REVIEW: BEAUTY AND THE BEAST (2012) – SEASON 1

MAIN CAST

Kristin Kreuk (Smallville)
Jay Ryan (Mary Kills people)
Austin Basis (J. Edgar)
Nina Lisandrello (The Devil Wears Prada)
Brian White (The Cabin In The Woods)
Max Brown (Agent Carter)
Sendhil Ramamurthy (Heroes)

Kristin Kreuk and Jay Ryan in Beauty and the Beast (2012)

RECURRING / NOTABLE GUEST CAST

Yannick Bisson (Mutant X)
Britt Irvin (Big Eyes)
Khaira Ledeyo (Da Vinci’s Inquest)
Peter Outerbridge (Lucky Number Sleven)
Rob Stewart (Painkiller Jane)
Nicole Gale Anderson (Mean Girls 2)
Luke Macfarlane (Killjoys)
Elizabeth Blackmore (The Vampire Diaries)
Lara Jean Chorostecki (Hannibal)
Mädchen Amick (Twin Peaks)
Alex Carter (Out of Time)
Jenn Proske (Vampires Suck)
Kelly Overton (Van Helsing)
Mike Dopud (Stargate Universe)
Rachel Skarsten (Reign)
Hal Ozsan (Jessica Jones)
Bianca Lawson (Buffy: TVS)
Rena Sofer (Traffic)
Bridget Regan (Agent Carter)
Luke Roberts (Black Sails)
Brendan Hines (Lie To Me)
William deVry (Earth: Final Conflict)
Ty Olsson (Battlestar Galactica)
Ed Gathegi (X-Men: First Class)
Steve Lund (Bitten)
Shantel VanSanten (The Flash)
Ted Whittall (Smallville)

Beauty and the Beast is a remake of the 1987 series of the same name. That show starred Linda Hamilton and Ron Perlman and while it only lasted three seasons  it developed a very loyal fan base. This remake was not greeted with a lot of critical praise.The show begins in 2003 with Kristin Kreuk as Catherine Chandler. She works at a bar while preparing for her LSAT. She’s asked to close the bar, but when she tries to leave, her car won’t start, so she calls her mom. However, after her mom gets there, they are approached by two men. Her mother tells her to get in the car, but before she can, the men shoot her mother, so Cat runs into the woods. She doesn’t get too far before she trips and smacks her head. It looks like she will be killed, but then something attacks the two men and kills them. She can’t tell what it is, because of her concussion, but she thinks it is some kind of beast.Nine years later, Cat is a detective with the NYPD and while her mother’s murder hasn’t been solved yet, she’s mostly put it past her. However, that changes when there’s a new case she and her partner, Tess Vargas, are working on. There’s two main clues, a fingerprint and some DNA evidence. The DNA evidence is curious, as it points to mixed species. This is exactly what happened nine years ago with her mother’s murder. The finger print belongs to Vincent Keller (Jay Ryan) a soldier who was killed in Afghanistan years ago. While trying to find information on Vincent, she tracks down his old roommate, J.T. Forbes, and suspects he’s hiding something. She’s right, he’s hiding Vincent. Vincent underwent a super-soldier program in the military, but there were side effects. When angry, he transformers into a beast. He faked his death and is in hiding, because everyone else who underwent the procedure is dead. The company, Muirfield, killed everyone to cover their tracks, and they are willing to kill again to keep their secret. However, they didn’t count on Cat and Vincent teaming up to uncover what they covered up.Jay Ryan in Beauty and the Beast (2012)As I was watching the first season of Beauty and the Beast, It was slow at first, as the show was trying to find it’s feet, wth introduction of Sendhil Ramamurthy near the end of the season it did pick up.The cliffhanger does leave you clammering for more and thankfully this show did continue for another 3 seasons.

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REVIEW: THE TICK (2017) – SEASON 1 – PART 2

The Tick (2017)

MAIN CAST

Peter Serafinowicz (spy)
Griffin Newman (Draft day0
Valorie Curry (Blair Witch)
Brendan Hines (Lie To Me)
Jackie Earle Haley (Watchmen)
Yara Martinez (Jane The Virgin)

Peter Serafinowicz in The Tick (2017)

RECURRING NOTABLE GUEST CAST

Francois Chau (Teenage Mutant Ninja Turtles II)
Townsend Coleman (Black Moon Rising)
Bryan Greenberg (Prime)
Alan Tudyk (Firefly)
Scott Speiser (6 Ways To Die)

The Tick (2017)I’ll admit it. When I heard Amazon was rebooting superhero sendup “The Tick,” I wasn’t exactly thrilled. I started watching the first six episodes mostly opposed to the idea, arms crossed, mumbling things like “this isn’t my ‘Tick.'” You know what? I was wrong. Completely wrong. Please accept my apologies for being such an obstinate fool. Now that I’ve seen a full season of “Tick” creator Ben Edlund’s and Executive Producer Barry Josephson’s vision for rebooting the franchise, I’m convinced this might be the best iteration yet. We still get to enjoy the goofball antics of Tick and Arthur, complete with hilarious sight gags, puns and awkward moments, but by making Arthur (Griffin Newman) the focus this time around, there’s an added thread that offers better opportunities for characters to evolve and grow.Peter Serafinowicz in The Tick (2017)If the original live-action series offered nonstop laughs in an insane asylum, this “Tick” provides a laugh a minute, but they’re far more satisfying. Don’t worry though, hard-core fans: classics like “SPOON!” still work comfortably within the show’s framework. Peter Serafinowicz’s version of the Tick is the same one we’ve known and loved for over 30 years: a superpowered, super joyful, big blue something or other with a head full of cotton balls. After six episodes, Arthur finally came to some acceptance of his role as a kind-of-hero in this world where supers and villains are the norm. The back half of the season deals with the return of diabolical evildoer The Terror (perfectly depicted by psychopath-playing expert Jackie Earle Haley) and his plot to kill beloved superhero Superian (Brendan Hines). In those second six eps, the show sets up some decent stakes, pays off nearly every storyline it opens up, and still manages to leave a couple of juicy morsels for the next round.Scott Speiser in The Tick (2017)The Tick still seeks answers as to who (or what) he is, and Arthur continues to grapple with what it means to be a hero and whether he’s accepting that answer. Edlund and Josephson are clearly dedicated to world-building beyond their two main characters, and the show absolutely benefits from a three-dimensional secondary cast. Even characters like hard-core vigilante Overkill (Scott Speiser) and Arthur’s sister Dot (Valorie Curry) experience good growth throughout the season. In a world where superheroes rule, watching “The Tick” is a refreshing roast of all the ridiculous tropes and cliches we’re so used to seeing in just about every other genre show out there. Now that Amazon Video is available on Apple TV (and most other streaming platforms and devices), there’s no excuse for you to miss out. Each episode is only 25 minutes long, so binging all 12 shouldn’t take you more than six hours, but you’ll definitely know if you’re on board for “The Tick” or not after the first half dozen. Amazon already gave the green light to a second season, which should bow sometime in early 2019. The entire season 1 is now available for streaming on Amazon Prime Video.Peter Serafinowicz and Griffin Newman in The Tick (2017)

