New Girl - "Cabin" - Review

Much like Zooey Deschanel, Olivia Munn is a polarizing figure that people seem to be split on. Both Deschanel and Munn have built up a fan base by establishing a particular persona of themselves (happy-go-lucky free spirit in the case of Deschanel, and hot nerd in the case of Munn). I’ve personally never had a problem with either of them. I’ve liked Munn for the most part since her days on the cult series Attack of the Show, where she put herself out there enough to win me over. They’re both actresses who have the problem of having to be utilized in really specific ways in order to bring out the best of their talents. And I think that’s often the problem with New Girl, it doesn’t lack talent; it often just doesn’t recognize what’s best in utilizing its talent.

This was really apparent in the first half of the first season which was really grating. It could be seen in how pointless it felt bringing in Justin Long and Lizzy Caplan as guest stars (as welcome as they might have been). They series has gotten MUCH better going into their second season and part of the pleasure in watching the series has been to watch it evolve from a series that wasn’t very good at all to one of the best ensemble pieces on tv. But sometimes it still feels as if the writers don’t trust their cast, and have to come up with weirdly contrived reasons to establish comical situations (the young people of “Neighbors” who are so cartoonish and unrealistic that it turned me off, or the bathtub Winston and Jess bought crashing through the roof to ruin all of Schmidt’s suits in “Bathtub”). Which is my biggest problem with the episode; it doesn’t feature a lot of the main cast just riffing off one another (which is often what the show does best). Instead, it takes a weird amount of times and unnecessary turns to get to the plot points it wants to arrive at. The episode obviously wants to create examinations of the Nick-Angie and Jess-Sam relationships, but it feels totally un-organic and forced.

Nick and Jess (and particularly Nick) currently have relationships that are not the most stable things. Nick may be into his adventurous stripper girlfriend Angie (which feels like a really weird name for a stripper – am I the only one who thinks this?) but he’s failing to be honest with her. Jess is also failing to be honest with Sam. She invites Nick to come with her and Sam on a romantic getaway to a cabin in the woods because she doesn’t want to be with Sam by herself (then she’d be forced to be open and honest with him – and that scares her). 

Nick agrees to go only after Jess notes that it’ll be free (“Ok, we’re 100% in!” he yells the moment he learns). Once there, Angie finds some guns and some absinthe in a hall closet, which sets up the rest the episode’s story. Angie and Nick start shooting at beer bottles, and Sam decides that it look way more interesting than “Sexy Boggle”. Jess enthusiastically says she wants to give it a try, but clearly has no idea what she’s doing (She keeps swinging the gun back towards Nick and Sam who duck down scared for their lives). Jess ends up shooting the power box, and they spend the rest of the day without power. Now was it really necessary to have Jess shooting a gun, and blowing out a powerbox just to establish the next plot point of the four of them drinking heavily? There was probably some way less weird and convoluted way to achieve it.

But whatever: ABSINTHE! Jess ends up drinking too much and Nick goes to keep an eye on her while she’s puking upstairs. This leaves Angie and Sam alone; Nick and Jess return to find Angie trying to hook up with Sam, which upsets both of them. Nick keeps saying it’s cool because he and Angie are in an open-relationship. But when he ends up drinking a bunch more absinthe, it leads to him admitting his feelings for Angie. Angie is scared of this and leaves before Nick wakes up the next morning. While Sam and Jess are closer than ever (“I was tripping pretty hard on absinthe and I said no to a stripper rubbing my leg,” Sam tells Jess). 

