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  • ‘Penny Dreadful’ Review: “Resurrection” (1×03)

    ‘Penny Dreadful’ Review: “Resurrection” (1×03)

    out of 10

    Three episodes in and it seems that Penny Dreadful can do no wrong. It is rare that in the first three episodes a show knows itself so intimately that it can change direction and know the audience will follow.

    We are returned more closely to the main storyline that was introduced in “Night Work” (see our review here). Ethan, eager to get medicine for his new companion Broma. Their search leads them to a tense stroll through the zoo where they encounter a pack of wolves. This is where the show shines. As the seconds ticked away the feeling of suspense continued to build. The darkness, the dread, casted a thick fog over the scene until it finally was over.

    What we got out of the storyline was a clue to Mina’s disappearance. Apparently she has involved herself with a nobleman who is able to control her. However, the pieces never really fell into place until we are introduced to a rabid Fenton who referred to the dark being hiding in the shadows as “master.” A final interrogation scene revealed that he’s always there, reaching his hand out of the dark. Fenton is a creepy motherf**ker.

    We’re also told that Vanessa has been acting as bait for this mysterious master. However, it was not totally explained to her about the Amunet possession situation. I’d probably hold that back too. Malcolm simply tells Ethan that if she gets possessed, you might have to bang her, however he was bait more eloquent than that.

    After a few tense moments over the treatment of Fenton’s creepy ass, the team is assembled. So called monster hunters consisting of Malcolm, Vanessa, Ethan, Victor, and Sembene. The group agreed to “pledge to go as far as your soul will allow.” This is getting interesting.

    However, the storyline that defined the episode and the series yet again involved Dr. Frankenstein. This time we are treated to our first definitive background story to one of the characters on the show, however it is the nature of the background story that is compelling. We learn that Victor’s obsession with life and death stemmed from his mother’s abrupt and traumatic death. The peacefulness of the flashback is suddenly destroyed by the reminder of the carnage of the previous episode.

    Frankenstein’s first monster who is closer to the beast that we are familiar with is not much of a beast after all. Caliban, the name given to the monster by a stranger, was able to speak eloquently and display real emotion and hurt after his first encounter with his father. It seemed from the beginning that Dr. Frankenstein was simply unable to contain his first monster. However, the truth is that within second’s of Caliban’s creation the doctor ran out terrified of what he created. The screams of the monster weren’t screams of horror, they were screams of any new born living being. To be ignored was painful and confusing for Caliban. We actually begin feeling for him, however the show continued to shroud itself in darkness as Caliban and the Doctor were still covered in the blood of our dear departed Proteus, whose body laid in shambles as the two continued their conversation.

    Caliban felt abandoned the way a child felt abandoned by his parents. However, he was shown kindness despite his appearance and learned quickly of the nature of the world. There is good and there is evil, however the lines may not be so clear. Caliban’s isolation and story felt so heartbreaking that it seemed that his act of brutality was simply done in rage following the clear rejection of his creator. Penny Dreadful has become so much more than a show meant to induce horror. This side story of Victor and his creatures have become the catalyst for conversation about human nature.

    Caliban’s back story has become one of the most interesting story lines of the series. I’m interested to see how it plays out. So far it seems that the show is staying closer to the story of Mary Shelley’s Frankenstein, which the episode laid the groundwork for. I can see where they are potentially going with this Victor/Caliban storyline, but I will digress for now. Caliban is a passionate character who is clearly dangerous, that’s what Victor has to look out for. The entire episode provided wonderful material for Harry Treadaway and Rory Kinnear that both actors poured themselves into.

  • Iggy Azalea “The New Classic” Album Review

    Iggy Azalea “The New Classic” Album Review

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    Grade (6.5)If Nikki Minaj and Ke$ha had a baby, it would be Iggy Azalea. Iggy’s new album, The New Classic, has sparked a lot of controversy and debate. After listening to the album, I thought the album was overall pretty good for a rising artist, but felt that in some songs Iggy was constantly missing out on an opportunity to really drive her music. For instance, in her song “Black Widow”; the song had a solid foundation, but could have used more base to carry the sound. In addition, I felt that when Iggy tried to slow down her beat like in “The Last Song,” the slow pace did not suit her well. Iggy’s music is very energetic, and I think that she should stick with that sound until she finds herself more as an artist and is better equipped to play around with her sound. That being said, some of my favorites on the album were “Work,” “Bounce” and of course her hit single, “Fancy.” I also really enjoyed the Bollywood influences in “Bounce.” She really took a risk with that song and I enjoyed the Ke$ha flair it had.