 

CHRISTMAS 2017 REVIEW: LIE TO ME – SECRET SANTA

CAST
Tim Roth  (The Incredible Hulk)
Kelli Williams (Army Wives)
Brendan Hines (Terminator: TSCC)
Monica Raymund (The Good Wife)
Hayley McFarland (The Conjuring)
GUEST CAST
Michael A. Goorjian (Forever Young)
Jason Gedrick (Beauty and The Beast 2012)
April Grace (I Am Legend)
During the holiday season, Lightman is sent to Afghanistan to interrogate an American-turned-Taliban prisoner on the whereabouts of two captured marines. Back in the U.S., his team tries to help a teacher who was fired for supposedly telling a student that Santa doesn’t exist. And Emily plans a big Lightman Group Christmas party.
The Christmas special for Lie to Me was an intriguing one, sending Lightman to Afghanistan to find a  possible turncoat was a interesting story for an xmas special. The Emily story was sweet too. It was a decent xmas story worth watching for the Christmas period.

REVIEW: THE TICK (2017) – SEASON 1 – PART 1

MAIN CAST

Peter Serafinowicz (spy)
Griffin Newman (Draft day0
Valorie Curry (Blair Witch)
Brendan Hines (Lie To Me)
Jackie Earle Haley (Watchmen)
Yara Martinez (Jane The Virgin)

RECURRING NOTABLE GUEST CAST

Christian Navarro (13 Reasons Why)
Whoopi Goldberg (The Muppets)
François Chau (Teenage Mutant Ninja Turtles 2)
Bryan Greenberg (Prime)
Alan Tudyk (Firefly)
Scott Speiser (6 Ways To Die)

This new Tick series (following the famous ’90s animated series and the ill-fated first go at live-action on FOX back in 2001) takes a bit of a subtle left turn into soft Rated-R territory, allowing things to feel a little more grounded and grittier while also permitting the occasional F-bomb to fly free. Yes, it’s weird to think that the mostly-jovial world of The Tick could exist alongside actual carnage and bloodshed, plus profanity, but it works really well. As does the show’s parody of a Punisher-style murder hero named Overkill (Scott Speiser).After striking oil with the perfect tone for a Tick live-action series, this show also cunningly crafted its sweet and salty spine by casting Peter Serafinowicz as The Tick and Griffin Newman as Arthur – and then allowing the two of them to explore the actual mental maladies involved with this particular hero dynamic.The first episode introduces us to a very different take on Arthur. A traumatized Arthur who’s almost incapable of functioning as an adult without medication and the supervision of his sister Dot (Valorie Curry). Arthur is on a hero’s journey, obsessed with revealing the truth about a thought-to-be-dead supervillain named The Terror (Jackie Earle Haley), but he lacks the muscle and confidence to follow through. He’s all conspiracy theories and crime boards (and Reddit threads), but no real desire to bring about justice himself. From…wherever The Tick comes from. The second episode deftly toys with the idea of Tick possibly being some sort of mental manifestation of Arthur, like a Tyler Durden. Or even The Maxx, if you’d like to stick to comics and possible avatars of past trauma. Arthur has the intel and the personal vendetta while bullet-proof Tick has the ability to waltz in and lay waste to a villainous lair. Meanwhile, Tick isn’t quite sure of his own origins and keeps speechifying about doing good and answering the call of one’s true fate. It’s a pairing too serendipitous to ignore as both, right when they find each other, need the other.Serafinowicz’s Tick is pitch-perfect. Hallmarks, and expectations, set up by the animated series dictates that Tick be large, barrel chested, baritone, and brave. But important to the story too is the friendship that he and Arthur eventually cultivate. Arthur needs to be annoyed with everything at first, but you need Tick to be soft and supportive enough so that Arthur will eventually see him as a light in all the darkness. Tick, in his own right, needs to be rather unflappable in his pursuit of evil-doers, but he also can’t want to go after the villains without his trusted chum because Tick, aside from being his own particular style of doofy do-gooder, is meant to be therapeutic for poor Arthur. Despite taking place in the ream of super-powered heroes and villains, The Tick is a small series. The meager budget shows at times, but when VFX are used, they’re well-placed and important. The fact that the tone of the show is meant to ground everything and make the heightened feel a bit more real means that things tend to operate like they would in every day life. If you’re, say, a crime lord like Yara Martinez’s Ms. Lint or Michael Cerveris’ Ramses and you only have, maybe, a dozen paid thugs in your employ, you’d basically be without goon support if someone came and thrashed all of them. You don’t have an endless supply.This is a show where, as part of the world’s backstory, the aforementioned Terror actually succeeded in killing off America’s top hero team, the Flag Five. There are realistic consequences mixed in with the superhero silliness and that helps create a foundation with stakes. You understand why Dot is so afraid for Arthur when he embarks on his misadventures with Tick (complete with a impenetrable flying battle suit that imprints itself on Arthur – and yes, resembles a moth for reasons unknown). Their entire family had been ripped apart due to collateral damage from super-powered beings warring up above so you’re fully immersed the life or death aspects of the story. Nothing ever goes so dark that it all becomes Watchmen, but it does start to hit home like a more jagged version of The Incredibles. The Tick is a quick, delightful binge that perfectly captures the spirit of the 90s animated series while shading things a bit darker in order to present a more grounded world for a live-action setting.  Peter Serafinowicz’s Tick is also awesome as daft mysterious hero who appears to help a troubled man cross the finish line on a life’s journey to find justice.

