Spearie Award Winners 2013

And here are the winners for the 3rd annual Spearie awards. I made my decisions based on my own feelings about the quality and difficulty and apparent effort in each category. Explanations for each decision will be provided after the choice is revealed, as well as the first runner up in each category.

The list of nominees is provided here.

BEST SUPPORTING ACTOR

Michael Fassbender-12 Years a Slave

Runner Up: Ryan Gosling-The Place Beyond the Pines

This was the toughest category to pick, as this year had so many great performances. In the end, though, Fassbender's Edwin Epps is such a terrifying, but at the same time vulnerable and real character, that I felt he truly merited the award. This role is powerful and unlike any role he's done before. Fassbender is a tremendous and talented actor with a great career ahead of him and Steve McQueen truly brings out the best in him.

BEST ACTION/FIGHT SEQUENCE

Pacific Rim-The Hong Kong Rumble

Runner Up: The Hobbit: The Desolation of Smaug-Barrel Chase

A great year for action cinema included several creative fights, including a fight on top of a 300 mph train and a long chase and fight sequence along a river wherein many of the combatants are riding in barrels. In that regard, the winner; giant robots fighting giant monsters; may seem rather straightforward. Pacific Rim's second act fight, however, is anything but, as it makes the most of its premise. Easily the highlight of the film, this fight has great effects, intensity and clever attacks from both robots (Boat bat!) and monsters (Acid breath!). What makes this the winner is scale. More than any other film, this truly feels like a battle of titans, and that was enough to put it ahead for the win this year.

BEST CINEMATOGRAPHY

Gravity-Emmanuel Lubezki

Runner Up: 12 Years a Slave-Sean Bobbitt

A very clear choice. Gravity's cinematography is beautiful and awe inspiring. The film has many long takes with lots of movement and beautiful imagery. Sure a lot of it is CGI, but that does not change the amount of time or effort that went into coordinating the movements of the camera and the movements of the actors to create an image that could hold people's attention for minutes at a time.

BEST VISUAL EFFECTS

The Hobbit: The Desolation of Smaug-Eric Reynolds, David Clayton, Joe Letteri, and Eric Saindon

Runner Up: Gravity-Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki Penny

I am a bit disappointed with the overuse of CGI in films today, and I feel as though The Hobbit films are the most recent culprits of using CGI when they do not have to. However, I must still admit that their effects are almost universally excellent. While almost is a key word, there are definitely some wonky effects in the film, what really seals this category for the film is the titular dragon. Smaug is not only a good looking effect, he is a photorealistic, majestic and truly awe inspiring creation. It is, in my opinion, the greatest CGI creature ever created, and that more than makes up for a few iffy effects here and there in the film.

BEST COSTUME DESIGN

The Hunger Games: Catching Fire-Trish Summerville

Runner Up: The Hobbit: The Desolation of Smaug-Bob Buck, Lesley Burkes Harding, Ann Maskrey, and Richard Taylor

The Hunger Games: Catching Fire proved to be an improvement over the first film in many ways, one of which was in its design aspects. Catching Fire fleshed out the world in a way the first film failed to, and the costumes were a huge part of that. Whether it be to establish the glitzy and gaudy capitol, or the dreary and poor districts, the costumes were an attractive and cleverly designed window into the world of the film, if not a subtle one. 

BEST MAKEUP AND HAIRSTYLING

The Hobbit: The Desolation of Smaug-Peter King, Richard Taylor, and Rick Findlater

Runner Up: American Hustle-Evelyne Noraz and Lori McCoy-Bell

The Hobbit continues The Lord of the Rings' tradition of excellent makeup and effects. From the dwarves, to the men of Lake Town to (some of) the orcs, the makeup in these films creates characters with unique and personal looks and help to set the world of Middle Earth apart from other fantasy worlds. While I wish they would rely on makeup more often than they do, I cannot deny that the makeup that is used is incredibly strong. 

BEST SOUND MIXING

Gravity-Niv Adiri, Christopher Benstead, Skip Lievsay, and Chris Munro

Runner Up: All is Lost-Gillian Arthur, Micah Bloomberg, Steve Boeddeker, and Brandon Proctor

The sound work in Gravity is brilliantly quiet. The film takes advantage of the "No sound in space" rule to great effect, utilizing near silence to create haunting sequences where we can hear very little. A huge part of sound is knowing when to hold back, and Gravity shows that it knows how to do that very well.

