The Wire Season 1 Review

Well, I finally watched the first season of The Wire, and I must say that it entirely lived up to the expectations I had for it. This is as slow-burn as slow burn tv shows get, but it's also about as good as they get. The greatness of The Wire is entirely dependent on the viewer having seen all of the episodes leading up to this and getting involved in the world. This isn't a show where major moments happen every episode, it's a show that allows little pieces of the plot to move forward at the time, all the while we're getting to know the characters involved, and when a major moment does happen it feels as monumental to the viewer as it does to the characters.

The Wire follows the war between cops and drug dealers in early 2000s Baltimore. Told from many points of view on both sides of the law, this show manages to represent many ideas on morality, while coming at the argument from many different viewpoints. The protagonist James Mcnulty (Dominic West) is probably as close to a morally good character as the show gets, but the show makes it clear that he is not perfect. The show does have its good-guys and bad-guys, but they are not separated by teams. There are plenty of good people on the side of the criminals, while some of the cops are nearly as bad as the drug kingpins themselves. And then a character you previously had pegged will do something that makes you change your mind about them, but that doesn't break the character that has been established. And then somebody on the road to redemption will fall back into their old ways and start the cycle all over again.

Whatever else works in the show, though, it is the writing that must take the lion's share of the credit for The Wire's greatness. The season's plot is perfectly crafted, where every single action has a reaction, and however small it may seem, every action and reaction is devastatingly important to the plot progression. The major moments that come towards the end of the season are the results of a chain of smaller events that are set in motion at the very beginning of the season, and nothing comes entirely out of the blue. Every episode is more riveting to the last as new facts come to light and plot threads come together. It is surprising, and yet foreshadowed enough that the audience can put the pieces together in a way that feels like they earned it. The statement's been made before, but The Wire really does feel like a visual novel, as no one episode can stand on its own, everything is connected and the season needs to be experienced and thought of as one cohesive plot.

If there is a downside to this it is that the pilot is underwhelming. It has so much to set up for the show that it is unable to deliver the riveting and engrossing nature that the rest of the show will have. Still, this season is one whole, and getting the setup out of the way early paved the way for the show to reach greater heights sooner, and become what it was supposed to become. 

This is the kind of show that makes it harder to watch other shows. Much like Breaking Bad, this has raised my standards for the crime drama as a genre, and it will be tough for me to watch something that is so much weaker than this. It starts with a fairly standard premise, but through awesome characterization, admirable realism in story and dialogue, and perfectly structured plotting, The Wire manages to elevate the entire genre to a standard that can only be reached by a select few. It is not the greatest show I have ever seen, but if it gets any better it will certainly be in the running. A

Best Episode: Cleaning Up (Episode 12)

The Wire truly does seem to get better and better with every episode, and the season finale perfectly ties together the plot that had been set up thirteen episodes before, but in terms of which episode had me on the edge of my seat the most, the penultimate episode is a clear winner. It is tough to pick just one episode, as the interconnected and ongoing nature of The Wire means that the whole will always be more than the sum of its parts, but this episode has the perfect combination of tragedy and victory that get across the show's main themes about life and futility. 

Weakest Episode: The Target (Episode 1)

As I said before, the pilot had a lot of housekeeping to do. I look back on this episode more fondly having seen the whole season, but the fact remains that at the end of the episode I wasn't racing to watch another. Give the show a few episodes though, and I guarantee you will find yourself fully riveted by this story, it just takes a little time.

Sons of Anarchy Season 1 Review

Created by Kurt Sutter

Sons of Anarchy fits into the genre of crime drama, which seems to do very well on tv. Sons of Anarchy's tone sets it apart, though. Choosing not to reach for quite the same slow-burn tension as shows like The Sopranos or Breaking Bad, Sons instead chooses to make every episode entertaining. This decision is the reason that Sons will not go down in history as being as great as either of those shows, and it is also the reason why Sons is an incredibly fun, exciting and fast paced show to watch. 

Following a California biker gang through their trials and tribulations, Sons of Anarchy chooses not to tell the story from the leader's point of view, but rather from the young and idealistic Vice President Jax Teller, a new father who is beginning to rethink his stance on many things. Hunnam is great as Jax, taking the traditional "Noble savage" protagonist role and giving it an even greater feeling of edge. He's a man who wants to change, but his situation never truly gives him the chance to, and there's a constant sense of unpredictability to his actions. 

The supporting cast is likewise strong. Ron Perlman is the obvious standout as club President Clay Morrow. Married to Jax's mother Gemma, played with real spunk by Katey Sagal who is clearly enjoying the hell out of the role, Clay is a brutal leader who is trying desperately to hold onto the past which Jax seems to want to move past. Maggie Siff also adds a little something to the thankless love-interest role, aided greatly by the fact that she is given her own exciting and fascinating subplot which culminates in perhaps the season's greatest moment.