 

 

 

REVIEW: TERMINATOR: THE SARAH CONNOR CHRONICLES – SEASON 1 & 2

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MAIN CAST

Lena Headey (Game of Thrones)
Thomas Dekker (Heroes)
Summer Glau (Arrow)
Richard T. Jones (Godzilla)
Brian Austin Green (Anger Management)
Leven Rambin (The Hunger Games)
Garret Dillahunt (Winter’s Bone)
Shirley Manson (Knife Fight)
RECURRING / NOTABLE GUEST CAST

Owain Yeoman (Supergirl)
Sonya Walger (Flashforward)
Nick Wechsler (Roswell)
Dean Winters (Brooklyn Nine-Nine)
Charlayne Woodard (The Crucible)
Tony Amendola (Annabelle)
Sasha Roiz (Caprica)
Jonathan Sadowski (Friday the 13th)
Brendan Hines (Lie To Me)
Catherine Dent (Taken)
Alessandra Torresani (The Big Bang Theory)
Tiya Sircar (The Vampire Diaries)
Andy Umberger (Angel)
Lee Thompson Young (Smallville)
Neil Hopkins (Lost)
Peter Mensah (Spartacus)
Bruce Davison (High Crimes)
Karina Logue (Scream: The Series)
Craig Fairbrass (Cliffhanger)
Dean Norris (Breaking Bad)
Zack Ward (Transformers)
Busy Philipps (The Smokers)
Leah Pipes (The Originals)
Jon Huertas (Sabrina: TTW)
Mackenzie Brooke Smith (Supergirl)
Dorian Harewood (Earth: Final Concflict)
Stephanie Jacobsen (Alex Cross)
Adam Busch (Buffy)
Richard Schiff (The Cape)
Eric Steinberg (Stargate SG.1)
Todd Stashwick (The Originals)
Rebecca Creskoff (Bates Motel)
Carlos Jacott (Firefly)
Samantha Krutzfeldt (A Mann’s World)
Connor Trinneer (Stargate: Atlantis)
Chad Lindberg (The Fast and The Furious)
Chad L. Coleman (Arrow)

When we first heard that FOX was making a Terminator series, we mostly groaned and rolled our eyes. It just sounded like a bad idea and a cynical ploy to capitalize on a flagging movie property. What’s more, when you think of Terminator, you think of big movies with huge effects and action sequences that set new standards. You don’t think of “Terminators of the Week” battling on smaller screens with tighter budgets.