BEST SOUND EDITING

All is Lost-Steve Boeddeker and Richard Hymns

Runner Up: Pacific Rim-Scott Martin Gershin

All is Lost has almost no dialogue. As such, the soundscape of the film is filled with all of the little sounds that surround the lead character throughout his journey. Perhaps it is more noticeable due to the lack of dialogue, but the film's sound work is all around incredible, complex, and very detailed (it came very close to winning mixing as well).

BEST SUPPORTING ACTRESS
Lupita Nyong'o-12 Years a Slave

Runner Up: Jennifer Lawrence-American Hustle

Lupita Nyong'o appears about halfway through 12 Years a Slave and immediately draws the viewers sympathy. Quiet and subtle, Nyong'o's performance is filled with sadness and draws the viewer's empathy immediately. One night-time scene with Chiwetel Ejiofor shows just how much Nyong'o committed to the role and truly became Patsy.

BEST FILM EDITING
The Wolf of Wall Street-Thelma Schoonmaker

Runner Up: Captain Phillips-Christopher Rouse

It may surprise people that a 3-hour long film is winning best Editing, and there are many who believe that the film is less a story than a series of anecdotes of poor behavior from adult males. In truth, though, this is a film that is made in the editing room. Schoonmaker, one of the greatest editors of all time, truly shows her skills here, keeping the film flowing through the life of Jordan Belfort without feeling like it's just a series of anecdotes. It is truly the editing that gives this film its forward momentum and allows the film to become more than it otherwise could have been.

BEST PRODUCTION DESIGN
The Hobbit: The Desolation of Smaug-Dan Hennah

Runner Up: 12 Years a Slave-Adam Stockhausen

The Desolation of Smaug added several new locations to the world of Middle Earth. The earthy and majestic land of the wood elves. The twisted and run-down lake town. The empty and magnificent dwarven halls. These locations are all beautifully and brilliantly realized in such a way that shows the amount of care and effort that went into the creation of these films.

BEST ORIGINAL SCORE
Man of Steel-Hans Zimmer

Runner Up: All is Lost-Alexander Ebert

The score for Man of Steel is inspiring and heroic, everything the film tried (and arguably failed) to achieve. The score is easily the best part of the film, and raises the film up higher than it would otherwise have been. It may follow in the footsteps of previous superhero films, whereas All is Lost and Place Beyond the Pines really forged their own path, but Man of Steel's score easily contributed the most to its host film and expanded and improved upon previous similar ventures.

BEST ORIGINAL SONG
Stay Alive-The Secret Life of Walter Mitty-Jose Gonzalez

Runner Up: We Own It-Fast and Furious 6-2 Chainz and Wiz Khalifa

This category is perhaps the most dissociated from the quality of the films involved. Many of these songs play over the credits of their films, rather than in the films themselves. As such I was able to pick the winner simply by listening to all of the nominees over and over. In the end, the choice was simple: Stay Alive was the song I enjoyed the most. It's a great song and it fits within the film as well, which is a real added bonus.

BEST ADAPTED SCREENPLAY
12 Years a Slave-John Ridley

Runner Up: The Wolf of Wall Street-Terence Winter

Adapted screenplay is a much weaker category than original this year. That does not, however, take away from the accomplishment of the screenplay for 12 Years a Slave. Managing to tackle a tough concept and treat it with realism, rather than manipulation. This film knows you agree that slavery is bad and does not try to force it down your throat, rather it tries to simply show a more full and accurate view of what this life was like. It's a different method than is usually used, and one that is even more effective.