Choosing not to have a season-long arc, but instead to follow these characters through their lives, this show's season does not have the feeling of a strong arc. Rather, arcs begin and end at almost random moments throughout the season, replaced by new ones. The show seems to move on an episode-by-episode basis, which leads to a season with very few boring episodes. Every episode has something happen, and they exist for their own purpose, no filler or setup episodes here. This leads to a show that is more exciting than it would otherwise be, but perhaps less dramatically satisfying, as only a few plots really gets built up enough to have a truly satisfying conclusion. 

The show's real weak point, though, is its women. Though the characters on their own are interesting, and they can interact with the men reasonably well, when a woman talks to a woman problems start to show. Female to female conversations are catty and passive aggressive to an exaggerated degree, and it makes the writers room really feel like a men's club who do not know how women actually talk. (Only one episode was written by a woman.)

In the end, though, Sons of Anarchy has great characters, a fully realized setting, and a gritty, violent and unpredictable world which keeps the proceeds consistently interesting. Hopefully later seasons will show an increased ability to write women's dialogue, but even so I know it'll be an exciting show and I hope it can keep the level of entertainment up as it moves the story forward.

Season Grade: A-

Strongest Episode: The Sleep of Babies (Episode 12)

The Penultimate episode of the season contains one of the most tense climaxes seen on television. A perfect storm of things going wrong, it is a truly emotional and tense sequence which is easily the high point of the season.

Weakest Episode: Old Bones (Episode 7)

Not a bad episode, but when the climax hinges on a character who has only had 5 minutes of screen time before this episode, then it's not going to have the kind of weight that the writers want it to. 

Lone Survivor Review

Written and Directed by Peter Berg

Based on the book by Marcus Luttrell and Patrick Robinson

A group of Four Navy SEALs is sent to take out a high-ranking Al Queda target when their cover is blown. Only one of these men survived to tell the tale. This is the true story on which Lone Survivor is based. The survivor, Marcus Luttrell, wrote a book detailing his experiences with Operation Red Wings, and that book served as the basis for this film. 

Mark Wahlberg, Taylor Kitsch, Ben Foster and Emile Hirsch star as the four SEALs who are sent on the mission. The movie takes a little bit of time introducing the audience to these characters before sending them on their mission. The main flaw of the film comes in this point, as the characters are unfortunately not developed as fully as they should be. The film's focus is on who they are as soldiers rather than who they are as people. Wahlberg and Kitsch are given the most to do in the film, although Ben Foster impresses simply by being the strongest actor of the quartet, but nonetheless there is only so much these men can do with their somewhat underwritten roles.

It is then to the power of Peter Berg's directing that we still care for these men. Though perhaps not as much as we might have with more development, we nonetheless root for all four of these men to make it out alive, despite the fact that we know they won't. The action in this film is realistic and brutal. Aside from a few moments, there are very few stylistic flourishes, and instead the action mostly consists of people shooting and getting shot. Bullets hit with a sickening thud, blood and gore are restrained to a realistic level, and everybody involved takes some damage to the point where we are amazed that anybody even has the will to keep fighting.

As for whether this film is pro or anti-war, I don't believe it is either. It is a film about soldiers, bravery and camaraderie, and I believe it is one in which you can take whatever message out of it you will. The film's focus is on the sacrifice that these men make for what they believe is a good cause, whether or not it really is. It is a powerful, incredibly intense film that will have you on the edge of your seat, just maybe not with as much emotional investment as it could. B+

The Top 10 Movies of 2013

#10

THE SECRET LIFE OF WALTER MITTY

Spearie winner for Best Song (Stay Alive)

Nominated for Best Adapted Screenplay, Best Original Score and Best Cinematography

The Secret Life of Walter Mitty is a film that will leave you feeling very happy when you leave the theater. As great as an important dramatic film is, the initial purposes of film were as a form of storytelling and entertainment, both of which are more than capably filled out by Walter Mitty. Easily Stiller's most accomplished turn as a director, Walter Mitty features beautiful images, strong emotion and a sense of adventure without ever getting too dark. It's a great film to see if you need a pick-me-up, or just want a fun time at the movies.