    I have come to the conclusion that Iggy’s sound can also can be compared to Gwen Stefani and Kreayshawn. It has become harder and harder to create a unique sound these days being that there’s so many already established influences. However, I feel that Iggy while reminding me of some former artists, does have an interesting sound and I am excited to see what she will produce in the future.

  • Do the Shuffle (Vol. 2): Fall Out Boy, Rush, and Porcupine Tree

    Do the Shuffle (Vol. 2): Fall Out Boy, Rush, and Porcupine Tree

    Do the Shuffle (Vol. 2(

    In Do the Shuffle one of our team members puts their iPod on shuffle and makes a playlist out of the first ten songs that play. It’s a great way to find new music or rediscover the old stuff.

    This week’s playlist is courtesy of writer Jared Sokoloff. Enjoy!

    1. Arriving Somewhere But Not Here | Porcupine Tree | Deadwing

    2. Gone, Gone, Gone | Phillip Phillips | The World from the Side of the Moon

    3. An Ordinary Man | John Wesley | The Emperor Falls

    https://www.youtube.com/watch?v=Exk95ofoQEY

    4. Thnks Fr Th Mmrs | Fall Out Boy | Take This to Your Grave

    5. Chase the World | Breathing Blue | Breathing Blue

    6. Drunkship of Lanters | Mars Volta | De-Loused in the Comatorium

    7. Burying Luck | Minus the Bear | Planet of Ice

    https://www.youtube.com/watch?v=Fzi9oM7L3Rg

    8. Earthshine | Rush | Vapor Trails

    9. Coast | The Devin Townsend Project | Ki

    10. Got to Get You Into My Life | Paul McCartney | Revolver

    https://www.youtube.com/watch?v=129cliTkFv4

  • ‘Halt and Catch Fire’ Review: “I/O” (Pilot)

    ‘Halt and Catch Fire’ Review: “I/O” (Pilot)

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    MVP: Lee Pace
    MVP: Lee Pace

    Halt and Catch Fire is to Mad Men as Low Winter Sun was to Breaking Bad. Since the announcement of the show it was evident that AMC was trying to fill the void that Mad Men is about to leave in the network’s schedule. The comparisons between the two run miles through the Pilot, but much to the writers’ credit the series never feels like a rip-off of Mad Men, instead its flaws are derived from the writers’ need show to feel self-important.

    The story of Halt and Catch Fire was one that can sustain itself, unlike the underlying plot momentum of Mad Men, which had to rely on character drama to sustain its episodes. Two men, Joe MacMillan and Gordon Clark, attempt to reverse engineer the IBM BIOS chip to try and engineer their own computer. Much of the pilot is extremely compelling, particularly the well made reverse engineering montage. That is part of the appeal of the series. Its impeccable style was able to hide the fact that everything surrounding it was familiar. Everything from the opening screen defining what “Halt and Catch Fire” meant to a steamy sex scene following a very public debate, this time in a classroom setting. However, with the specific style of the show there was a slight calming of the comparisons.

    Another point of familiarity were the characters. Lee Pace portrayed Joe MacMillan who is the Don Draper of the show all the way down to waft dark hair. The character floats through life like it was made for him. He monologues like a poet and persuades like a lawyer. Part of his storyline even involves him pursuing his own agenda behind his employers’ back. Sound familiar. His partner Gordon Clark is played by Scoot McNairy. He is a quiet man who has been weakened by life. It seems that all of his life’s motivation disappeared after various failures including a failed computer he worked on with his wife. She takes on the “bitch wife” role that Betty Draper and Skylar White (although I completely disagree with the public’s disdain for her) inhabited on AMC. They are later joined by Cameron whose role as the rebel genius recruited by the “heroes” seemed to take from every single person before her. It helps that that show’s ensemble was able to insert some uniqueness into each role, however I’m afraid that these caricatures might be set.

    However, it’s weakness is hidden by the show’s confidence. When I say confidence, I mean it’s unwavering ability to believe that it could do no wrong, much like MacMillan. Something from a melodramatic monologue is justified with assurance that the move paid off or a seemingly useless scene involving a baseball bat has a deeper character meaning. The self-importance almost runs rampant, but the plot keeps us centered. Our protagonist’s passion keeps us invested. I don’t know how long I’m going to stick with the show. The first episode didn’t offer us much in terms of plot, however I think with this type of confidence they must have something up their sleeve.