BEST ORIGINAL SCREENPLAY
The Place Beyond the Pines-Derek Cianfrance, Ben Coccio and Darius Marder

Runner Up: The Way Way Back-Nat Faxon and Jim Rash

I really respect ambition in film, to the point where I will forgive a movies flaws if they try to accomplish something truly great and unique. The Place Beyond the Pines is far from flawless, but like last year's Cloud Atlas, it is an ambitious and unique film that I simply have to respect. Whereas I gave the lion's share of Atlas' credit to the directors who took on this job and made the stories all feel seamless, for Pines the credit really must go to the writing. A gutsy and unique script which will prove to be a challenge for some people simply due to its structure, the story of the film really impressed me. It is put together carefully and to the filmmaker's vision. It tells the best story, rather than the easiest one, and I have a lot of respect for that.

BEST ACTRESS
Sandra Bullock-Gravity

Runner Up: Melonie Diaz-Fruitvale Station

This category was tough this year. I simply did not see enough films with strong lead female performances, and thus had a few possible cases of category fraud in order to keep from nominating mediocre performances. Nonetheless, Bullock's performance in Gravity is a powerful performance that manages to keep the audience from suspending their disbelief, even in the case of some really bad dialogue. And she anchors much of the movie by herself, which makes it even more impressive.

BEST ACTOR
Chiwetel Ejiofor-12 Years a Slave

Runner Up: Matthew McConaughey-Dallas Buyers Club

For much of 12 Years a Slave protagonist Solomon Northup, played by Ejiofor, is a quiet observer to many other, more outspoken and powerful characters. It is entirely to Ejiofor's credit, then, that Northup never loses the audience's attention. It is a subtle performance that, nonetheless, is never stolen, even by fantastic actors who could steal scenes even from other talented actors. Ejiofor becomes Northup, and we feel for him the entire way. We hope with him, and we see him as a real person, rather than a character, and that is truly the greatest praise you can give an actor.

BEST ENSEMBLE CAST
12 Years a Slave-Ejiofor, Fassbender, Nyong'o, Paulson, Benedict Cumberbatch, Paul Dano, Paul Giamatti, Brad Pitt, Alfre Woodard

Runner Up: The Way Way Back-Rockwell, Collette,  Liam James, Steve Carell, Allison Janney, Annasophia Robb, Maya Rudolph

The cast of 12 Years a Slave is huge, and every actor delivers a wonderful performance. This is the kind of film that I added this category for: a movie with too many performances for me to nominate individually, but one wherein almost all of the performances deserve nominations. 12 Years a Slave's cast easily stands out, as these strong actors all deliver awesome performances, some even the best of their career.

BEST DIRECTOR
Steve McQueen-12 Years a Slave

Runner Up: Alfonso Cuaron-Gravity

McQueen's direction on this film is more mainstream than his previous efforts. This is not saying much, however, and still leaves a film that is much, much more subtle than just about any other "important" topic films. One has only to look at the hanging scene to realize how powerful McQueen's restrained hand can be, and how that truly sets him apart, in a good way, from many other directors. He trusts his audience, and that creates a truly great connection.

BEST PICTURE
12 Years a Slave

Runner Up: The Wolf of Wall Street

I'm sure this is not a surprise by this point, as the film had won 6 awards before this one. However, often when there is an obvious winner, there is a reason. 12 Years a Slave is easily the greatest and most powerful film of the year. I unfortunately have not seen Her as of this point, but otherwise 12 Years a Slave has very little competition for this category. I hope it repeats this feat at the Oscars, but I still have a few films I missed, like Her and Nebraska, and will be sure to let all of you readers know if this film gets unseated in any way, but that would take a truly tremendous feat. 

Spearie Award Nominations 2013

Here are the nominations for the 4th Annual Spearie awards. These nominations are chosen by me from the 39 films released in 2013 which I have seen. In the end, this is all one man's opinion, and I welcome any and all discussion or argument about my choices. After all, what is the purpose of film if we can't talk about it.