#9

ALL IS LOST

Spearie winner for Best Sound Editing

Runner up for Best Original Score and Best Sound Mixing

Nominated for Best Actor (Robert Redford) and Best Song (Amen)

All is Lost in some ways serves as a counterpoint to this years Gravity. Both are films about people being forced to survive through incredibly difficult circumstances using nothing more than their own resourcefulness. Aside from that, however, they are opposites. All is Lost is minimalistic versus the more Hollywoodized Gravity, mute where Gravity is talkative, and counterpoints Gravity's emotional and visceral experience with a more contemplative one. It's a film that many people simply will not enjoy, but it is a gutsy film, and one that is not easily forgettable, least of all due to Redford's performance and the brilliant sound design. It may not be the best film of the year, but it is easily one of the bravest. 

#8

DALLAS BUYERS CLUB

Spearie runner up for Best Actor (Matthew McConaughey)

Nominated for Best Supporting Actor (Jared Leto) and Best Original Screenplay

Though a very traditional biopic at first glance, Dallas Buyers Club manages to push itself ahead through its strong story and wonderful characters. McConaughey especially is excellent as the HIV afflicted redneck Ron Woodruff, and he leads a similarly excellent cast which also includes the brave Jared Leto as Woodruff's transvestite business partner. It's a story about survival and living and standing up for what you feel is right, all while taking its main character on a journey that turns him into a better person. A very classical film, but also a great one.

#7

PACIFIC RIM

 Spearie winner for Best Action Sequence (Hong Kong Rumble)

Runner up for Best Sound Editing

Nominated for Best Film Editing, Best Sound Mixing and Best Visual Effects

Far from a perfect film, Pacific Rim probably has the most issues that can be pointed out of any film in the top 10. However, it counteracts this by simply being the most entertaining film of the year. Better than any other monster movie before it, Pacific Rim's excellent visual effects and cinematography really sell the scale of the film. The action sequences feel more like battles between Titans than visual effects trickery. Sure it is a simple story with simple characters, but it is perhaps the most enjoyable two hours I spent in a movie theater all year, and in the end that counteracts all else.

#6

CAPTAIN PHILLIPS

Spearie runner up for Best Film Editing

Nominated for Best Director (Paul Greengrass), Best Actor (Tom Hanks), Best Supporting Actor (Barkhad Abdi), Best Adapted Screenplay, Best Production Design and Best Sound Editing.

Paul Greengrass once again shows that he is one of the strongest filmmakers alive when it comes to the thriller genre. Telling the true story of the Maersk ship captain who was kidnapped by Somali Pirates, Greengrass fills the story with an ever increasing sense of tension and danger. He is aided in this task by very strong performances from Tom Hanks as the titular Phillips and Barkhad Abdi as the sympathetic leader of the pirate group that kidnaps him. Though its veracity is a bit suspect (the film is based on an autobiography by the captain, and as such is likely biased) it is still a great and solid thriller.

#5
THE WAY WAY BACK

Spearie runner up for Best Ensemble Cast and Best Original Screenplay
Nominated for Best Picture, Best Supporting Actor (Sam Rockwell) and Best Supporting Actress (Toni Collette)

In a market saturated with coming of age films in all varieties, The Way Way Back sets itself apart through the strength of its characters and the relate-ability of its story. Following a teenager named Duncan on one very unwelcome summer vacation, the screenplay, written by directors Nat Faxon and Jim Rash, creates a believable world for Duncan to exist in and interact with, filled with funny and fully realized characters. The standout is Sam Rockwell as the lazy manager of a water park which Duncan finds refuge in. Though mostly a comedy, the film is unafraid to veer into more dramatic territory, especially when dealing with the overbearing boyfriend of Duncan's mother, played by Steve Carell in a great against-type role. The cast all delivers in this heartworming tale and allows it to stand out against the competition.

#4
THE PLACE BEYOND THE PINES

Spearie Winner for Best Original Screenplay
Runner Up for Best Supporting Actor (Ryan Gosling)
Nominated for Best Picture, Best Director (Derek Cianfrance), Best Ensemble Cast, Best Original Score and Best Cinematography

Along with All is Lost, The Place Beyond the Pines stands in for the bravest films 2013 had to offer. This ambitious film uses a unique structure which many people may find hard to follow. At some points, the film even feels like it is going off on a tangent. It is a huge credit to the screenplay, then, that everything finds a way to reconnect by the end of the film. A true ensemble film, nearly the entire cast delivers strong performances in this super-serious film, and every action has tangible and permanent consequences. This is all more than enough to make up for any flaws the film has.