 It was the first regular episode after the pilot that I feel the show really came into its own. That’s when the tone of the series was established, the more deliberate and introspective pace. Summer Glau’s performance as Cameron changed a bit.
 It’s the mark of a good show when, one by one, all of your issues are accounted for. In the episode Heavy Metal John does what he has to do despite Sarah’s overprotection. He’s becoming the leader he needs to become, and when Sarah says it’s too soon, Cameron says something to the effect of “Is it? The world ends in 4 years…” At the same time, Sarah came to value Cameron’s strategic value. She might not trust her (and should she?), but she no longer denies her the tactical advantage they have when using her.
As for the missing Terminator parts, the show picked up the ball there and ran with it. Agent Ellison finds the missing hand, and destroying the Terminator Cameron disabled becomes a great scene and establishes the use of thermite. When a show proves to you that it’s got the bases covered, and that it isn’t being sloppy with its storytelling – it gains your confidence and makes tuning in each week that much more satisfying. Terminator pulled this off in just nine episodes – which is remarkable considering they had only so much time and never planned on having such a short season because of the writers strike. There were a number of stylistic flourishes throughout the show that demonstrated how the series was different from the movies, and that this wasn’t going to be a show that was afraid to strike out on its own. Sarah’s dream where she assassinates the creators of the atomic bomb was particularly inspired. Bruce Davison (as Dr. Silberman) describing in awed rapture the events from T2 was a terrific bridge between this series and one of the most famous sequences of the entire franchise. The series ended on a high note, with Johnny Cash’s “The Man Comes Around” playing while a Terminator does what Terminators do. Only this time it’s done in a stylistically original way. It’s another scene that serves as an example of how the show stepped out on its own. It shows a level of creative maturity not usually found in franchised properties.
Then there’s the introduction of Brian Austin Green as Derek Reese. This was a decision that had us – and other fans – concerned that the show was making a big mistake. Why Green? It seems there could have been dozens, if not hundreds of other actors to take on this role. Actors who didn’t play the keyboard wielding dweeb on Beverly Hills 90210. Yet, again, the show proved worthy of our confidence and trust. Green did an excellent job, and played Reese not as your standard badass, but instead a man of emotional depth who had been turned into a soldier because the world around him fell apart.
Green’s best moments came in the finale. First, he uses a little girl to creatively settle a hostage situation. Then, he takes John to the park to celebrate his birthday. Without getting specific, there’s a touching moment, playing on the time travel device. “Happy Birthday,” Derek says, and leaves it at that. It’s an emotional note that was never quite achieved in the movies – and proof that the episodic format allows for greater complexity and character development than we’ve seen in the franchise. It’s also encouraging that the characters had become so resonant in these early episodes – and bodes well for the future.
No one likes to see a good show go under, especially just as it’s approaching new heights, and the recent cancellation of Terminator: The Sarah Connor Chronicles (2008-2009) proved almost equally disheartening. At least the latter had a fighting chance, though: the mid-season replacement pulled down great numbers at first, but its popularity rapidly declined during the initial nine-episode run. Higher production costs didn’t help matters, either…yet Chronicles was renewed for a full-sized second season, where it expanded the series’ mythology and tossed in a few stand-alone episodes. Featuring plenty of terrific characters, tense action and special effects on par with Hollywood blockbusters, there was plenty to like…but roughly a month after the season finale aired, it was confirmed that the series wouldn’t return.
Nonetheless, this second and final season stands as one of the better stretches of television in recent memory. In an accompanying behind-the-scenes featurette, creator Josh Friedman admits that the cast and crew had no idea that Season 1 would end where it did—but you’d never know from watching, since the series stops and re-starts so seamlessly. Opening adventure “Samson and Delilah” kicks things off in a major way, punctuated by a gripping slow-motion sequence set to a musical cover by Shirley Manson of Garbage fame. Speaking of Manson, she’s front and center this season as Catherine Weaver, the mysterious leader of ZeiraCorp, a growing corporation with an interest in advanced technology. She’s eventually joined by former FBI agent James Ellison (Richard T. Jones); Ellison acts as her head of security and a mentor to ZeiraCorp’s experimental computer, who’s known as “John Henry”. Though more intelligent and efficient than the world’s greatest minds put together, this powerful entity is still a child learning about the the world and the humans in it.
Naturally, such a vague company—especially one with its hands in high-tech gadgetry—soon ends up on the radar of Sarah Connor (Lena Headey), who continues to forge onward with her son John (Thomas Dekkar), John’s uncle Derek Reese (Brian Austin Green) and Cameron, a Terminator sent from the future to aid them. New to the crowd are Jesse Flores (Stephanie Jacobsen) and Riley Dawson (Leven Rambin); both serve as love interests to Derek and John respectively…but like Catherine Weaver, they seem to have somewhat questionable pasts. Far more than the typical good-versus-evil formula that typically dominates modern sci-fi, The Sarah Connor Chronicles takes a decidedly different approach: it focuses on human existence and emotion as much as firefights and chase sequences. The formula works amazingly well during this season of 22 episodes.
 After the blistering “Samson and Delilah”, things don’t let up for a while. “Automatic for the People” introduces Riley and takes our heroes inside a nuclear power plant—but a major clue is unearthed, as Sarah discovers a list of events, places and other clues about Skynet, the company that Sarah believes will bring about Judgment Day. “Mousetrap” is a standout episode for a number of reasons: not only does it push the story further onward, but it’s one of the more suspenseful and exciting episodes in the bunch. “Allison from Palmdale” stands tall as a solid origin story for Cameron, while the extended “Goodbye to All That” sends John and Derek on a field trip with a Terminator model 888 in hot pursuit. These episodes—and several others, of course—show how much Season 2 has expanded the story’s scope. Well over half the episodes are shot on location in various parts of California and beyond—and with the vague threat of ZeiraCorp looming overhead, tension remains high throughout the first half of the season.
As the season’s second half approaches, things start to get a little cloudy…both for the narrative itself and the show’s ratings, which gradually slid as the season progressed. “Self-Made Man” and “Alpine Fields” are two stand-alone episodes designed to draw in new fans, as the creative team felt that a continuous thrust forward would hurt the series’ chances of survival. Unfortunately, these two episodes are some of the least impressive: while decent enough on their own terms, they feel completely out of context and arrive at the wrong time. These may have added a few viewers, but I imagine they probably confused and frustrated those expecting the series to continue its steady pace forward. Nonetheless, “Earthlings Welcome Here” gets things back on track…but within the context of the series’ original broadcast dates, it may have come too late. This would be the last episode before the holiday break, with Chronicles returning two months later in the dreaded Friday night timeslot…which television fans refer to as “the kiss of death”.
It’s sad, really, because The Sarah Connor Chronicles really got back on its feet from that point onward. “The Good Wound” was much better suited to draw in new fans than a stand-alone episode: taking several cues from Terminator 2, this Sarah-centered adventure re-acquaints us with an important figure from her past. The next several episodes flesh out story elements introduced earlier in the season, as Sarah, John, Derek and Cameron set out to solve a mysterious factory explosion in the desert. After “Some Must Watch While Some Must Sleep”, Chronicles sprints to the finish line: Jesse and Riley’s pasts begin to unravel, John Henry and ZeiraCorp’s true intentions are revealed, Sarah and company head off into unfamiliar territory and several major characters meet their doom. It all culminates with “Born to Run”, which ends the series on a high note, tying up several loose ends but leaving others to the imagination. Poignant, clever and almost hopeful, it’s a fitting farewell to a series that was killed off too early.

Regardless, Warner Bros. has given The Sarah Connor Chronicles a strong send-off on DVD, as this second season arrives in a fully-loaded six-disc collection. The series’ crisp cinematography and ambitious sound mix—both of which feel more like big-screen efforts than typical TV fare—are supported by a solid technical presentation, while fans can also look forward to a collection of entertaining and informative bonus features. Though Friedman’s excellent series now joins the gone-too-early ranks

REVIEW: ANGEL – SEASON 1-5

 

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MAIN CAST

David Boreanaz (Bones)
Charisma Carpenter (Scream Queens)
Glenn Quinn (R.S.V.P)
Alxis Denisof (Dollhouse)
J. August Richards (Agents of SHIELD)
Amy Acker (The Cabin In The Woods)
Vincent Kartheiser (Mad Men)
Andy Hallett (Chance)
James Marsters (Smallville)
Mercedes McNab (The Addams Family)

