus loads of comedy. Meredith Garretson’s so good, too, on her abduction arc.
Resident Alien (2021) s03e08 “Homecoming” [2024] D: Robert Duncan McNeill. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Judah Prehn, Elizabeth Bowen. Packed season finale for a show without a renewal; it brings back lots of guest stars to wrap up almost all the storylines, while setting up a cliffhanger with entirely new stakes. Some great moments for Tudyk, obviously, but also Fiehler, Bowen, and Wetterlund. Oh, and Enver Gjokaj—he’s awesome. Hopefully, they get another season (or just a streaming movie?). Movies might be better.
Spy (2011) s01e01 “Codename: Loser” D: Ben Taylor. S: Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Tom Goodman-Hill, Rebekah Staton. Very divorced dipshit Boyd accidentally gets a job at MI-5. Good setup, especially with Wright as the overachiever asshole son, Baynton as the jerk sidekick, and Lindsay as the super-cool secret agent. Lots of laughs, great timing from Boyd in particular (but everyone else too). Off to a strong start.
Spy (2011) s01e02 “Codename: Tramp” D: Ben Taylor. S: Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rosie Cavaliero, Rebekah Staton. Starting his new job as a spy, Boyd immediately screws up and finds himself saddled with an unwanted houseguest (guest star Ed Gaughan). Brat son Wright delights in the chaos, while Boyd misses partner Staton’s romantic signals—he’s busy avoiding family therapist Cavaliero, who’s hot for his bod. As before, very funny stuff.
Spy (2011) s01e03 “Codename: Grades” D: Ben Taylor. S: Ed Coleman, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Tom Goodman-Hill, Rebekah Staton. So far series peak in terms of character development and acting. Boyd hacks son Wright’s report card to cut him down to size, only to learn some empathy, and start almost flirting with co-worker Staton. Some good laughs for Baynton (who steals the hacking textbook) and Lindsay. The show’s hitting a stride.
Spy (2011) s01e04 “Codename: Bookclub” D: Ben Taylor. S: Ed Coleman, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Tom Goodman-Hill, Rebekah Staton. The series jumps into the absurd—Wright running an underground casino for his fellow super-genius classmates, which eventually involves blackmailing headmaster Goodman-Hill. It goes just fine, clearing the bar with ease and grace and the best episode for Wright yet. Meanwhile, Boyd and Staton fumble towards romance. Plus some outstanding Lindsay laughs.
Spy (2011) s01e05 “Codename: Blood” D: Ben Taylor. S: Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rosie Cavaliero, Tom Goodman-Hill, Rebekah Staton. The absurdity continues—as Boyd gets an impromptu promotion after doing Lindsay a favor, Goodman-Hill makes Wright a powerful hallway monitor. The power goes to both their heads, with serious repercussions for one of them and more wholesome ones for the other. There’s a lot of good acting and funny bits, but it’s too rushed; too chaotic.
Spy (2011) s01e06 “Codename: Portis” D: Ben Taylor. S: Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Rosie Cavaliero, Tom Goodman-Hill, Rebekah Staton. The season finale does a very nice turn around—reining in certain types of the absurd while allowing others—and gives Baynton a great showcase. We also get development on Boyd and Staton’s romance. Fine character development progress all around. Wells, Goodman-Hill, and Wright lose their usual focus (but not too much), making room for Staton and Baynton. It’s a good finale.
Spy (2011) s02e01 “Codename: Growing Rogue” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Miles Jupp, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay. Season two starts a little rockier than it should—Mark Heap replaces Tim Goodman-Hill and the writing’s weird. And new family therapist Jupp is perving after mom Wells, making her far too sympathetic. MI-5 agent Boyd helping Wright out with his student council election is good. And Lindsay’s great. But the rhythm’s a little off.
Spy (2011) s02e02 “Codename: Riding High” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Miles Jupp, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay. Guest star Anna Skellern plays a too good to be true witness who has to stay with Boyd for protection. Meanwhile, Wright has his own problems with cool kid Frank Kauer. It’s okay enough, but there’s a bit much consolidating supporting cast stuff going on for it not to be concerning.
Spy (2011) s02e03 “Codename: Lie Hard” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Miles Jupp, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay. So, the episode’s got a couple major “hero sexually harrasses a woman” scenes, some homophobia, and a subplot about Jupp trying to force himself on Wells using his position as her family therapist. It’s not great. Boyd and Wright spend the day together at MI-5, with Boyd trying to hide his real job. Almost okay, that bit. And Lindsay’s good (mostly). Otherwise, yikes, we’re out of ideas.
Spy (2011) s02e04 “Codename: Mistaken Identity” [2012] D: John Henderson. S: Mark Heap, Miles Jupp, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Overall strong episode still has Jupp being way too creepy, but it’s toned down. While Boyd and Staton have a chemistry-filled plot about filming an MI-5 TV commercial, Wright tries to figure out how to participate in a father-son trivia contest without his dad. Wright having less to do in his subplot… doesn’t not help.