BEST PICTURE

Gravity

The Place Beyond the Pines

12 Years a Slave
The Way Way Back

The Wolf of Wall Street

BEST DIRECTOR
Derek Cianfrance-The Place Beyond the Pines

Alfonso Cuaron-Gravity

Paul Greengrass-Captain Phillips

Steve McQueen-12 Years a Slave

Martin Scorsese-The Wolf of Wall Street

BEST ENSEMBLE CAST

American Hustle

The Place Beyond the Pines

12 Years a Slave

The Way Way Back

The Wolf of Wall Street

BEST ACTOR

Leonardo DiCaprio-The Wolf of Wall Street

Chiwetel Ejiofor-12 Years a Slave

Hugh Jackman-Prisoners

Matthew McConaughey-Dallas Buyers Club

Robert Redford-All is Lost

BEST ACTRESS

Amy Adams-American Hustle

Sandra Bullock-Gravity

Jessica Chastain-Mama

Melonie Diaz-Fruitvale Station
Scarlett Johansson-Don Jon

BEST SUPPORTING ACTOR

Barkhad Abdi-Captain Phillips

Michael Fassbender-12 Years a Slave

Ryan Gosling-The Place Beyond the Pines

Jared Leto-Dallas Buyers Club

Sam Rockwell-The Way Way Back

BEST SUPPORTING ACTRESS
Toni Collette-The Way Way Back

Jennifer Lawrence-American Hustle

Lupita Nyong'o-12 Years a Slave

Sarah Paulson-12 Years a Slave

Margot Robbie-The Wolf of Wall Street

BEST ORIGINAL SCREENPLAY

American Hustle

Dallas Buyers Club

The Place Beyond the Pines

The Way Way Back

The World's End

BEST ADAPTED SCREENPLAY

Captain Phillips

Monsters University

The Secret Life of Walter Mitty

12 Years a Slave

The Wolf of Wall Street

BEST ORIGINAL SCORE

All is Lost

Gravity

Man of Steel

The Place Beyond the Pines

The Secret Life of Walter Mitty

BEST ORIGINAL SONG

Amen-All is Lost

Atlas-The Hunger Games: Catching Fire

Stay Alive-The Secret Life of Walter Mitty

We Own It-Fast and Furious 6

Young and Beautiful-The Great Gatsby

BEST FILM EDITING

Captain Phillips

Gravity

Pacific Rim

12 Years a Slave

The Wolf of Wall Street

BEST CINEMATOGRAPHY

Gravity

The Place Beyond the Pines

Prisoners

The Secret Life of Walter Mitty

12 Years a Slave

BEST PRODUCTION DESIGN

Captain Phillips

The Conjuring

The Hobbit: The Desolation of Smaug

The Hunger Games: Catching Fire

12 Years a Slave

BEST COSTUME DESIGN

American Hustle

The Great Gatsby

The Hobbit: The Desolation of Smaug

The Hunger Games: Catching Fire

12 Years a Slave

BEST MAKEUP AND HAIRSTYLING

American Hustle

The Hobbit: The Desolation of Smaug

The Hunger Games: Catching Fire
Lee Daniels' The Butler
Thor: The Dark World

BEST SOUND MIXING

All is Lost

Gravity

The Hobbit: The Desolation of Smaug

Pacific Rim
The World's End

BEST SOUND EDITING

All is Lost
Captain Phillips

Gravity

Iron Man 3

Pacific Rim

BEST VISUAL EFFECTS

Elysium

Gravity

The Hobbit: The Desolation of Smaug

Pacific Rim

Star Trek Into Darkness

BEST ACTION OR FIGHT SEQUENCE
Gravity-ISS Escape

The Hobbit: The Desolation of Smaug-Barrel Chase

Pacific Rim-Hong Kong Rumble

The Wolverine-Bullet Train Fight

The World's End-Bathroom Brawl

*There may be some major films missing simply due to the fact that I have not yet seen them.
**There may be some cases of "category fraud" in the acting categories. A simple answer is that if I can find a way to justify it I would rather nominate a strong performance in an arguable category placement than a weak performance in the right category.

Dallas Buyers Club Review

Directed by Jean-Marc Vallee
Written by Craig Borden and Melisa Wallack

The past few years have been very interesting for Matthew McConaughey. Known mostly in the past for romantic comedies and other "sell-out" films, McConaughey has had something of a career renaissance in recent years, taking on gutsier roles in the hopes of showing that he has some actual talent somewhere inside him. With his performance in Dallas Buyers Club, his talent is finally undeniable, as he gives a layered, powerful and emotional performance, and makes it fun, to boot.