  • 7 Great Stage to Screen Adaptations (Musicals)

    7 Great Stage to Screen Adaptations (Musicals)

    Stage to Screen

    In honor of The Sting being turned into a musical to be put up on the great white way, we decided to go the other way. Here are 7 great stage to screen adaptations.

    7. Chicago (2002 | Directed by Rob Marshall | Starring Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah, and John C. Reilly)
    SIX ACADEMY AWARDS including BEST PICTURE

    Some people consider this one of the worst Best Picture winners in history, but I could never see why. After a lull, it essentially revived the movie musical. What made Chicago so successful as a film was the filmmakers’ decision to utilize dream sequences for the musical numbers. Every thing was made up in Roxie Hart’s jazz infused mind. It made the leap that some people had to make to watch a musical more bearable.


     

    https://www.youtube.com/watch?v=RbebD653agE

    6. My Fair Lady (1964 | Directed by George Cukor | Starring Audrey Hepburn, Rex Harrison, Stanley Holloway, Wilifrid Hyde-White, Gladys Cooper, and Jeremy Brett)
    EIGHT ACADEMY AWARDS including BEST PICTURE, BEST DIRECTOR, and BEST ACTOR

    It’s another musical that is purely successful off charm, but Hepburn’s wonderful performance as Eliza Doolittle was yet another asset. She, along with Cukor were able to take this seemingly cold musical into something full charisma and of pure entertainment.


    5. On the Town (1949 | Directed by Gene Kelly and Stanley Donen | Starring Gene Kelly, Frank Sinatra, Ann Miller, and Betty Garrett)

    It’s such a charming story with such a charming score. It produced such classics like New York, New York, Lonely Town, and Some Other Time. More importantly, the film acted as a love letter to the big city. Filled with excitement, humor, and a bright outlook on life, it almost helps you get past the pure spectacle of it all.


    https://www.youtube.com/watch?v=aO3Gb5mkwTc

    4. Funny Girl (1968 | Directed by William Wyler | Starring Barbara Streisand, Omar Sharif, and Kay Medford)
    BARBARA STREISAND WON THE OSCAR for BEST ACTRESS

    In addition to proving Streisand is a magnificent actress, it also proved that with the right direction anyone can be funny. Her timing was as good as any comedian. The movie is over-produced, over-done, and overwhelming, but its saving grace is Streisand’s amazing performance. It’s simply a star vehicle and that star turned an overly dramatic musical into something bearable.


    3. West Side Story (1961 | Directed by Robert Wise and Jerome Robbins | Starring Natalie Wood, Richard Beymer, Rita Moreno, and George Chakiris)
    TEN ACADEMY AWARDS including BEST PICTURE and BEST DIRECTOR

    No list about movie musicals is complete without the classic Stephen Sondheim and Arthur Laurents tale about lovers on different sides of the track. It is a straight forward adaptation, but the story transfers so well onto screen. What also helped was Jerome Robbins’ careful and tricot direction that ensured the adaptation was done well. It also didn’t hurt that Rita Moreno and George Chakiris turned in magnificent performances.


    https://www.youtube.com/watch?v=xIjobdArtiA

    2. The Sound of Music (1965 | Directed by Robert Wise | Starring Julie Andrews and Christopher Plummer)

    FIVE ACADEMY AWARDS including BEST PICTURE and BEST DIRECTOR

    We know countless songs from the musical: “Do Re Mi,” “The Sound of Music.” “My Favorite Things,” but the success in the musical is not familiarity. It’s sentimental to a fault, with a little bit of camp. It’s irresistible, even to the most cynical. The Sound of Music essentially one of the most charming movie musicals out there that will fill you with warm puppies and rainbows.


    https://www.youtube.com/watch?v=5xfh_nsMOM0

    1. Cabaret (1972 | Directed by Bob Fosse | Starring Liza Minnelli, Michael York, Joel Grey, Fritz Wepper, Marisa Berenson)
    EIGHT ACADEMY AWARDS including BEST DIRECTOR and BEST ACTRESS

    Cabaret isn’t just one of my favorite movie musicals out there, it’s also one of my favorite movies of all time. It is a film that is crafted so well with techniques being born on the screen. Everything from its cinematography, to editing, to sound is so well done and ahead of its time that it is clearly a timeless classic. It’s catchy, sexy, and electric. Plus, it’s Bob Fosse, who could resist?