In the episode’s other story (and it’s much funnier, but shorter, one), after seeing Winston talk to other black people, Schmidt feels as if the housemates are not letting Winston be “his blackest self”. Schmidt triesto get them to do some "black" things (i.e. he asks him if he wants soul food). Winston catches on and lets the situation escalate to the point where he’s suggesting they buy crack. Schmidt eagerly goes along with it, while Winston starts freaking out. And when a man comes over, presumably to sell drugs they ask him to get in the back seat of the car. All three start freaking out; the man because he thought they needed to get directions and now thinks he’s being robbed, and Schmidt and Winston because they think they’re getting robbed by a drug dealer (They all yell fearful for their lives in what is the episode’s funniest scene). They end up laughing about it because seriously, how absolutely crazy was that whole idea? But Max Greenfield and Lamorne Morris totally sell it. Greenfield’s total, shameless enthusiasm for every racist thing he’s convinced Winston must be into turns into the highlight of the episode. Schmidt sells this as not something about race but about a friend he thinks may be unhappy (which is the only reason the show gets away with how stereotypically racist minded Schmidt is. Also because the series rarely makes a big deal out of Winston being black in the first place) . But Winston lets him know that he wouldn’t be in an apartment with three white people unless he wanted to be (“Being black means whatever I want it to be. There are so many things I find annoying about you that I haven’t even gotten to race yet”). 

Sometimes we’re not being honest with our relationships, and that can lead to problems. Angie and Nick can’t really be a good couple because they didn't work through their obvious feelings for one another. Jess needs to be more confident about herself in order to be more open with Sam. Now other times, that isn’t necessary; Winston was being honest about his feelings towards his roommates, but Schmidt recognized that if Winston weren’t that it would be a problem for their relationship. Schmidt’s pursuit of Winston’s real feelings is ultimately about him attempting to make sure what happened between Angie and Nick doesn’t happen to Winston and his housemates. 

Stray Observations:

-“You were so light and chill. You were Pixar Winston”

-Schmidt goes to Nick and Cece about his concerns about Winston: “White Nick and Brown Cece are we allowing Winston to be his blackest self?”

-“I had to stop and buy this bitchass a helmut cuz he was being such a bitchass”

-Angie on the guns: “Where were these when we were having sex?” Also: “It’s not as fun without someone firing back”

-Jess is initially hesitant about drinking: “Absinthe has killed so many of our famous painters”

-“I could ask anyone of these street youths” – It’s how Greenfield says youths that makes it so damn funny.

-Drunk Nick was great: Him trying to eat an olive but failing was a great sight gag. To Sam: “If you were a hat, you’d be a top hat”.

-“You’re being really cool about the Jamiroquai tattoo on my butt”

-“I don’t have money but I can repay you in Nick Bucks – which includes payment in smiles and things from my wardrobe”
-There is still some well-done, very funny and emotional stuff in this episode. I'm just not a big fan of how it gets there. 

Grade: B-

Thoughts on Season 1 of "Downton Abbey"

I have never been a fan of soap opera or melodrama. I used to think it beneath me (I can get that way about my pop culture opinions). And yet in recent years, I find myself more and more oddly enthralled by shows that feature it. I was a fan of The O.C. I’ve enjoyed The Vampire Diaries. Granted these are series that aren’t all soapish drama and dastardly intrigue. In fact, they’re melting pots of various genres and elements that have proven themselves really good series of the last two decades. They’re smart, meta, and funny with great characters and really good (though at times faltering) plotting.

Period pieces are often known for their melodrama, and British aristocratic period pieces feel like the exemplary works of this. There was a time when period pieces were well-liked, chic, and cutting edge, as well as critically well regarded. That time seemed as if it had long since passed, with periodized dramas becoming marginally less produced. Only a few years earlier, it seemed as if period pieces couldn’t really win over a significant audience and had gone out of fashion. As a history major, I can attest from experience that there are a lot of people that find things that are historical in nature boring and uninteresting; that opinion appeared only to be amplified in the last two decades. Personally I’ve always found that period pieces fail because of how tied down they are by events having to happen as they occurred (there’s simply no way around it, but it ties writers hands and often leads them to fail to create meaningful drama by checking off plot points).