McConaughey plays Ron Woodroof, a Texas redneck who is diagnosed with HIV. Quickly fed up with the American medical system. Woodroof starts going around the law and the FDA to bring medication into the US, for himself and others to treat their illness on their own terms.

What helps make the film work are the performances. Jennifer Garner is effective as a sympathetic doctor, and helps make a rather standard role somewhat more interesting. Jared Leto truly impresses as Rayon, a transvestite HIV patient who partners up with Woodroof and attempts to steal every scene he's in. He is nearly unrecognizable in most of his scenes, and plays nicely off of McConaughey's bigoted character. Ultimately, though, this is McConaughey's showcase, and he makes the most of every scene he is in. His success here is incredibly shocking, and reveals a brand new depth of talent that would not be expected from the man who five years ago starred in the failure Fool's Gold. He takes the character through a fascinating arc, and allows him to grow gradually, never stretching the realm of believability even a bit.

This film is important, but it is also emotional and quite a lot of fun. There are many humorous moments, and Woodroof's reactions to people are quite entertaining to watch, as is almost every scene Leto is in. The audience really does start to feel for these characters as the film goes on, though, to the point where watching them deal with their disease becomes quite difficult. Dallas Buyers Club is a story that backs its lead characters into a corner, and watches as they try their hardest to break out of the corner. Most importantly, it is a lot of fun watching them do it. A-

Fruitvale Station Review

Written and Directed by Ryan Coogler

Fruitvale Station, which is based on a true story, does not tell the story of an even in the way one would expect. There is a major event that occurs towards the end of the film that was noteworthy, but that is not the true focus of the film. This is a film about a man named Oscar Grant. It follows his life over the course of a very eventful New Years Eve and details who he is and what has led him to his current point in life.

If this seems a bit like a meandering plot that's because it is. It is not a very focused film. Rather, this film functions as a way of introducing you to a character. Some moments in the movie seem rather unnecessary, but they all have an impact. Part of this credit goes to Ryan Coogler's direction, but most of it has to go to Michael B. Jordan's performance. Jordan fully fleshes Oscar Grant out in a way that is rarely seen. It doesn't take long to see who this person is, what his strengths are and what his flaws are, as Jordan knows the character so well and knows how to bring all of these aspects out in a subtle and realistic way.

The rest of the cast is strong, too. Octavia Spencer makes the most of a few scenes as Grant's mom. Her turn is the showiest and most emotional, but Spencer has already shown her strength with that and doesn't disappoint here. The true MVP of the film, aside from Jordan, of course, is Melonie Diaz, playing Grant's girlfriend, Sophina. She too takes what is often a one-note love interest role and fully humanizes her. Sophina is neither a passive sex-object nor a shrill whiner. Instead she is a person who has had her own desires, her own strengths and weaknesses and who behaves realistically in regards to the events unfolding around her.

Perhaps Fruitvale Station is more of an important film than a great one. Like I said, outside of the performances Fruitvale can be a bit meandering and perhaps tries too hard to make its main character undoubtedly likable, but those are small criticisms when a film has as strong an impact on you as Fruitvale Station almost certainly will. I simply was too affected by it to say anything other than that it achieved what it set out to, and that it is a film that many more people should watch, and that should be talked about. A-

The Hunger Games: Catching Fire Review

Directed by Francis Lawrence

Written by Simon Beaufoy and Michael DeBruyn

Based on the novel by Suzanne Collins

There's always one question to ask when a sequel to a high profile film is released: How does it compare to the original. In the case of Catching Fire, it proves to be a rare case where the sequel is actually stronger than the original. The credit for this goes to director Francis Lawrence, who shows a surer hand and a better feel for pacing than Gary Ross did. Unfortunately, this film went in with issues from the book that it simply was unable to correct, and which hold the film back. 

The first two acts of the film are incredibly strong. Where the first film kept the focus squarely on the games, this film is at its best when depicting the political unrest that permeates the world. The tone of the film is perfect in these parts, and Francis Lawrence keeps the tension up, as we realize that the world is a powder keg ready to go off. This is aided greatly by the film's gorgeous cinematography, miles better than the shaky-cam plague that the first film had.