  • Netflix Flick of the Week: ‘Odd Thomas’

    Netflix Flick of the Week: ‘Odd Thomas’

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    MVP: Anton Yelchin
    MVP: Anton Yelchin

    Odd Thomas has one really good thing going for it, and that’s Anton Yelchin. After that, there’s not much there. Maybe I’m being a little harsh, but the film wasted such great source material (Dean Koontz’s novel of the same name).

    The film tells the story of Odd Thomas (yes his name is actually Odd, whether it was intentional or a misspelling on his birth certificate is and will forever be unknown), a 20 year-old short-order cook who has the ability to see ghosts. The world that the film takes place in is a familiar one (where ghosts pop up to ask for help with revenge or demons feeding on death and evil), but the mood and style of the film made up for it.

    There was a quirkiness to the quick jump cuts, transitions to flashbacks, even the dialogue. The characters were written as if they were floating on a cloud and it felt like the town was on another plane, but eventually it all got really old and frankly I don’t know if it was done on purpose.

    As the film went on Odd uncovers an apocalypse brewing in his small town. His girlfriend Stormy, who is supposedly supposed to be madly in love with Odd, but I think is actually just kind of creepy, helps him as he tries to uncover the truth. The film falters when it felt like they were simply taking expositional dialogue from the book and putting it into characters’ mouths.

    It’s clunky, sometimes cringeworthy, it’s a straight forward film that is meant to entertain, but somehow produces the opposite result. While I really wanted to like this movie, and based on the first ten minutes it could have been another Fright Night, it just didn’t take full advantage of what it had to work with.

    The film has 4.1/5 stars on Netflix (somehow).

  • Reaction Shot: ‘This is Where I Leave You’ Trailer

    Reaction Shot: ‘This is Where I Leave You’ Trailer

    It’s finally here. The much anticipated (at least by me) film adaptation of Jonathan Tropper’s best selling book “This is Where I Leave You” is here and it’s underwhelming.

    Related Post: Top Five Most Anticipated Films Based on Books

    The book (check out our review here) tells the story of the Foxman family who must sit shiva following the death of their father. The four children are portrayed by Jason Bateman, Tina Fey, Corey Stoll, and Adam Driver. Their mother is played by Jane Fonda. Throughout the book, the siblings deal with their own issues in the place where all problems begin: home.

    this-is-where-i-leave-youLet me just say that I love this book. It’s so masterfully written and its darkly comic tone is so refreshing and painfully funny. However, that is my main problem with this trailer. It portrays the film too much as a lighter comedy with a moral family tale tacked on, when in reality it’s a story about growth and decay in the wake of broken dreams and missed opportunities. My worry is that the movie is too focused on the comedy aspect of that. The trailer focused a lot on one-liners, which is not what makes the book so hilarious. What makes the book hilarious is it all happens in such a dark fashion. There’s no room for fluff. Tropper is so unflinching and it looks like when it came to penning the movie’s script he flinched.

    Although from the short scenes that I saw, I can tell that almost every actor was cast perfectly with the exception of Dax Shepard as Judd’s (Jason Bateman) boss, who slept with his wife to begin the book, and Adam Driver as the youngest Foxman child, Phillip.

    I’m still excited for this. It’s an adaptation that I saw coming from a mile away. The book is so perfectly set up for a wonderful dramedy about the inevitable crisis we all face, but I can’t help but dread it. I know, most of the time film adaptations are disappointing, but this had so much going for it. Hopefully there is something more there.

  • ‘Million Dollar Arm’ Review: An Unfunny, Cold Sports Tale

    ‘Million Dollar Arm’ Review: An Unfunny, Cold Sports Tale

    million-dollar-arm

    Dir. by Craig Gillespie

    Million Dollar Arm tells the story of the Million Dollar Arm contest, started by sports agent J.B. Bernstein in order to fund his failing athlete management company. The premise of the contest is to go to India, and find the MLB’s first Indian player out of a crop of cricket players. Instead, he finds two boys who know barely anything about either sport, and has a few months to turn them into pitching superstars. Let the hilarity and feels ensue.