Image result for angel tv series

RECURRING / NOTABLE GUEST STARS

Tracy Middendorf (Scream: The Series)
Christian Kane (Just Married)
Josh Holloway (Lost)
Sarah Michelle Gellar (Ringer)
Michael Mantell (The Ides of March)
Elisabeth Rohm (Joy)
Obi Ndefo (Stargate SG.1)
Johnny Messner (Anacondas)
Jennifer Tung (Masked Rider)
Seth Green (Family Guy)
Andy Umberger (Deja Vu)
Tushka Bergen (Mad Max 3)
Beth Grant (Wonderfalls)
Bai Ling (The Crow)
Jesse James (Blow)
J. Kenneth Campbell (Mars Attacks)
Henri Lubatti True Blood)
Christina Hendricks (Mad Men)
John Mahon (Zodiac)
Kristin Dattilo (Intolerable Cruelty)
Carlos Jacott (3rd Rock From The Sun)
Lee Arenberg (Once Upon A Time)
Jeremy Renner (Avengers Assemble)
Ken Marino (Veronica Mars)
Stephanie Romanov (Thirtten Days)
Tamara Gorski (Man With The Screaming Brain)
Julie Benz (Punisher: Warzone)
Eliza Dushku (Tru Calling)
Alastair Duncan (The Batman)
Sam Anderson (Lost)
Todd Stashwick (The Originals)
Justina Machado (Final Destination 2)
Matthew James (American Crime)
J.P. Manoux (Birds of Prey)
Tony Amendola (Stargate SG.1)
David Herman (Futurama)
Edwin Hodge (The Purge)
Daisy McCrackin (Halloween 8)
Juliet Landau (Ed Wood)
Brigid Brannagh (Army Wives)
W. Earl Brown (Bates Motel)
Tony Todd (Wishmaster)
Jim Piddock (The Prestige)
Julia Lee (A Man Apart)
Gerry Becker(Spider-Man)
Eric Lange (Lost)
Leah Pipes (The Originals)
Thomas Kopache (Catch Me If You Can)
Brody Hutzler (Days of Our Lives)
Persia White (The Vampire Diaries)
Daniel Dae Kim (Lost)
Mark Lutz (Bitch Slap)
Alyson Hannigan (How I Met Your Mother)
Keith Szarabajka (The Dark Knight)
Frank Salsedo (Power Rangers Zeo)
David Denman (Outcast)
Justin Shilton (Little Miss Sunshine)
Rance Howard (Chinatown)
Kristoffer Polaha (Ringer)
Jack Conley (Payback)
Jim Ortlieb (Roswell)
Laurel Holloman (Boogie Nights)
Jeffrey Dean Morgan (The Losers)
Sunny Mabrey (Snakes On A Plane)
Summer Glau (Firefly)
John Rubinstein (Red Dragon)
Alexa Davalos (Clash of The Titans)
Kay Panabaker (No Ordinary Family)
Joel David Moore (Bones)
Adrienne Wilkinson (Xena)
Gina Torres (Hannibal)
Annie Wersching (The Vampire Diaries)
Danny Woodburn (Watchmen)
Sarah Thompson (Cruel Intentions 2)
Jonathan M. Woodard (Firefly)
T.J. Thyne (Bones)
John Billingsley (Star Trek: Enterprise)
Simon Templeman (Black Road)
Roy Dotrice (Beauty and the Beast)
Brendan Hines (Lie to Me)
Tom Lenk (Argo)
Navi Rawat (Feast)
Roy Werner (Power Rangers Time Force)
Alec Newman (Dune)
Adam Baldwin (Chuck)
Jaime Bergman (Soulkeeper)
Stacey Travis (Easy A)
Dennis Christopher (Django Uncahined)

When Joss Whedon pitched Angel: the Series, he described it as a detective-style film-noir-themed take on the supernatural, much in the same way Buffy was pitched as a look from the viewpoint of the Horror genre. Buffy’s style took some time to get right, but the aesthetics of this show in its first year are well thought out and crafted; darkness and emotive shadow creep over, tense musical swells linger, and the picture is shot in a large resolution to provide just a bit of grain. I’d be damned if it didn’t seem intentional. Joss also said that where Buffy looked, metaphorically, at the hell of High School, Angel’s show would look at life past it in your early adulthood and the life and relationship issues of that unique, big city world. This metaphor is dominant in the first season, and is one of the main themes.

Angel, as a series, is always and will always be about redemption, but the themes of its respective seasons are about the different facets to it. Exploring what it is, losing the chance at it or the responsibility one pledges to it is all covered over the duration of the show. With season one, it was most direct: How do you get it? At the start of the season we see Angel arrive in LA, see him save lives, but we also watch him slip deeply into apathy about his goal. To understand the importance and worth of a human and life and soul, Angel learns in “City of” (1×01) that one must have a human connection; friends and allies that make his life worth living so his mission can be worth fighting for, and most importantly so that he doesn’t become detached from (and even dangerous to) those he hopes to save.

The season, as I mentioned, does lack a cohesive arc, but it also has a tremendous amount of hugely entertaining and well-written standalones. Many of them focus on Angel’s mission: “helping the helpless.” Angel makes it his goal to not only save lives, but save souls and make life worth living for others, and as a result of this his connections are solidified as he carries this out. He and his group slowly form into a legitimate investigation team which takes cases and makes money off of them, and many of the seasons situations out of which the characters are developed are a result of these cases. Cordelia, who in “Rm w a Vu” (1×05) is still defining herself by her possessions, searches for a place to live. Instead what she finds is a stronger sense of self, and in that a connection to the world of humans rather the one of plastic. Doyle and Wesley both find their own connections, as well. Episodes such as these are the season’s order, in every one of which something new happens that alters the main or supporting characters, or teaches the audience something about them.

This is, in my opinion, what sets shows like Buffy and Angel apart: relevance. More than any other show, each episode contains progressive, ongoing development that charts development in a very realistic way. On a more specific level, this particular season has an extremely strong episode to episode consistency, with each individual showing striking its own tone and exploring the main theme in different ways. A few larger, more exciting events may have helped, but at the same time I appreciate this season for what it is and how it does something a bit different from most other seasons of Buffy or Angel. There’s a lot more to talk about, including the metaphorical basis’ used and what we’re being fed through them, as well as the general ups and downs. The strongest suit this season has is its extremely fluid use of theme. Though the ponderings on connection, redemption and starting a new life are not as intricately detailed, subtle or socially penetrating as the themes of any other season, the careful and consistent way they’re used to develop characters and give the stories real world relevance is masterful. Angel made it his mission to save souls, and we were shown him connecting with people by helping them, failing to help them, or losing them altogether. All the supporting characters followed, gaining their own redemption through helping Angel and the helpless.

With the exception of Wesley being overly bumbling at times, nothing felt out of character this season, and that’s extremely impressive considering the length of a season. Doyle’s sacrifice in “Hero” (1×09), Angel’s re-ignited belief in himself in “To Shanshu in LA” [1×22] or Kate’s decision to see Angel kiss daylight in “Sanctuary” [1×19] were all thematically conclusive, resonant and well built up to.