This is partly why Downton Abbey is rather impressive. People are actually watching it (and enjoying it at that). Sure, Maggie Smith garners (rightfully so) a lot of attention; however, she’s not the only reason for the show’s appeal, success, and quality. The show features a large cast filled with interesting and well-portrayed characters. As the season has gone along, almost every single member of its sprawling cast has been given interesting, well-written character arcs, or at least nice, isolated stories that provide solid showcases for their talents. Maggie Smith may be a delight but she holds little screen time. Many characters were just as fun and fascinating, and I ended up caring for them just as much if not more so. Jessica Brown Findlay as Sybil, the youngest daughter, made her character far more enthusiastic and likable than her two older, bitchier sisters (who though played rather well by Michelle Dockery and Laura Carmichael are terribly selfish and mean). Her foray into politics and her kindness towards Gwen made her an always welcome screen presence. Rose Leslie (who’s gone on to star as Ygritte in Game of Thrones) played the hope, and self-doubt of upwardly minded maid Gwen to a tee. Penelope Wilton as Isobel proved a great, more progressively thoughtful match for Violet. Sophie McShera made me care so much for constantly misused, mousey, well-intentioned Daisy. Not only does the series have a great cast, but it’s also thematically rich without always shoving messages down your throat. The series deals with class, gender, sexuality, growing old, and family, among many other themes. While it’s well-trotted, familiar territory, the series deals with it sharply and with a reserved but stylish tone. The period detail is also incredibly rich and detailed, and it feels like a world that worth inhabiting if only for a little while. Though it shows the aristocrats being a bit too noble or sympathetic towards their employees than might be realistic, it’s often forgivable in the hands of such assured writing and acting.

   

While story of the death of a handsome Turkish diplomat dying during sex felt strangely out of place (It stretches credulity a bit too much and came off as wildly soapish and weird even for a heavily melodramatic series such as this. Although I think the aftermath of it in the proceeding episodes was well-executed), the stories primarily proved themselves by grounding interesting character arcs in historical realism. By staying true to the particularism of aristocratic England and turn of the century Europe, the drama not only felt plausible but surprisingly interesting. I never expected myself to be so invested in the lives of English aristocrats and their servants, but the characters are so well-realized and so well-presented that it becomes hard to resist the intrigue. Not to mention the undeniable artful elegance and understated wit that carries the series even when the historical nuance might seem tedious or distracting. The constant intersection of the aristocrats and their servants has been incredibly well-handled. With events downstairs in the staff’s quarters affecting the upstairs drama just as much as their employers’ actions having a trickling down effect.    

It could be argued that we’ve returned to the age of the period piece. Downton Abbey isn’t the only recently noteworthy periodized drama. Mad Men, and Boardwalk Empire have had excellent television seasons that take place in the not too distant past. Much like these series, Downton Abbey has a wry, self-awareness that uses its knowledge and hindsight of history that the characters lack in order to hold not only a sense of dread and foreboding over their heads but also holds them accountable for some of their less egalitarian-minded mores, views, and actions. 

The series plotting turned out to be one of its strongest elements. Storylines culminated quite strongly in the penultimate and final episodes. Mary and Matt’s will they/won’t they relationship came together only to fall apart when Cora became pregnant, leading to the possibility of Matt losing his claim to Downton. Thomas and Miss O’Brien’s scheming finally came to a head (Thomas got caught for stealing and trying to do in Bates, while Miss O’ Brien Realized she’d taken her schemes too far when she ended up being responsible for Cora’s miscarriage). William got to beat up that awful bitch-face of Thomas like we’d all been waiting for someone to do for soooo long. And Daisy realized that she was wrong to be head-over-heels for Thomas when William was clearly the much better human being. Ms. Patmore’s eyesight became too bad to avoid the question of it, and Robert had her get eye surgery. Sybil’s shepherding of Gwen finally paid off, and she helped Gwen get a secretary position with a newly arising telephone company. Bates and Anna appear to be on track for the nice relationship they’ve been heading towards all season, after Anna helped save his job. AND WORLD WAR ONE IS HERE!!! 