Spy (2011) s02e05 “Codename: Family Bonds” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Easy best of the season (so far) has Wells losing her memory and thinking she and Boyd are still together; complications ensue. Also, just before she lost her memory, she found out he’s a spy. So Lindsay’s trying to kill her. Maybe. Baynton and Heap have a whole subplot (it’s Heap’s best episode, too, he’s real good). And Staton gets stuff. SPY’s back?
Spy (2011) s02e06 “Codename: Citizen Lame” [2012] D: John Henderson. S: Mark Heap, Terence Maynard, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton, Lindsay Duncan. Really funny, but also really situational, work-focused episode for Boyd and Heap (no Dolly Wells this episode). Heap’s dealing with a personnel issue, which ties into Wright’s arc. Then Lindsay gets suspended and his replacement, guest star Duncan, turns out to be just as pervy about Terence Maynard as Lindsay gets about Boyd. Again, works out well–great Lindsay episode.
Spy (2011) s02e07 “Codename: Ball Busted” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Okay but nothing special episode about Wright’s school hijinks with a new headmaster (Marian McLoughlin). She’s out to destroy Heap, who’s still around for story’s sake. Boyd’s arc involves trying to get a date for Wright’s school dance, but obviously he can’t ask Staton. Some good Baynton bits, including a number of songs.
Spy (2011) s02e08 “Codename: Double Oh” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Miles Jupp, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Boyd agrees to take an intelligence exam, betting Wright’s custody on it. He’s assuming he can just send his MI-5 double but the double’s got some problems. Way too much time is spent on Ed Coleman’s sexual predator antics, with some active misogyny from others, too. Far from the worst (or most problematic, I guess).
Spy (2011) s02e09 “Codename: Pulp Friction” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Miles Jupp, Mathew Baynton, Darren Boyd, Jude Wright, Rebekah Staton. It’s an incredibly slight, silly story about Baynton helping Wright get his book published by telling the publisher Wright’s terminally ill. It’s better than Boyd’s plot about manipulating Staton’s love life to his own advantage with her. Decent acting helps a lot with the thinness, even Boyd being a creep. Baynton and Wright are a good duo, too.
Spy (2011) s02e10 “Codename: Last Scupper” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Romantic confusion abounds in another slightly broad episode. Boyd gets suckered into helping with Staton’s wedding plans to Terence Maynard, only for Lindsay’s assassination target plot to give him another chance with Staton. Meanwhile, Ellie Hopkins is sick of Wright and Frank Kauer fighting over her so she plans a showdown. The cast is really holding it up at this point.
Spy (2011) s02e11 “Codename: Show Stopper” [2012] D: John Henderson. S: Mark Heap, Dolly Wells, Mathew Baynton, Darren Boyd, Jude Wright, Robert Lindsay, Rebekah Staton. Really nice Christmas special slash season finale wrapping up the show. It didn’t get another season, and it’s fine with it. Great Lindsay performance. Wright is in danger and Lindsay’s leading the charge—during the school talent show. Terence Maynard gets his spotlight and disappoints. He’s fine (and he’s slightly sabotaged), but still never anything more. Lots of good bits throughout, usually movie references.
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Briefly, Movies (4 May 2024)
Deadpool 2 (2018) The Super Duper Cut D: David Leitch. S: Ryan Reynolds, Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Karan Soni. Middling, meandering sequel has foulmouthed invincible mutant hero who never shuts up Reynolds becoming frenemies with time-traveling cyborg Brolin (the TERMINATOR riffs are the movie’s greatest success) while trying to stop teenage mutant Dennison from becoming a bad guy in the future. The movie hinges on Dennison’s deadpan; too bad they cast someone who can’t deadpan. Big eh.
Godzilla Minus One (2023) D: Takashi Yamazaki. S: Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, Kuranosuke Sasaki. Compelling concept GODZILLA, set immediately after World War II, before the country was able to rearm. It’s up to the war veterans, just finding some normalcy, to band together with industry. Lots of good, knowing nods to the franchise, great special effects, wonderful supporting cast, and abjectly boring lead Kamiki’s abjectly boring cowardice plot arc. Not fun–thrilling.
Southern Comfort (1981) D: Walter Hill. S: Keith Carradine, Powers Boothe, Fred Ward, Franklyn Seales, T.K. Carter, Lewis Smith, Les Lannom. Apparently, director and co-writer Hill doesn’t see the very obvious Vietnam connection in his own movie, which explains why it goes to pot for the finish. Louisiana National Guardsmen versus Cajuns. Set in 1973. With a bunch of recent Vietnam vets. Sure, Jan. Some real good acting, photography, and even directing. The third act is just bunk.
Shirley (2024) D: John Ridley. S: Regina King, Lance Reddick, Terrence Howard, Lucas Hedges, Michael Cherrie, Brian Stokes Mitchell, Christina Jackson. Jittery tale of Shirley Chisholm’s 1972 presidential campaign. While King’s compelling as Chisholm (despite director Ridley’s shallow, noncommittal script, and a sometimes unsteady Bajan accent), the film fails as a history lesson, a political drama, and a character study. Ridley flirts with all three and shrugs instead. Particularly nice support from Reddick, Cherrie, Jackson, and Hedges. Just too slight.