The preceding season was,strong and coherent. While looking at the tribulations of life after High School in the big city, it managed to do so in a way that developed the characters within another major theme: Connection; Human emotions and growth that make us a part of the world, make us human. By the end of the season, Angel had been given a purpose, both short and long term, and a mission to fight for: Fighting in the final battles and surviving to be made a breathing human being again. Season Two, with a much broader theme, builds logically on that, and asks our vampire hero just what it means to really be human. Much of the season’s development is split in that way, with Angel increasingly being led off into his own world, with his friends developing entirely in a place away from him.screen-shot-2016-09-09-at-10-18-22-am-e1473430782777While he and the fate that ties him to Darla explore the complexities of human existence, Cordelia, Wesley and Gunn become forced to suffer through and succeed in it on their own. Though not as characterized by pain and hopelessness as much as S3 post “Sleep Tight” [3×16] through to the end of the series is, there’s much darkness and suffering abound, especially for Angel. His epic trials and will for revenge separate him harshly from humanity, only for him to realize that his worst actions are indeed wholly human, and that this is what humanity really can be. Season Two has such interesting ideas in spades, and its theme looks at all the best (“Untouched” [2×04], “Guise Will Be Guise” [2×06], “Epiphany” [2×16]) and worst (“Reunion” [2×10], “Reprise” [2×15]) sides of our existence: forgiveness, self-control, image, obsession, revenge, victory, belonging and the very nature of evil itself. By the time the season closes, Angel’s re-examined entirely what his mission is and how he’s to fight it, and goes from a champion vampire-with-a-soul to simply a genuinely good human being who helps people.fake-dwarvesWith the exception of the brilliant period piece Are You Now or Have You Ever Been?, and a few rare others, the season doesn’t have quite as much use for pure standalones. Its arc employs its best metaphors and situations in the interest of exploring all sides of the characters’ journey, and as such, the season gives the impression that more happens this year than last because of the depth of each phase of the arc: the four episode standalone period, the first part of the Darla arc (“Dear Boy” [2×05] to “Reunion” [2×10]), the second part of the Darla arc (“Redefinition” [2×11] to “Epiphany” [2×16]), another couple of standalones (“Disharmony” [2×17] and “Dead End” [2×18]) and the Pylea arc (“Belonging” [2×19] to “There’s No Place Like Plrtz Glrb” [2×22]).

This is likely why the season finds such a strong and undivided following. While some dispute the worth of the standalones or the Pylea arc, others like them, and everyone loves the story arc; there’s something for everyone. The best aspect of this year of the character’s journey in L.A. is how broad and all encompassing the season is. With the exception of Season Five, I find this to be the best season of the show. It has a few great metaphors, an engaging, unpredictable story arc, fun standalones, important character development, strong drama, and some of the most intelligent moral and social considerations I’ve ever seen on a TV show or in a movie.

Like at the start of Season Two, the writers seemed to have a clear direction in mind at the start of Season Three, and they wisely picked up the story at the logical introductory point: With Angel having conquered his innermost doubts about his own humanity. He begins to live a truly human life. He’s accepted his role in the world as a good person rather than a champion, and recognizes the world as a wide-open, random place with no greater destiny or order about it. It’s the kind of world where even the smallest acts of kindness mean everything, because they mean someone is able to shrug off the horrible burdens of life long enough to make another life better.screen-shot-2016-09-09-at-10-18-22-am-e1473430782777It opens with a six episode prelude looking at various facets of the responsibilities and obligations of normal human life, and then really begins with “Offspring” [3×07] when Darla returns to L.A. in a very, very pregnant state. Like “Dear Boy” [2×05] was for S2, this is where the beginning of S3 truly lies. With Darla’s death and the birth of baby Connor (“Lullaby” [3×09]) as the emotional forces driving the season, the writers used the question of responsibility and all the ideas that fall under it (justice, deserving, chaos and guilt) to create some truly, gut-wrenchingly impossible situations for our characters to face. If I have to commend this year for one thing alone, it’s the painstaking drama that the writers plunge the characters into throughout the main arc and in the mini-arcs that follow. Although there’s not nearly as much thematic depth as S2 or as much consistency as S1, the tragedies and difficult moral situations our beloved Angel Investigations team members are forced to face moved me deeper than a lot of other episodes in the series.

Aesthetically, S3 also has a much more sprawling scope than the previous two seasons. While the first six episodes were essentially standalones, everything that followed “Offspring” [3×07] was in some way tied to the main plot arc of the show, even when some of its key players disappeared following the epic tragedy of “Sleep Tight” [3×16]. Just when it seemed the story was about to move in another Pylea-like offshoot after the main storyline concluded, Connor and Holtz returned and the plot kept on chugging. This led to some problems, of course, as all season-long arcs eventually do. Tension sometimes tried to take the place of real content and it often showed. It also led to there being an uncomfortable setup/payoff ratio on the episode list. But on the plus side, S3 (and S4, which moves even further in this direction) had a feeling of epic scope that no other seasons manage, so to even think of the better aspects that lie within strikes me. Such a sprawl is one of the reasons many people love S3 even if they haven’t looked very deeply at it.Image result for angel forgiving“Forgiving” [3×17] was another gem, as it looked at the human need to assume we live in an ordered world where someone is responsible for everything that happens. But it’s never that easy, and watching Angel struggle with that was fascinating. The final three episodes (“A New World” [3×20], “Benediction” [3×21], “Tomorrow” [3×22]) made up another interesting stretch where we saw how our characters could be motivated by pain, hatred or love and the effects of all those things.