The forward momentum of history and its unavoidability has been a constant theme of the first season. Whether it be electricity or telephones or socialism or women’s rights, many people both young and old have been stubborn and weary of change. The Dowager Countess is the obvious example of this as she’s baffled by Sybil’s flirtation with reform or Mary’s presumption of sex before marriage or Robert’s lack of conviction to fight for Mary’s right to be heir. Even her fight against Isobel in the flower competition (that she’s won every year) is her whole world view in miniature. She refuses to accept anyone else winning (because that would be accepting a new way of looking at things and in turn change). Although she eventually gives in because even grouchy, stubborn Violet has a soft spot she pretends not to have. Violet is in fact the one who argues that Mary ought to accept Matt’s proposal before the gender of the new baby is discovered (“Mary has the ultimate trump card,” she tells Cora. “What’s that?” Cora asks. “She’s family,” Violet replies). 

While I could see this melodrama becoming stale or overly crazy or derail the show at some point down the line, for now, I’m a fan of the series. I believe there are better series, but Downton Abbey remains oddly engrossing.  

Some Notes On Site Policies and Reviews

Hey!

For those of you who have come across this blog in one way or another, I just wanted thank you for checking out what I have to say on the various movies and tv series that I review.

That being said, I was hoping to clarify some things:

Commenting:

Not only do I hope you’ll comment on posts I upload, I encourage it. Criticize points I’ve made about the movie or series. Question the grades I’ve provided (I’ll get to grading policies in just a little bit).

The only thing I ask is that you be civil. If you’re disruptive or rude or blatantly antagonistic, and can’t be part of a thoughtful conversation/analysis, I’ll delete your comments. 

Also, for series that may be more political in nature or make political arguments, do not espouse your political views. The dialogue about the series is about how well they handled and portrayed stories and narrative are, not whether they should/shouldn’t have argued for a particular point of view.

Grading:

The grades I assign things are subjective, and on another level a bit arbitrary. They’re solely my opinion and they are subject to change if I feel I may have initially been wrong.

I give grades because I feel it adds another layer to the conversation. In the case of tv series, grades are given to series based on what we already know they’ve been capable of. If it’s a good episode but we know they’re able to do so much more, than the series is graded more harshly. For movies (and to extent shows as well) they’re graded in consideration of how good they are at what they tried to achieve. May be it’s a stupid action movie with no real purpose or thoughtfulness, but if that’s what it was going for and it was good at that and entertaining; it may very well be more highly graded than you expect.

Grades with a slash between them (e.g. "B+/B") are exactly what they appear to be. They're somewhere between those two grades, and demonstrate just how fickle I can be about these sorts of things. Grades aren't everything and plenty of things I review won't feature grades at all. "A"s are meant to be rarely given out with B's still being really solid work.

Free feel to argue them. Your opinions may very well sway me.

"Stray Observations":
These are particular moments, quotes, or indvidual thoughts of mine that just wouldn't fit nicely into the main review portion but I felt merited attention. I only do them for television reviews.  

How Do I Choose What I Review:

I review what I’m currently watching and like. I’m always looking out for new, good shows and films, and I’m always open to suggestions as to what to watch. That being said, this is a pop culture blog and may deal with at some point down the line with mediums and subjects beyond film and television if I find them interesting and worth merit. 

If enough people have an interest in me reviewing something, I may very well, especially in the case of tv series. A conversation about what I review is just as important as the reviews themselves; so if you push for me to review something/review something more, I really hope you comment on the reviews for it.

Bob's Burgers - "Mother Daughter Laser Razor" - Review

Few shows can manage to be weird, funny, and sentimental all at once; Bob’s Burgers does it successfully in almost every single episode.

The series embraces its characters, and their quirks. It shows them at their worse, but never presumes to judge them. In fact, the crazier, weirder, less sympathetic places it takes the Belcher family, somehow the better the, funnier, and more emotionally resonant the show is capable of being.