    But the laughs never come, and there are no feels. There are a lot of one liner jokes dealing with the “privileged American thrown into India” trope, but they’ve already been done (more successfully) a few years ago on the NBC show Outsourced. Frankly, all of the jokes in the film seemed forced, and are designed to just get laughter out of the audience with as little effort as possible.

    I won’t spoil the ending, but since it’s a Disney movie, there is an extremely clear moral to the story that causes the characters to change. However, just like the jokes, the changes the characters go through feel just as forced as the jokes. Think of any great sports movie, and imagine the emotions it makes you feel, how they encourage you to follow your dreams. There is none of that here.

    Anybody who knows the real life story of the Million Dollar Arm contest knows from the get go what’s going to happen later on in the film. And even if you don’t, you can figure it out within five minutes. While the source material isn’t the most surprising story in the world, the film makes no attempt to surprise you. If you’ve seen a few movies before, you could probably just watch the first ten minutes and then summarize the whole film.

    While the film intends to be a good flick for the entire family to watch, it just turns out to be a mediocre one at that. It’s ironic that this is a story about a contest designed to make money off of two boys who came from nothing, because the movie itself is designed to make money off of the story about two boys who came from nothing. It lacks substance, feeling, and does the least amount possible to get the dollars from your wallet.

  • Phantogram Album Review: “Voices”

    Phantogram Album Review: “Voices”

    Voices_album_cover

    out of 10
    out of 10

    Like most so-called “Electropop” acts that are out there, Phantogram is pretty much a staple to the genre. With their release of “Eyelid Movies” back in 2010, these guys stuck their toes in the water and really wowed us with a splash of interesting sonic experiments and songs that combine soul and sadness and beauty and all of that jazz. Now with their sophomore album coming out this year, “Voices” should be that proper follow-up that we’ve been expecting. And… yeah, it pretty much delivers, though it does fall flat a couple of times, but hey, what album doesn’t?

    The thing about “Voices” is that you can’t really tell if there is some new found production value, but this is one of the examples that you really have to look at the songwriting capabilities to see if there’s something worthwhile to the record other than Single Power. For those of you who don’t know, “Single Power” is when the album has the potential to push out those radio-friendly nuisances that ring in our ears over and over and over again. “Fall in Love” seems to be the only single that’s up, so that could be a good thing or just as easily terrible. If that’s the only song to be put up on the radio, then does that mean the rest of the songs are hidden gems or garbage?

    Anyway, from the get go, “Nothing But Trouble” grips you with the pulse-pounding drums and the burst of what seems like a bitcrushed horn section just glitching across the whole track. Sarah Barthel’s voice is the perfect contrast to the chaos around her and the sugary softness of it offers up something in likability, but it will wane in other tracks. “Black Out Days” gives you the same thing with the buzzing synths following Barthel’s wails of “OH WAY AY YA OH WAY AY YA”. “Never Going Home” is a cool break in between craziness with Josh Carter’s vocals being a little bit less prominent. The one thing about this album that I’m not too big of a fan of is Josh Carter’s vocals which were soulful and somber in tracks like “You Are the Ocean and I’m Good” or “Turn It Off” which were my absolute favorite tracks off of “Eyelid Movies” and this time he’s kind of just pushed to the side to sing repetitive hooks.

    Sadly, the 2nd half of the album is where things start to go a bit downhill. “Howling at the Moon”, although it starts like a Flying Lotus track just derails with the off-beat vocals. I’d rather have that as an instrumental. Barthel’s vocals don’t go well with the chaos because she’s trying to make it even more chaotic and her voice doesn’t fit it. Get someone like Alice Glass from Crystal Castles if you would want to do something like that. “Bad Dreams” has the same problem, a great, intriguing instrumental but pinpoint the moment where Barthel has some trouble hitting the high notes. Something that should be soulful just plummets to something screechy. “Bill Murray” sounds like a more tolerable Lana Del Ray song, and if anyone, ANYONE knows me, I don’t like her. The redeeming factor is that I can hear Barthel summoning her inner Annie Clark for the choral additions and reverberated vocals. “I Don’t Blame You” is the somewhat saving grace. The production has enough contrast that it pulls you in, and Carter’s singing is a lot more soulful than in “Never Going Home”. It sounds like an unholy union of Passion Pit and Bloc Party.