Having already been on the air for three years, Angel had more then enough time to establish its theme, characters, and relationships. It was in its fourth year that it would bring all of these elements to the forefront and then mix them up in a season that would come to be known for its complex twists and turns.The season begins with our title character trapped at the bottom of the ocean – put there by his son – with the rest of his gang broken up. From this grim beginning, things only get darker – literally. Enter the Beast, a rock-encrusted devil whose arrival is heralded by a rain of fire and promptly blocks out the sun over L.A. All signs are pointing to the apocalypse, and it’s up to Angel and the rest of his demon-fighting crew to put a stop to it. From a storytelling point of view things just keep getting worse and worse and it’s a credit to the writers that they somehow manage to end it all on a positive note.Since Season 2 Angel has been a very arc-heavy show, but in its fourth year it would approach almost 24 levels of continuity and follow-through. In addition to being very cool to watch, the interlinked episodes add up to a season that is one big experience unto itself. It’s as if the entire season is one episode with many chapters.This year we get to watch everything get shaken up. Wedges are slowly driven between certain relationships while jealousy quickly divides others. The great thing about it is that you get to see what has caused all of these problems. Despite their best efforts to hold together, these characters have no choice but to push each other apart. It makes for gripping television.Visually and stylistically the show is very well put together. The directing efforts of Joss Whedon (who is always excellent), Tim Minear (who has grown by leaps and bounds over the course of the series), and even Sean Astin (yes that Sean Astin) give the show a very polished and theatrical feel. The producers repeatedly stated that they were going for an ‘operatic’ feel to the season and they pulled it off very well. The use of darkness and shadow deserves special mention as does the great use of wide shots and the directors’ ability to fill each frame with as much information as possible. Wesley goes from bumbling dork to dark James Bond. Cool! While the twists and turns are great, the really cool thing to the season is the multiple layers that you’ll find within. Just when you think you know who the real ‘big bad’ is or in which direction the show is going, the rug is pulled out from under your feet. The entire season keeps you guessing from start to finish. Of course, our heroes win in the end — but everyone is left wondering if they did the right thing. And that’s what sets the show apart: It’s action with substance.

Nobody, not the producers, not the actors, and certainly not the fans could have predicted where this show would go. Where it could go. After all, this is an hour-long fantasy about a guy who spends so much time sitting in the shadows and brooding so much he would give Batman a run for his money. Or utility belt, as the case may be. So why is it that after five years and over a hundred episodes this show was still one of the freshest on TV? Simple: this is a story about something. What started off as just a Buffy spin-off has ended up as a massive epic that challenges, if not surpasses, its parent show. Unfortunately, the WB didn’t think so. After giving the producers a hard time and insisting on several changes, the network decided to bring the show back for a fifth, and what would be its final year.

 

So, in previous seasons we’ve had operatic apocalypses, quests for meaning, and our hero even went evil for a while. There’s only one place left to go. Into the belly of the beast, into hell itself: a law firm. Based on the out-of-left-field plot twist that was thrown at Angel and the gang in previous season’s finale, the team is now in charge of wolfram and hart the evil law firm that they’ve spent the entire series battling. The trick then becomes changing the system from the inside, all the while making sure that it doesn’t change them.


Unfortunately when the network decided to renew the show for a fifth year, there were conditions. First and foremost, it had to be more stand-alone. No more back-to-back cliffhangers. Next, the budget was cut. And finally, to sweeten the deal, the producers decided to bring over Spike – who was barbequed in the Buffy finale – in the hopes that his fans would follow. Luckily the introduction of Spike worked out well. He added a nice flavor to the show and helped flesh out Angel’s character in a way that nobody else could have. The punky vampire brought out the worst in our hero, which ended up resulting in some great comedy. Even if this Spike was different from whom he became on Buffy, he made for a nice addition.

The most unwelcome change was the standalone mandate. Yes, it can work, but it’s just not as good. The greatest strength of this show has always been its own history and tying the hands of the writers was a mistake. It resulted in a bump in the show’s overall flow. Even though it seems rushed, things tie up nicely and the finale certainly puts the “grand” in grandiose; now there’s a balls-to-the wall showstopper for you. Most people will agree that the show finished with perfect thematic closure. These characters fight an impossible fight knowing they’ll probably lose, but that’s not the point. They fight, not to win, but because that’s who they are. They don’t give up. No matter what.

REVIEW: LIE TO ME – SEASON 1-3

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MAIN CAST

Tim Roth (The Incredible Hulk)
Kelli Williams (Army Wives)
Brendan Hines (Terminator: TSCC)
Monica Raymond (Chicago Fire)
Hayley McFarland (The Conjuring)
Mekhi Phifer (Divergent)

RECURRING / NOTABLE GUEST CAST

Jake Thoams (A.I.)
Tim Guinee (Iron Man)
Nolan Gerard Funk (Arrow)
David Anders (Izombie)
Rance Howard (A Beautiful Mind)
Anthony Ruivivar (Scream: The Series)
Isabella Hoffman (Legends of Tomorrow)
Sasha Roiz (Caprica)
Kristen Ariza (Startup)
Mekenna Melvin (ChucK)
Sean Patrick Thomas (Save The Last Dance)
Deidre Lovejpy (Bones)
Carlos Lacamara (Heroes Reborn)
Megan Follows (Reign)
Christine Adams (Agents of SHIELD)
Ajay Mehta (Anger Management)
Shea Whigham (Agent Carter)
Cheryl White (Major Crimes)
Virginia Williams (Fairly Legal)
Pej Vahdat (Bones)
Jennifer Beals (Flashdance)
Kevin Tighe (Lost)
Currie Graham (Stargate: The Ark of Truth)
D.B. Woodside (Buffy)
Jason Beghe (Californication)
Clea DuVall (The Faculty)
Mageina Tovah (Spider-Man 2 & 3)
Melissa Tang (Mom)
Jonathan Banks (The Lizzie Borden Chronicles)
Erika Christensen (Flightplan)
John Pyper-Ferguson (Caprica)
James Marsters (Buffy)
Gretchen Egolf (Roswell)
Marc Blucas (Red State)
David Kaufman (Superman: TAS)
Karina Logue (Bates Motel)
Sean O’Bryan (The Princess Diaries)
Garret Dillahunt (Terminator: TSCC)
Lennie James (The Walking Dead)
Alicia Coppola (Another World)
Roy Werner (Weeds)
Jason Gedrick (Beauty and The Beast)
April Grace (Lost)
Todd Stashwick (The Originals)
Ricky Jay (Flashforward)
Miguel Ferrer (Robocop)
Felicia Day (Dr. Horrible)
Jason Dohring (Veronica Mars)
Ashley Johsnon (Dollhouse)
Howard Hesseman (That 70s Show)
Mark Harelik (The Big Bang Theory)
Melissa George (Triangle)
Max Greenfield (Veronica Mars)
Bruce Weitz (General Hospital)
Enver Gjokaj (Agent Carter)
Alona Tal (Cult)
Khary Payton (Teen Titans)
Michael Beach (The Abyss)
Yara Shahidi (Ugly Betty)
Alyssa Diaz (The Vampire Diaries)
Kenneth Mitchell (Odyssey 5)
Richard Burgi (Chuck)
Conor O’Farrell (Stir of Echoes)
Catherine Dent (Termiantor: TSCC)
Kenny Johnson (Cold Case)
Erick Avari (Stargate)
Carmen Argenziano (Stargate SG.1)
Natalie Dreyfuss (The Originals)
Tiffany Hines (Bones)
Haley Ramm (X-Men 3)
Monique Gabriela Curnen (The Dark Knight)
Jennifer Marsala (Hart of Dixie)
Shawn Doyle (Reign)
Jamie Hector (Heroes)
Audrey Marie Anderson (Arrow)
Brent Sexton (Birds of Prey)
Katherine LaNasa (The Campaign)
Daniela Bobadilla (Anger Management)
Tricia Helfer (Battlestar Galactica)
Kathleen Gati (Arrow)
Noel Fisher (Teenage Mutant Ninja Turtles)
Maury Sterling (The A-Team)
Jessica Parker Kennedy (The Secret Circle)
Brandon Jones (Pretty Little Liars)
Jim Beaver (Mike & Molly)
Barry Shabaka Henley (Heroes)
John Diehl (Stargate)
Keith Robinson (Power Rangers Lightspeed Rescue)
Michael B. Jordan (Fantastic four)
Frankie Faison (The Silence of The Lambs)
Paula Malcomson (The Hunger Games)
Victoria Pratt (Mutant X)
Adam Godley (Powers)
Dylan Minnette (Goosebumps)
Annabeth Gish (Flashforward)
Alexandra Lydon (Mockingbird)
Ashton Holmes (A History of Violence)