"Mother Daughter Laser Razor" is all about parent’s relationships with their kids. The two storylines highlight the relationships between Linda and Louise, as well as Bob and Tina. And it explores the love we have for our family and the lengths will go to either make eachother happy or get something from them. Ultimately the Belchers underneath all the quirkiness are one of the most realistically drawn families on television. Their relations with eachother, their dynamics with one another, and their love in spite of all the crap they put eachother through fuel many of the series best episodes. 

When Linda feels as though Louise doesn’t like her, she becomes increasingly desperate to win her over. Louise being her manic self isn’t making it any easier for her. She refuses to hang up the collage poster her mother made for her. She won’t listen to the bed time story, hiding her head under the pillow. Linda keeps turning to “Phenomena Ma”; a website that gives suggestions on how to be a good mother, but it’s only proving to strain Louise and Linda’s relationship even more. Linda “kidnaps” Louise and takes her to a mother-daughter seminar run by the “Phenomena Ma” (who as it turns out is a man who seems weirdly into women empowerment). Louise is unsurprisingly uncooperative, but buys into the whole ordeal after getting bribed by her mother (who’s competitiveness comes out when the Phenomena Ma notes there’s a “Most Valuable Mother” award to be had). When Linda’s bribing becomes apparent, Louise and Logan (the kid from the biker episode “Ear-sy Rider”) are thrown into the “Utero-Room” (where Freaky Friday is played on loop and rather amusingly starts to get to Logan) in order to learn a lesson. While Louise is scheming to get out, Linda becomes obsessively competitive with Logan’s mom for the best mother award. Eventually Louise uses a fake belly ache to lure the parents into the room before turning the tables on them and locking them in there. The kids head over to the next door laser tag building, and  soon after the parents catch up to them. At which point Bob’s Burgers shines, the parents and kids are fighting eachother in laser tag, Phenomena Ma is freaking out at his failures, and Louise and Linda make up in hilarious, heartwarming fashion. “That’s for taking me to the momgina monologues” Louise yells as she shoots her with the laser tag gun. Linda breaks down and tells her that she feels as if Louise doesn’t like her. The combination of Kristen Schaal and John Roberts’s voice acting and the animation sell this emotional moment where Louise lets her mother know that of course she likes her. The Belchers may get upset with one another, but it’s doubtful they could ever not like one another. 

In fact, as the B-plot demonstrates, the Belchers are willing to go to great lengths for one another. Tina, cornered by peer pressure, decides to shave her legs for the first time. However, with her mom to busy being crazy over her relationship with Louise, it’s up to Bob to help her confront her hairy legs. But Bob refuses to shave them himself, and so he takes her to get her legs waxed. Tina becomes really scared at the prospect once there, and Bob for the love of his daughter agrees to get his legs waxed with her. It’s moments like this and the one described earlier between Linda and Louise that truly sell the show. It’s never really doubted that these characters love eachother. They’re weird; they’re crazy; they’re unorthodox. But with a Simpsons-like emotional, character heart beating underneath all the quirk on the surface (as well as sharing a similar type and amount of humor as early seasons of The Simpsons), the series continually elevates itself above other shows. So Bob gets his legs shaved and oddly enough loves the new freedom it provides his legs; while Tina freaks out and misses her “hairy little friends” (there’s even a weirdly awesome Terminator 2 apocalypse dream sequence where her leg hairs talk to her before going up in flames). But Bob comforts her and lets her know its okay.  

It’s all very funny, and emotionally touching. There’s not a character moment out of place, and once again the series proves itself to be one of the best series on television. 

Stray Observations:

-“Dad’s the witch … but just pretend … right, Dad?” –So much of Tina’s humor is sold by Dan Mintz’s brilliant voice acting, which is so wonderfully understated and subtle that often Tina’s jokes are blink and you miss them.

-Linda going into Louise’s bedroom to wake her up and read the kid’s book is wonderful for how quickly it devolves into the two of them yelling at eachother.

-“Gene hide my legs!” and Gene spider monkey clings to them. Great sight gag.