#3
GRAVITY

Spearie Winner for Best Actress (Sandra Bullock), Best Cinematography and Best Sound Mixing
Runner up for Best Director and Best Visual Effects
Nominated for Best Picture, Best Original Score, Best Film Editing, Best Sound Editing and Best Action Sequence (ISS Escape)

Though far from the best script of the year, Gravity had me stuck in my seat, face forward at attention for its entire running time. The brilliant visuals and sound design create a world that sucks you in and never lets go. This film marks the rare occasion where I actually forgot I was watching a movie. Alfonso Cuaron's vision was fully and effectively realized, creating the greatest thrill ride of the year.

#2
THE WOLF OF WALL STREET

Spearie Winner for Best Film Editing
Runner up for Best Picture and Best Adapted Screenplay
Nominated for Best Director (Martin Scorsese), Best Ensemble Cast, Best Actor (Leonardo DiCaprio) and Best Supporting Actress (Margot Robbie)

Well that screenshot pretty much sums up the insanity that is The Wolf of Wall Street. This is a film that, from the very first moment, says "Fuck You" to all good taste and never looks back. It is also one of the most consistantly entertaining films of the year despite its 3 hour run time. Thanks very largely to Thelma Schoonmaker's perfect editing, Wolf keeps a steady pace of jokes and crazy situations up so that the audience never gets bored. Many people have questioned whether or not it is right to find entertainment in such bad behavior, but truly if you've ever enjoyed an action film or a movie where anything bad happened you have experienced the same thing, and though it is occasionally tough to decipher what is a joke and what is not, it is certainly a film that nobody will forget.

#1
12 YEARS A SLAVE

Spearie Winner for Best Picture, Best Director (Steve McQueen), Best Ensemble Cast, Best Actor (Chiwetel Ejiofor), Best Supporting Actor (Michael Fassbender), Best Supporting Actress (Lupita Nyong'o) and Best Adapted Screenplay
Runner up for Best Cinematography and Best Production Design
Nominated for Best Supporting Actress (Sarah Paulson), Best Film Editing and Best Costume Design

This wasn't really a tough competition. 12 Years a Slave is far and away the most emotional and powerful film of 2013. Though it may feel like Oscar-bait, once you see the film you will see another side of the story. This is a very realistic and minimalistic film, with director Steve McQueen's more artistic style shining through and keeping the film from becoming melodramatic. The film trusts its audience to know how bad slavery is, and so it does not try to shove it down the audience's throat, but instead to deliver a realistic view of what slavery was like. The cast is universally excellent, especially Ejiofor's understated lead turn as a free man who is kidnapped and sold into slavery. It is a powerful film that everybody needs to see, and easily the greatest film of the year.

Honorable Mentions:
The Hobbit: The Desolation of Smaug (Great and fun, but doesn't quite feel like a full movie) Fruitvale Station (wonderful performances and story, but even at 90 mins the film feels a bit padded) The World's End (wonderfully entertaining but the least funny of the cornetto trilogy) Prisoners (One terrible scene where it counts really brings the film down) American Hustle (Great when it gets going, but it does take a while to get to that point)

THE BOTTOM 3

#3

THE GREAT GATSBY

Spearie Nominee for Best Original Song (Young and Beautiful) and Best Costume Design

The choice of Baz Luhrmann as director of The Great Gatsby was a good choice for the party scenes, and a bad choice for almost every other moment of the film. While Luhrmann kept the energy up for the parties, he kept the same style throughout the rest of the film, and it simply did not fit. A perfect example of missing the point of the source material, Fitzgerald's commentary and brilliant story were turned into little more than an excuse for Luhrmann to go to the worst of his excesses. The costumes were pretty though.

#2

ONLY GOD FORGIVES

There's a pattern with the worst films of the year being cases of directors not reigning themselves in. A stylish director is a good thing, a director who makes a movie solely about his style is an indulgent and terrible thing. Nicolas Winding Refn's Drive was the best film of 2011 because it meshed his unique style with an accessible and interesting story. Only God Forgives, however, is about how minimalistic and artistic Nicolas Winding Refn can make a movie, and that on its own is simply not interesting.

#1

INSIDIOUS: CHAPTER 2

Ask yourself, is the image above terrifying, or cheesy. It's telling that the moments of intentional comedy are the only moments in Insidious: Chapter 2 that ever achieve their purpose. They are easily outdone, however, by the hilarity of the films attempted scares, which are so over the top that there is almost no way to find them even remotely scary. I actually quite enjoyed the first Insidious, but Chapter 2 is simply too poorly written and made in every regards to even remotely function as a passable horror film. Ameteurism from an otherwise accomplished filmmaker, Insidious: Chapter 2 is an example of how laziness in filmmaking simply cannot make a strong film.