    Final Verdict for this album: The production and the instrumentals are fantastic with each and every noise is in it’s right place and keeping you hooked, but the songs can get tiresome after a while with repetition or with just lackluster lyrics and forgettable hooks. If you’re going to choose an album to listen to, check out “Eyelid Movies” instead, but this does sound good, it’s solid.

  • Netflix Flick of the Week: ’21 & Over’

    Netflix Flick of the Week: ’21 & Over’

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    21 & Over, directed by Jon Lucas and Scott Moore, is an American comedy 2013 film that is recently being featured as a popular comedy on Netflix.

    The movie is about two friends Casey and Miller who are high school pals and are now over 21 and want to take their friend Jeff Chang out for his 21st birthday. Jeff does not want to go out because he has an important medical school interview. However, with some convincing, Jeff accepts the offer.

    Unsurprisingly, Jeff drinks too much at the bar and becomes incoherent. Casey and Miller need to take him home, but they can’t remember where he lives. Ridiculous mayhem unfolds in the midst of trying to find Jeff’s address. Throughout the comedic scenes, Jeff becomes conscious and the trio find their way back to Jeff’s house.

    By the end of the film, Jeff reveals to his father that he no longer wants to attend med school. His father does not take it well, but Casey and Miller admire Jeff for standing up to his father. The film fastowards three months and the three amigos are at a music festival.

    Prior to the festival, we learn that Miller has come out of his laziness and is applying to colleges while Casey is now dating Nicole, a girl he met at a bar the night Jeff got obliterated. As for Jeff, he has no plan to attend med school but is still in college. Jeff has yet another wild night at the music festival and stumbles in late to his college class the next day. Jeff discovers that his professor is a red headed man they saw repeatedly dancing in the street the previous night. The film cuts to black and the credits roll.

    The movie received 28 percent on rotten tomatoes, and rightly so. The movie, while has its comedic moments, is forgettable and bland. It touches upon the meaning of friendship, but that is really the only thing that can be taken away from this film. There is really no depth to this film and there is not much that can be taken away from it.

    This film is comparable to the movie Project X, with the only difference being that a plot exists in 21 & Over. I think some 21 and unders would be the only ones to find this movie enjoyable. All in all, this movie is not worth watching and does not deserve to be one of the popular comedic films of the week on Netflix.

    The film currently has 3.8 out of 5 stars on Netflix.

  • ‘Veep’ Review: “Detroit” (3×06)

    ‘Veep’ Review: “Detroit” (3×06)

    episode-24-1024

    MVP: Christopher Meloni
    MVP: Christopher Meloni

    This episode brings Veep to… well, Detroit, where Selina is giving a speech at a jobs summit. Let’s just say it doesn’t go terribly well. We find Dan having his first test, or should I say tests, as campaign manager, Amy having to step aside as lead of Selina’s team, and an attack from the Statue of Liberty.

    The episode also saw the return of Sally Phillips as Minna Häkkinen, the now former Prime Minister of Finland, who is hilariously able to match Selina’s painfully awkward interactions with a deadpan expression that make her absurd dialogue and ridiculous accent even more amusing. The Former Prime Minister inadvertently caused what could only be called a disaster for the Veep’s campaign.

    While walking into her speech Selina is attacked by a man dressed as the Statue of Liberty. Catherine hilariously punches the man square in the face, which propels her into “America’s Next Top Redneck.”

    While in Detroit Selina must deal with the issue of gun control, much like she had to deal with the issue of abortion earlier in the season. After a shooting across town that resulted in the death of a respected (in the eyes of the public, not so much Selina) reporter, Selina talks to the Former Prime Minister about gun control. Selina essentially pissed off the entire NRA when she said that “the second amendment is a problem.”

    The statement gets leaked when Jonah, pretending to be part of the Veep’s team, gets the Former Prime Minister to tell him what Selina said. To remedy the issue, the team goes to a Women’s Gun Show, where Catherine has turned into quite the celebrity complete with t-shirts, selfies, and chants.

    On top of all these problems we have the issue of Ray, Selina’s new personal trainer and campaign “stress reliever”. Christopher Meloni as Ray is a delight to watch. Although he’s playing the stereotypical dumb muscle head (“I know IMF stands for International Money Fund”), he has perfected the art of the one-liner. Every single time he opened his mouth I was cracking up. Everything from his expression, to his delivery was pitch perfect. Who would have though that Elliott Stabler from Law & Order: SVU could be this funny?