-I love how Gene is in the bathroom when Linda was attempting to shave Tina’s legs. The Belcher’s are so comfortable with one another and who they are that it’s not strange at all that Gene is there for it.

-“I’ve been kidnapped!” Louise tells a passing stranger once she finds out that her mother has brought her to a mother-daughter seminar. The woman looks hilariously very seriously concerned.

-“This is gonna be the hardest money I’ve ever earned” ”Unless you become a hooker”

-The moms are yelling “estrogen” at Phenomena Ma’s request. Louise’s reaction: “Oh, dear”.

-The beer funnels with the gas masks used as “umbilical cords” was another great sight gag. And they’re giving them milk through is. (Louise obviously refuses; Linda: “Open that fetus mouth!”). How crazy is that? I don’t even get what that’s trying to teach.

-The person at the massage parlor is really happy that she has to wax Tina’s legs and not any part of really hairy Bob.

-Tina’s progressive “Uh huh”s showing her increased hesitation at getting her legs waxed was so funny.

-“Role playing is gonna cost ya” “Not until I see some results”

-“Did you just fart on my seminar?”

-Logan on Freaky Friday: “The logic of this movie is very unsettling”

-Linda sings: “Where is the hair? There is the hair. Where is Harry Truman” – The series has mined Linda’s love of singing (and pretty badly) beautifully.

-“I killed my friendly leg hairs”

-“I’m a sheep. A hairless sheep”

-Logan’s full name: Logan Berry Bush. “We didn’t think it through”
-Gene feels left out not getting his legs waxed, and so they end up doubling back.
-The intercut between Louise and Logan screaming at Freaky Friday, and Bob and Tina screaming getting their legs waxed was great.

Grade: A

What did everyone else think?

Happy Endings - "Fowl Play/ Date" - Review

Happy Endings is back once again with its cartoonishly fast pace and rapid fire jokes. Seriously, it’s truly not until you’re taking notes on a show like this and try to get down as many of the great jokes as you can that you realize just how much of an extra mile Happy Endings goes to cram jokes (and really funny ones at that) into every episode. The series is usually at its best when it’s thin on plot, and packs in joke after joke. It’s to the credit of the writers and the commitment of the actors that even at its worse, the series is still one of the funniest shows on tv. There are definitely more heartwarming shows, more ambitious shows, and even more clever ones, but few that try to make you laugh as often as Happy Endings. If it doesn’t always get so touchy feely or if its relies too much on formulaic sitcom situations to justify and get away with the amount of jokes, well, that’s okay because these characters are so great and the series so very funny.

In the A-plot, Penny and Brad accidentally kill Alex’s racist parrot Tyler with industrial glue fumes (Alex is off at “Rom Com Con” which sidelines the usually brilliant Elisha Cuthbert who doesn’t appear except at the start and end of the episode). Casey Wilson plays Penny’s enthusiasm for covering up the accident a-mah-zing… ly. Daman Wayans Jr.’s nervous freakout contrasts perfectly with her (I don’t believe we’ve had too many storylines with just the two of them, which is a shame because they’re really good together). Brad and Penny eventually stage it to look like the bird flew out the window (but not before rascistly pooping on a magazine cover featuring Obama). However, they dispose of the body poorly and it ends up being discovered and getting an autopsy. Brad and Penny (but particularly Brad) become increasingly nervous, especially after a funeral is held for the bird where his other rascist bird friends show up. An in memorium video made by Alex puts them over the edge, and Penny admits to the whole thing. But then we learn that Tyler had liver problems; Alex apparently gave him alcohol. And everyone is absolved of guilt in a way perhaps only possible on this show. 

Meanwhile, (on what I would argue is the lesser of the two storylines) Dave and Jane (in anoother underused pairing for the series, though one less successful than Brad and Penny) try to set up Max with friends of theirs. The only problem is that they’re both exactly like Dave and Jane (and Max definitely doesn’t need any more people like that in his life). Max rejects them, but Dave and Jane are crazy and will have none of that. They crash Max’s date with a guy he met on his second date, and quickly wreck all of Max’s chances with him. Max reconciles with them, letting them know that he doesn’t need to date those guys they set him up with because he’s already got a douchebag and a type-A as friends in them, and, honestly, who needs more than one of those in their life. 