The performances are better for the most part as well. Unfortunately Katniss is a less dynamic character this time around, which is a shame as it doesn't allow Jennifer Lawrence much room to really show her talents. She is still a great actress, though, and performs very strongly in the film, making the most of whatever she is given. What's truly been improved this time out is the supporting cast. Harrelson and Banks are markedly improved this time around, as is Hutcherson, who proves to be the heart of the film. Donald Sutherland and Philip Seymour Hoffman are perfectly intimidating villains, and truly help keep the stakes high on the film. Even the past victors are strong, at least those who are given characterization. Sam Claflin may seem like a piece of art direction rather than casting at first glance, but when given a chance to portray more of Finnick's subtextual personality he lives up to the challenge, but in the end it is Jena Malone who truly steals the movie. She doesn't have a ton of screen time, but she makes the most of every second, truly having fun with the role and developing her character well.

In the end, the film falls short when getting to the climax. Though I relished the opportunity for Francis Lawrence to improve upon the missed opportunity that the first film's games were, the emphasis on environmental factors over personal combat lessened the tension of the film, as well as the fact that going back to the games inevitably feels redundant. Another major issue is the PG-13ification of the story. I understood that they had to play it very safe in the first film, as it was children who were being killed, but this time the targets are older, and I can't help but feel like they could have gotten away with more. It's just tough to really feel the stakes of a fight to the death if all of the deaths happen conveniently offscreen.

In the end, this is a strong film that unfortunately had some issues going into it that couldn't have been fixed, not the least of which being its weak ending. However, as a part 2, this film could have been a lot worse, and indeed does improve the story and deliver some great tension, now if only they can continue the upward streak for the two parts of Mockingjay (The two parter being a terrible idea) then they may be able to make something truly great. B+

Only God Forgives Review

Written and Directed by Nicolas Winding Refn

Drive, Nicolas Winding Refn's previous directorial effort, was my favorite film of 2011, so I was understandably intrigued to see Only God Forgives, which looked like an altogether artsier, more unique film. I was excited by the prospect of a filmmaker who would stick so close to his vision and I wanted to see what he would do and was willing to take risks for the sake of his art. What I came to realize in watching Only God Forgives was that it is in the nature of risks that sometimes they don't pay off.

One cannot criticize this film for a lack of passion. Winding Refn clearly cares a lot about the world he is creating. The film is the farthest thing from lazy, closer to having too much effort put in. While that doesn't seem like it can be a bad thing, it really does constrict the film and prevent it from being able to breathe. Refn's style fills every frame, every cut, every moment, but it's too much, it sinks the film, and doesn't really let the film flow naturally. It is loved, but it is forced.

That is not to say it is all bad, though. Truly the cinematography is quite gorgeous, the film feeling like a fever dream at times. This is fascinating enough, but it makes it very hard to have a stake in the proceedings. Artsiness and experimental methods are fine in a film, but when the film becomes about the artsiness and uniqueness, then it ceases to truly function as a movie, and instead becomes an hour and a half of self-indulgence.

Many people in negative reviews have pointed out the fact that Gosling's protagonist has fewer than 20 lines in the film. In truth, this is not a negative at all. Gosling is such a strong actor that he sells these quiet moments, proving that he really doesn't need dialogue, when in fact his dialogue scenes fall shorter than his silent ones. 

The rest of the performances are non-entities. Since this film is so completely about Refn's style, only Gosling and Kristen Scott-Thomas, playing his mother, actually stand out as even having performances. This is a benefit in Gosling's case, and a detriment in Thomas'. She is given the lion's share of the dialogue, and most of it terrible. Her one character trait is that she is a bad mother, and the movie does everything it can to force you to realize this. It is unfortunate, but becomes laughable at a point, as the movie keeps trying to convince you of something you figured out in mere moments.

I do understand what the movie was trying to achieve, and I respect it. There are some truly powerful images and strong scenes. However, the film gets too caught up in itself to really capitalize on these scenes. Though there is a message, one would be forgiven to see it as simply an experimental film, an exercise in seeing how much dark, disturbing content can be squeezed into such a short running time. 

This film is so unique that I would not fault anybody for liking it. Though I found it to be trying too hard, I am nonetheless still interested in Winding Refn's future work, as I truly do respect directors who will stick to their visions and refuse to play it safe, even if that means occasionally making a bad film. 