We have all told a lie at one point in our lives. While our the lies we have told may be small, one needs to look no further than his or her local news to see that not all lies are harmless. Sometimes though lies seem like a last resort and getting the truth isn’t as simple as a lie detector. Dr. Cal Lightman (Tim Roth) would be the first to tell you a lie detector is garbage and he illustrates this point in an early episode in the series.  A lie detector establishes a baseline for truthful statements and then measures body factors like pulse rate, skin conductivity and temperature; any changes from the baseline readings indicates a lie. The problem is as Dr. Lightman shows in his trademark sardonic fashion, do something as simple as introduce an attractive woman in the room and the most honest man will instantly be a liar to the machine. His solution? Himself.


Lie to Me throws viewers into the world of human lie detector, Cal Lightman. His lie detecting skills rely on universal facial expressions and how a well-trained individual can detect a liar from reading “micro expressions.” Lightman heads up the private deception detection firm The Lightman Group and throughout the course of Lie to Me’s thirteen freshman episodes, Lightman and his associates Dr. Gillian Foster, Eli Loker, and new protégé Ria Torres will put their finely trained skills to the test as their group is hired from clients ranging from billionaires worried about potential gold diggers to law enforcement in stopping a copycat serial rapist. As absurd as the notion of Lightman being able to read facial expressions to determine whether a person is lying is, prepare to be blown away, as it’s all based on the very real and groundbreaking research of Dr. Paul Ekman.


Dr. Ekman pioneered the study of micro expressions and universal emotion and serves as a creative inspiration for Roth’s character. The creators have kept Ekman in the loop throughout the creative process and Fox allows Ekman to blog about what is factual and what is exaggerated on the show’s website, which earns this new series bonus points for giving viewers something to think about once the episode ends.

Once Roth is able to establish himself in the role of Lightman and we get bits and pieces of his human side (his relationship with Dr. Foster as well as his teenage daughter). Fortunately, the formula of the show does allow for Lightman’s other colleagues to hold their own as there is almost always a secondary case assigned to the pair not working with Lightman on the primary case. This allows for character bonds to be formed, in some cases from scratch as Monica Raymund’s character, Ria Torres, is a new addition to the team and provides some great dramatic tension from time to time as her ability is natural, which often draws the ire and jealousy of her brilliant boss.


Finally, the most unique positive aspect of Lie to Me comes from viewers being able to play along at home. As we learn little explanations of micro expressions from Lightman, in later episodes it’s fun to try and spot character motivations before they are revealed to us by one of the team.

Back for a second longer season, this show is every bit the show that I so enjoyed in the first season and even a little bit more. As with all shows, the first season suffers from a few growing pains. Actors need to settle into their roles, writers need to discover their characters’ true personalities and basically the show needs to settle. Thats why the second season is often a bit better than the first and Lie to me is no exception to that. The show was smoother, the acting more comfortable and the character relationships had chance to really blossom in a believable manner.

In this second season Cal seems to be much more lively, a great deal more fun to watch. HIs mock nervous energy, dry sense of humour and heart of gold is a more likeable. The other key element I liked in this series was the advancement of the relationships. There’s not any major romantic steps forward in this season, but Cal’s relationship with his daughter is a real high point of the show, as are his relationships with Foster and the rest of the gang. Every character seems to enjoy real chemistry with the others and that’s rare in any show, yet alone a procedural drama.

Overall this is another strong season. The show is funny when it needs to be, fast paced and action packed when thats called for, and finally it is interesting enough to more than keep your attention with every episode. Quite frankly, by the end of this season I would normally be hooked for the long hall. Shame then that there’s only one season left to watch

I was aware going in that this was going to be the final season of the show however it quickly becomes apparent that show runners weren’t similarly informed . The series really didn’t have the feel of a final season and indeed the show seemed to be picking up pace as it approached its final episode with new characters getting screen time and relationships moving forward with the usual pace of a procedural show finding its feet.

Because of this not only did the season not feel like a final season, the finale lacked any kind of closure whatsoever. It’s a shame as this show deserved more than just to fizzle out in what felt like a mid-season break rather than a complete end.

All I can say to finish is that once again a good show has been cancelled early while so many bad shows remain, which is a real shame. However, don’t let the poor ending to this show put you off.