Oscar Nominations Predictions

BEST PICTURE

12 Years a Slave

Gravity

American Hustle

Captain Phillips

Nebraska

The Wolf of Wall Street

Dallas Buyers Club

Her

Saving Mr. Banks

Philomena

Inside Llewyn Davis

Blue Jasmine

BEST DIRECTOR

Steve McQueen-12 Years a Slave

Alfonso Cuaron-Gravity

David O. Russell-American Hustle

Paul Greengrass-Captain Phillips

Spike Jonze-Her

Martin Scorsese-The Wolf of Wall Street

Alexander Payne-Nebraska

BEST ACTOR

Matthew McConaughey-Dallas Buyers Club

Chiwetel Ejiofor-12 Years a Slave

Bruce Dern-Nebraska

Robert Redford-All is Lost

Tom Hanks-Captain Phillips

Leonardo DiCaprio-The Wolf of Wall Street

BEST ACTRESS

Cate Blanchett-Blue Jasmine

Sandra Bullock-Gravity

Emma Thompson-Saving Mr. Banks

Judi Dench-Philomena

Meryl Streep-August: Osage County

Amy Adams-American Hustle

BEST SUPPORTING ACTOR

Jared Leto-Dallas Buyers Club

Michael Fassbender-12 Years a Slave

Barkhad Abdi-Captain Phillips

Daniel Bruhl-Rush

Bradley Cooper-American Hustle

James Gandolfini-Enough Said

Tom Hanks-Saving Mr. Banks

Jonah Hill-The Wolf of Wall Street

BEST SUPPORTING ACTRESS

Lupita Nyongo-12 Years a Slave

Jennifer Lawrence-American Hustle

June Squibb-Nebraska

Oprah Winfrey-Lee Daniels’ The Butler

Julia Roberts-August: Osage County

Sally Hawkins-Blue Jasmine

Octavia Spencer-Fruitvale Station

BEST ORIGINAL SCREENPLAY

American Hustle

Nebraska

Her

Blue Jasmine

Inside Llewyn Davis

Dallas Buyers Club

Gravity

BEST ADAPTED SCREENPLAY

12 Years a Slave

Philomena

Captain Phillips

Before Midnight

The Wolf of Wall Street

August: Osage County

BEST ANIMATED FEATURE

Frozen

The Wind Rises

Monsters University

Ernest and Celestine

Despicable Me 2

The Croods

BEST FOREIGN FILM

The Hunt

The Broken Circle Breakdown

Two Lives

The Great Beauty

The Grandmaster

Omar

The Notebook

The Missing Picture

BEST DOCUMENTARY FEATURE

The Act of Killing

The Square

20 Feet From Stardom

Blackfish

Stories We Tell

BEST PRODUCTION DESIGN

12 Years a Slave

The Great Gatsby

The Hobbit: The Desolation of Smaug

Saving Mr. Banks

Gravity

American Hustle

Her

Oz the Great and Powerful

BEST CINEMATOGRAPHY

Gravity

12 Years a Slave

Inside Llewyn Davis

Prisoners

Rush

Captain Phillips

Nebraska

The Grandmaster

BEST COSTUME DESIGN

12 Years a Slave

American Hustle

The Great Gatsby

Saving Mr. Banks

The Invisible Woman

Oz the Great and Powerful

The Hunger Games: Catching Fire

The Hobbit: The Desolation of Smaug

BEST FILM EDITING

Gravity

Captain Phillips

12 Years a Slave

American Hustle

The Wolf of Wall Street

Rush

BEST MAKEUP AND HAIRSTYLING

American Hustle

Jackass Presents: Bad Grandpa

The Great Gatsby

Dallas Buyers Club

The Hunger Games: Catching Fire

The Lone Ranger

BEST ORIGINAL SCORE

Gravity

Saving Mr. Banks

The Book Thief

12 Years a Slave

Philomena

Captain Phillips

Her

All is Lost

Rush

BEST ORIGINAL SONG

Let it Go-Frozen

Young and Beautiful-The Great Gatsby

Ordinary Love-Mandela: Long Walk to Freedom

Happy-Despicable Me 2

The Moon Song-Her

Atlas-The Hunger Games: Catching Fire

I See Fire-The Hobbit: The Desolation of Smaug

My Lord Sunshine (Sunrise)-12 Years a Slave

BEST SOUND EDITING

Gravity

Captain Phillips

All is Lost

Rush

Lone Survivor

12 Years a Slave

Pacific Rim

BEST SOUND MIXING

Gravity

Captain Phillips

Inside Llewyn Davis

12 Years a Slave

Rush

All is Lost

BEST VISUAL EFFECTS

Gravity

The Hobbit: The Desolation of Smaug

Iron Man 3

Pacific Rim

Star Trek Into Darkness

Elysium

World War Z