Grade: C-

Boardwalk Empire Season 4 review

Creator and Showrunner: Terrence Winter

(Spoilers for seasons 1-3 below)

In its fourth season, Boardwalk Empire changed up its formula, to some degrees for the better, and to some for the worse. This has been a show that has dealt with some very slow mid-sections, but always managed to make up for it by bringing things together for an exciting final few episodes each season. This year, the writers decided to spread the wealth a bit more. What this means is that we had a few mid season episodes with some very exciting moments, while the final stretch felt a little lower in stakes. 

The main plot of the season did not even revolve around central figure Nucky Thompson, played by Steve Buscemi. The central story revolved around Nucky's associate Chalky White (Michael K. Williams) who was brought into conflict with intelligent, controlled businessman and "Libyan" community leader Valentin Narcisse. Jeffrey Wright joined the cast as Narcisse, taking him in the opposite direction of last year's villain Gyp Rosetti. Wright kept Narcisse in control. He is a man who gains power by making alliances for whom him being in power would serve their best interests. This is an interesting and intimidating character, thanks in no small part to Wright's performance. (If Bobby Cannavale won an Emmy for playing Rosetti, then Jeffrey Wright should at least be looking at a nomination.)

However, aside from Narcisse, this year's storylines were all over the map, and for the most part never really came together. Margaret Schroder, an interesting if misutilized character, was barely a presence this season, which had very few strong women. Plotlines like Eli's son at college were uninteresting, while Gillian Darmody's relationship with mysterious Roy Phillips felt simply unimportant. Unfortunately, these plots never truly became interesting or important to the main plot of the season, and as such lead to a year which feels messier.

The biggest issue, however, is in the realm of characters. This season's new characters were largely very interesting and complex as we watched them develop. The unfortunate flipside of this is that the returning characters were far less interesting. Nucky Thompson has never been an interesting character, fitting the bill for a traditional anti-hero. His conflict with his brother Eli, as well, feels much like a repeat of season 2. The only characters who escape this are Chalky White and Richard Harrow, who are both given full and strong arcs this season that take their characters to interesting places.

****Spoilers for Season 4. Highlight to reveal if you're caught up****

And then the finale happened. Game of Thrones is my favorite show, so I clearly have no problem with likable or interesting characters dying, but Thrones has a full roster of interesting characters to fall back on if one or three are killed, Boardwalk doesn't. If one of the more interesting characters is killed, that leaves a drastic effect on how much I care to see what happens next season. Harrow's death was pathetic. The man who single-handedly saved the day in season 3 suddenly screws up, accidentally killing Chalky's daughter and getting shot so he can limp away and bleed out under the Boardwalk. Nucky's freaking bodyguard got an entire episode to descend into ratting on Nucky and committing suicide in shame. I simply do not buy Richard messing this up, and such have a bad taste in my mouth over the ignoble end of one of the few characters who I was truly invested in. 

All in all, this season was a notable drop in quality, possibly being the weakest season of the show. It didn't move as slowly, but felt far less substantial and interesting, in no small part due to the interesting characters being killed off while the more standard characters seem to be nearly immortal. The visuals and directing are just as strong as always, but unfortunately the story simply isn't as interesting as it used to be. I am truly unsure if I will return for season 5. 

Season grade: B

Best Episode: The Old Ship of Zion (episode 8)

A very exciting episode which sees the plotline with Agent Knox step up a notch, as well as a focus on the stronger plotlines of the season, while leaving the less interesting ones on the side. The story of Chalky and Narcisse notably takes main focus here, culminating in a wonderfully tense and brilliantly directed scene which truly made me reel back due to the graphic nature of the violence on display. A powerful episode that unfortunately marked the season's peak rather than the ascent to brilliance it deserved.

Honorable mentions: Marriage and Hunting (episode 9) Erlkonig (episode 5)

Weakest episode: William Wilson (episode 7)

One episode until things really took off, Wilson was the pure definition of a setup episode. Nothing really bad about it, just nothing really notable took place here either. 

Dishonorable mentions: The North Star (Episode 6) Resignation (episode 2