    I am confident when I say that this was probably the best episode of the season. I am constantly shocked at how much the writers are able to pack into one episode and still make every storyline feel complete (take a note Modern Family). Every single moment was smart, sharp, and hilarious and packed with hilarious one-liners like: “I wish we were still on abortion, that was easy.” I don’t think I have ever laughed out loud that much during any episode of television, if Veep maintains this quality to the end of the season, then I think we have contender for one of the best seasons of comedy in recent memory.

  • Netflix Flick of the Week: ‘Serenity’

    Netflix Flick of the Week: ‘Serenity’

    serenity_6

    out of 10
    out of 10

    The film Serenity is the movie sequel to Joss Wehdon’s popular, but short-lived TV series Firefly. Firefly was a sci-fi series with many western elements thrown in. Though the film does a good job of explaining things to those unfamiliar with the series, here’s a quick synopsis. In the future, our Earth that we know has been dried up of all its resources, causing the people to travel to other parts of the galaxy. There we’re able to terra-form new planets and the central planets became under control of the Alliance (the galaxy’s form of government). The series follows Captain Malcolm Reynolds (Nathan Fillion), a former soldier of the rebellion that fought and lost against the Alliance, and his “lovable” crew of the starship Serenity as they travel around the outer planets, looking for any work they can get and avoiding the Alliance, as they hide two fugitives, a doctor named Simon, and his psychic sister River.

    One thing that made the series so great was the relationships between the crewmembers of Serenity. The film carries the great chemistry that the actors had in the TV series onto the big screen. Each of the different crewmembers has his or her own distinct personality. From Zoë (Gina Torres) being the tough-nosed second in command, to Wash (Alan Tudyk) as the snarky, comical pilot, to Simon (Sean Maher) as the smart but caring doctor, each character gets enough time to really shine. The writing is really top-notch for a sci-fi film and the acting is spot on most of the time. Nathan Fillon, who plays the captain, brings his A-game to this film, going from a wise-ass to a cold, stern leader flawlessly. Chiwetel Ejiofor is also great as the villain. As for the story itself, it’s pretty straightforward and easy to follow. The pace is great and like I said, it does a good job of explain things to newcomers.

    The main problem that I saw with the film was that while it does explain things for newcomers, it definitely helps to have watched the TV series in advance. As some things, mostly character relationships, make better sense if you watch the series. You’re also more attached to the cast going in and it hurts more when certain characters die (no spoilers). The effects in the film are also kind of hit and miss, ranging from video-game like to actually pretty impressive for the time.

    Overall: While it helps to watch Firefly in advance. Serenity stands by-itself as a really solid sci-fi film. The acting and writing is what really makes this movie shine. For those who are familiar with Firefly, its everything you’ve come to expect from the series. Those unfamiliar, its still a very fun and unique film that will leave you satisfied. However, I still advise you check out the series, it’s one of my favorites of all time.

    The film currently holds a 4.1 out of 5 stars on Netflix.

  • Reaction Shot: ‘How I Met Your Dad’ Not Picked Up

    Reaction Shot: ‘How I Met Your Dad’ Not Picked Up

    Reaction Shot: 'How I Met Your Dad' Not Picked Up By CBS

    It was announced yesterday during CBS’ upfronts that the How I Met Your Mother spin off How I Met Your Dad was not going to be picked up by the network. CBS Entertainment Chairman Nina Tassler commented:

    There were elements on the pilot that didn’t work out. We tried to work out about redoing the pilot. That’s not happening right now. Sometimes you run into these kind of issues and you hope they can resolve themselves in that time frame. I’m heartsick; we loved this brand and we love the producers but it didn’t work out.

    While it’s not a total surprise, I am both happy and somewhat saddened by this recent development. While I was one of the dissenters of the way How I Met Your Mother wrapped up, I was interested in seeing how the endearing Greta Gertwig would insert her… humor, into the show. I also think that it would be a great chance to right the wrongs of the original show. Most importantly the length of the story. If the producers and writers were able to agree on a set run length, say four years, and stick to the exit plan and plot points, then I could see a strong entry into CBS’ comedy lineup. I also think that avoiding becoming a sitcom, like Mother did, and being solely a comedy would suit the show as well.

    The rights have reverted back to the studio, 20th Century Fox, and they can shop it around elsewhere. Maybe cable. I’d definitely be up for seeing a gritty version of the series. HBO anyone?