Often times the plot of the series is purposely inconsequential. By aiming for jokes over plot, the plot gets lost in the shuffle. And usually Happy Ending goes right to the edge of too much level of inconsequentialness; but “Fowl Play/Date” often crosses this line at times. Sure, the A-Plot is probably even more inconsequential than the B-Plot but it’s given time to go from point A to point B, and Wilson and Wayans are so good that it makes up for how stupid of a scenario accidentally killing the bird is.
While the B-plot is so short and obvious that it feels pointless, even for a series that does a lot of inconsequential things like this to begin with. Now like I said before, Happy Endings is best when it’s crammed with jokes, but it’s even better when those jokes emanate from stories focused on the characters. The B-plot focuses on Max (and Adam Pally admittedly gets the best lines of this story), but doesn’t do enough development to justify itself. 

These plots aren’t particularly stand out. A bit too much time is spent on Penny and Brad’s story which gets strangely cartoonish even for this series. The Max/Jane/Dave storyline is almost too short, and resolves itself too quickly for my liking (although avoiding particular, clichéd sitcom situations is its bread and butter; the show does familiar storylines but refuses to play by their rules). And Alex (who has become one of the series’s surprisingly strongest assets) is pretty much not in the episode. Happy Endings (like a lot of shows) is at its best when every cast member has something to do (and relatively equally). This is a funny half hour of television, but it’s not the best work the series has done.

Stray Observations:

-“I realized he had no other interests other than being rascist. So I got him into baseball … He’s into the White Sox”

-The gang rattles off different kind’s ‘Cons’ (I should have written them down), which displeases another restaurant patron: “I’ve got one: shut the fuck up” (The gang's reply, "Oh, that's a good one: "Shut the Fuck Up Con")

-“Yes, I wrote an original screenplay because I have all the alone time in the world. Thanks for rubbing it in Dave”

-“I’ve brokered 3 marriages. One against his will” –Why does this not surprise me about Jane?

-Alex eats birthday cake every night off her hand imprinted plate. She also had REALLY big hands when she was 5.

-“He says he does it to forget the past. Three school bus crashes”

-“You can’t just poke him with pencils and yell clear” - Nervous Brad is the best.
-“What would Carry Washington do in Scandal?” “Demand to see the president then almost make out with him” –I’ve never seen Scandal and still find this very funny.

-“Up is down. Left is right. Acoustic is bad. People are over Mayer” – They totally are Dave.

-“I’m dead, but a black guy would have done it better” – Brad imagines the parrot mocking him from the grave.

-“I didn’t know you were here” “We spend half our lives here”

-Dave and his doppleganger friend take Max’s comment as a compliment: “Jack Johnson 1 and Jack Johnson 2 over here.”

-Max makes up with Dave and Jane in typically absurd Happy Endings fashion: “My pantry is already stocked with a kickass Jane and a kickass Dave. And a rat who’s eating through my aluminum cans that I’m going to kill with my bare hands”
-“We got into an argument about who made the better Celebrity Apprentice All Star. I said Melissa Rivers. He said Joseph Goebbels. I thought he committed suicide” – Oh, how I missed you this episode Alex.

Grade: B

What did everyone else think?

"Your Sister's Sister" - Film Review

Sometimes films need time to breathe. To linger on a shot; to allow quieter moments; to let actors act without interruption. To simply refuse to allow the plot to rear its ugly head into the picture and hijack the movie. Often times films fail to do this and it leads to disappointment.

On the other hand, you have films like Your Sister’s Sister, which allows itself to breathe, and man is it rewarding. 