The Lords of Flatbush (1974) D: Martin Davidson, Stephen Verona. S: Perry King, Sylvester Stallone, Henry Winkler, Paul Mace, Susan Blakely, Maria Smith, Renee Paris. Flashback picture about fifties Brooklyn teenagers King, Stallone, Winkler, and Mace’s “gang.” They mostly drink egg creams, bicker, and harass girls. King’s trying to get WASP Blakely to put out. Meanwhile, Stallone’s maybe readier to marry girlfriend Smith than he thought. Winkler and Mace barely figure in. Lousy soundtrack. Stallone’s not bad. So cheap it stops rather than ends.
Coco (2017) D: Lee Unkrich. S: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía, Edward James Olmos. Outstanding Pixar effort about a Mexican boy who idolizes a famous (long dead) mariachi from the same town. Except the boy’s family forbids music because of some mariachi who once wronged them. Is it all connected? Maybe, but the boy’s one heck of an adventure to find out. Beautiful production design, animation, direction. Particularly great voice work from Bratt.
Executive Suite (1954) D: Robert Wise. S: William Holden, June Allyson, Barbara Stanwyck, Fredric March, Walter Pidgeon, Paul Douglas, Louis Calhern. Bland pseudo-soap opera about a furniture manufacturer’s succession plan and the company men gaming for the throne. Then there’s nothing soapy except the structure. No time for subplots, just men and their honored women. Good performances from Pidgeon, March, and especially Calderon. Holden’s fine as the golden boy; Wise just doesn’t have a way to tell his story.
Timerider: The Adventure of Lyle Swann (1982) D: William Dear. S: Fred Ward, Peter Coyote, L.Q. Jones, Richard Masur, Belinda Bauer, Ed Lauter, Chris Mulkey. Weird, low budget time travel adventure (no pun intended) with dirt bike champion Ward happening into a time portal back to the Old West. He has run-ins with outlaws (led by a lackluster Coyote), romances Creole gunslinger Bauer (who can’t do the accent so doesn’t get lines), and does cool dirt bike stunts. Tedious but not without its charms.
The Ministry of Ungentlemanly Warfare (2024) D: Guy Ritchie. S: Henry Cavill, Eiza González, Alan Ritchson, Henry Golding, Alex Pettyfer, Hero Fiennes Tiffin, Babs Olusanmokun. Bloody, funny WWII “true story” picture about Churchill’s bad boy squad, who do the job the regular chaps can’t. Cavill, Ritchson, Pettyfer, Fiennes Tiffin, and Golding mostly sail towards their set pieces, with land-based González and Olusanmokun getting the most story. Uniformly solid performances (save Rory Kinnear’s Churchill); Til Schweiger and Danny Sapani stand out in smaller parts.
Deadstream (2022) D: Vanessa Winter. S: Joseph Winter, Melanie Stone. Inventive micro budget horror comedy about disgraced YouTuber Winter going to a haunted house for a night. Things don’t go well, sometimes to great comic effect. Winter’s most of the show—the makeup’s elaborate but still cheap so they rush through effects shots—and he’s up to the task, charisma-wise. Stumbles through the (admittedly difficult) finish.
Remo Williams: The Adventure Begins (1985) D: Guy Hamilton. S: Fred Ward, Joel Grey, Wilford Brimley, J.A. Preston, George Coe, Kate Mulgrew, Charles Cioffi. Insipid action outing about cop Ward becoming an assassin for a secret government organization run by Brimley. Grey’s in yellowface, playing Ward’s mentor, an eighty-year old Korean man who routinely mocks white people. Mulgrew’s the female Army officer who discovers all the boys are corrupt murderers. Some okay action; terrible music by Craig Safan. Ward tries. Preston’s great as his supervisor. Based on Richard Sapir and Warren Murphy’s long-running DESTROYER book series. Followed by a TV pilot, THE PROPHECY, which didn’t go anywhere (and starred new people, but still a white guy as the Korean guy). From Dick Clark’s production company!
A Midnight Clear (1992) D: Keith Gordon. S: Peter Berg, Kevin Dillon, Arye Gross, Ethan Hawke, Gary Sinise, Frank Whaley, Larry Joshua. Devastating WWII picture about a much-too-young sergeant (Hawke) commanding much-too-young soldiers on a poorly thought-out mission. Things get peculiar when the nearby German soldiers don’t attack. Beautifully scripted and directed by Gordon, based on William Wharton’s novel. Hawke’s a fine lead, with notably excellent turns from Berg and Sinise. Great Mark Isham score too.
Withnail & I (1987) D: Bruce Robinson. S: Richard E. Grant, Paul McGann, Richard Griffiths, Ralph Brown, Michael Elphick, Daragh O’Malley, Eddie Tagoe. Initially outstanding study of friendship between two drunkard wannabe actors (Grant and McGann). It derails when their holiday away from mundane debauchery turns into an extended gay panic arc with McGann avoiding randy Griffiths. It never really recovers but almost does thanks to Brown’s phenomenal drug dealer. Gorgeous production (set in 1969), great music; it comes up short.