     

  • Onwards and Upwards: ‘How I Met Your Mother’ Series Finale Review

    Onwards and Upwards: ‘How I Met Your Mother’ Series Finale Review

    Last Forever Part One

    MVP: Alyson Hannigan
    MVP:
    Alyson Hannigan

    PART I

    The series finale of one of the oddest, quirkiest, and lovable sitcoms has finally come. It of course starts off with pure nostalgia of the gang sitting in MacLaren’s listening to Lily telling them the only way one of them hooks up with Robin is if they marry her…. and Barney does.

    Barney tries to get Ted to play “Have you met Ted” with the bass player/the mother, then all of a sudden, Ted reveals that he had to leave right away, which led to emotional goodbyes and one of the most epic high-fives to hit television, but of course it ends in both Ted and Barney hurting themselves, but knowing it was all “worth it.”

    Then at the Farhampton train station the old woman that was introduced in the season premiere points out to Ted that the mother is standing at the same station. She pushes him to talk to her, but he refuses.

    Then we cut to 24 hours later where Marshall and Lily see Ted in MacLaren’s much to their content and discontent, Ted reveals that it’s because he met the mother, yet again we don’t know how.

    Then, we cut to the mother revealing she’s pregnant, Marshall revealing he’s now in corporate law, and that Robin and Barney were divorced.

    Pause. Most of this episode was probably one of the best paced “where are they now” episodes of any sitcom or drama. It moved at such a great pace, but still had the dramatic and comedic impact.

    Play. Then the episode slowed to where Barney and Robin are dealing with the falling out of their divorce and the Lily attempts to keep the gang together and ensure that they are all there for “the big moments.” Which includes Lily revealing she is pregnant with their third child and realizing that they are quickly outgrowing the apartment, so they decided to move.

    In a goodbye to the apartment, they threw a halloween party, but the group dynamic wasn’t the same anymore as pointed out by Robin. And in yet another emotional twist, Robin knew it was over. We are left with Lily alone in the empty apartment.

    The episode was so well paced and balanced and to be honest one of the best episodes that the series put out in a while. It reminds us why we fell in love with the series in the first place, because these characters are impossible to not like, but now on to part 2.

    MVP: Ensemble
    MVP: Ensemble

    PART II

    The half saw the fast paced timeline continuing. Barney came to the realization that he will never change in one of the character’s more human moments. It also revealed that Marshall finally got his judgeship.

    In 2019, we saw the return of the playbook, but a now 40’s Barney found out the final girl in his perfect month was pregnant.

    Moving right along, Ted and a much older Penny are touring the city when he ran into Robin, who hasn’t seen most of the group for years. Also at the same time Barney’s love child is born, and well he falls in love with her. Neil Patrick Harris proves again what an incredible actor he is, not only comedically, but all around.

    Pause. This incredible pair of fast forward episodes were so well written and impeccably paced, but it also didn’t feel like a real “How I Met Your Mother” episode. It has the incredible characters that we love, but the ridiculousness and gut busting moments weren’t there. It’s like a more matured version of the show.

    Play. Ted reproposed to the mother and planned a wedding for later in that week. It led to our introduction to the new Barney and a the group being reunited for one of the biggest moments. Then, the mother took a picture of the gang in the bar and my emotions were tickled.

    Then Marshall said to a group of “kids” that “a lot” happened in that bar. Then the wedding finagled happened all the way in 2019.

    Then an incredible montage of pictures featuring Ted and the mother, that led to what some of us were dreading, but also expecting. It is revealed that the mother did become sick, but also finally showed how he met their mother.

    There they pieced together their entire of close calls through the iconic yellow umbrella and realized that it was destiny. Oh yeah, also we find out her name was Tracey.

    However, my entire perception of the series was ruined when it was revealed that Ted told that entire story to his kids because he was still in love with their aunt Robin and wanted to get their approval.

    To be honest it was a terrible reveal, but I have to admit that it was very well executed, especially bringing back the blue horn. These final two episodes were incredible well-written and directed, but I still can’t believe that they took this entire time just to put Robin and Ted together.

    I can see a lot of people loving this ending, but for me I can’t help but feel jilted by the creators. You spend nine years trying to get your audience to care for a nameless and faceless character. They spent episode after episode making us root for their success, to just throw it all away in the end.

    I will admit though, they knew their end game and they got themselves there in an overly long, but still fun manner. Goodbye How I Met Your Mother, I will never watch you ever again.