As Bryan Cranston mentioned about Breaking Bad, “The little moments are the things that really make this work. And makes it work to the point that it's in the right medium. If it's in a film, that would be the first thing that's cut.” And Cranston is right. Movies have to often get through a lot of plot with not a lot of time to allow for “smaller moments” that may be interesting but don’t move forward the master plot. Frequently this leads to films leaving very good scenes on the cutting room floor because, despite how good they are; films need to tell their story efficiently. Unlike tv shows, they don’t have 10 to 20 hour to tell their story. They may be have three if they’re really doing some hefty narrative lifting.Your Sister's Sister, on the other hand, keeps these "smaller moment" (and has them in abundance), and this for me is why the film is a treat.

It quickly establishes the plot: Mark Duplass’s Jack has had a shitty year and it’s left him really unstable. His friend Iris (played by Emily Blunt) suggests spending a couple of days in her family’s cabin in order to set himself straight. Realizing how badly he needs an isolated respite, Jack agrees and goes to the cabin. There he finds Iris’s sister Hannah (played by Rosmarie DeWitt), who has recently had a bad break up with her girlfriend of seven years. They drunkenly hook up, and unsurprisingly Iris shows up the next day to make things awkward and complicated.   

This plot in of itself isn’t majorly interesting or original, but the film allows for scene after scene where nothing happens but well-acted, understated, personal moments between characters. Having set itself up so swiftly from the start, the film dives into these moments with a feeling of authenticity, honesty, and heart (many of them feel improvised, and I wouldn't be surprised if they were). These scenes are so nicely observed and carried so strongly by the three leads that it engrosses you into the movie. 

My main beef with the film is a reveal at the start of the third act that threatens to derail the film. Yet somehow the film manages to play this to its advantage, allowing for still more “small”, well-observed, character specific moments. The reveal also leads to a nice, touching, and unexpected ending that may frustrate some, but I find appropriately open-ended. 

Your Sister’s Sister is the type of storytelling independent films often do so well. Intimate, personal, low key, but in many ways more meaningful than a big budget blockbuster. 

Grade: B+

"ParaNorman" - Film Review

Man is it a good time to be a kid right now. The amount of content being produced that’s directed at kids (and often also at a broader or adult audience) is plentiful and really good. Cartoon Network is producing great series such as Adventure Time and Regular Show. The Disney Channel is making Phineas and Ferb and Gravity Falls (Disney also now has in its hand the valuable properties of Marvel and Lucas Films, which are likely to prove incredibly fruitful in the near future). Pixar is popping out a high quality animated film almost every year.

One such quality work in the kid content pantheon is the recently released ParaNorman. Boasting impressive stop-motion animation, some really great voice acting (including Casey Affleck, Anna Kendrick, John Goodman, Bernard Hill, Leslie Mann, Christopher Mintz-Passe, and Jeff Garlin) and a good dose of humor, the film tells the short, sweet tale about an outcast boy named Norman (played by Kodi Smit-McPhee) who can see and talk to ghosts. Norman is forced to use his powers to save the day when a witch’s curse placed on his town is activated.

Like many recent films directed at kids, there's plenty of humor and content that will please an older audience, and the film is likely to engage and amuse adults much more than they may expect (It's become kind of cliched to say this about recent children and family films because they're made with such great craftsmanship, and by adults nonetheless, that it's really shouldn't be a surprise by now that the better ones win over individuals of all ages).

What sets the film apart from other family friendly fare is how much nuance and depth the story has. At each turn the film refuses to take the easy way out with explanations of the supernatural that threaten the town. Instead, it opens up old wounds the town has brought upon itself and a number of its townspeople through an unwillingness to understand others. When Norman saves the day, it’s not just due to his powers; it’s also because of how big a heart he has in spite of his terrible mistreatment by everyone around him over the years.

ParaNorman features nice animation, good laughs, and well-earned sentiment (Norman's final confrontation with the "witch" is the highlight of the film, and, not to spoil anything, is a real tearjerker and sentimental and touching in all the right ways). The film is a tad tonally inconsistent, but it does fine whenever it sticks to any particular one (e.g. funny/serious/scary, etc.)

Grade: B