Alan Ball's True Blood (Season One)

Ever since Deadwood and The Sopranos went off the air, HBO has lagged behind Showtime in terms of original series. Dexter, and to a lesser extent, Weeds, have shown that HBO is not the only show in town. When True Blood was announced I'll admit that I was skeptical. The vampire genre is tough to execute properly and the typical constraints of a television show, even one on a premium network, only added to my skepticism. However, I decided to give it a chance and what a great decision it was...

True Blood takes place in a world where vampires not only exist, but are a legally recognized part of society. The show uses this setup as an allegory for racism and homophobia and while it isn't explored as fully as it could be, the writers are able to create some interesting situations which play on some of the discrimination that is unfortunately still prevalent today. The deep South setting hammers this home as many, unfairly or not, still think of the American South as a very racist region. The concept and setting are quite unique to the genre and Alan Ball should be applauded for that.

Where True Blood really shines, however, are the characters and the talented cast that brings them to life. Anna Paquin is a revelation as Sookie Stackhouse and she was justly rewarded with a Golden Globe. Paquin takes what could have been an annoying and shrill one-note character and turns her into a protagonist that the audience not only identifies with, but genuinely cares for. Without her, the show would probably collapse under the weight of its outlandish premise. Stephen Moyer brings just the right mix of mysterious menace and southern gentleman to his role as Bill Compton, the resident vampire in Bon Temps. Ryan Kwanten is given the difficult task of playing Jason Stackhouse, a character with zero redeeming traits on paper. It's a testament to his performance that Jason turns out to be one of the most entertaining and likable characters on the show. Without getting into every performance I will say that Sam Trammell and Rutina Wesley are both magnificent as Sam Merlotte and Tara Thornton, respectively. The rest of the cast is uniformly excellent as well, which is no surprise given the standard set by previous HBO series.

True Blood starts fast and never lets up. Like any great show, I was hooked from the very first episode and the subsequent eleven didn't disappoint. There are elements of romance, horror, and comedy all wrapped around a murder mystery set in the murky bayou of southern Louisiana. That said, I recognize that it isn't for everyone. The viewer is going to have to check their disbelief at the door in order to accept True Blood's world of vampires, mind-readers, and shape shifters. There is definitely a bit of camp involved, but everything is executed so well that it never seems to go overboard. It isn't perfect, but it's damn close and very enjoyable. Heading into season two I have some reservations regarding the fate of a key character and I'm praying that Alan Ball and Co. do the right thing. This minor qualm aside, True Blood is a fantastic new entry into HBO's canon of original programming. 4.5 out of 5 stars.

Marc Forster's Quantum of Solace (2008)

The recent reboot of James Bond provided the franchise with a much needed fresh take on the beloved MI-6 agent and Quantum of Solace literally picks up 20 minutes after the events of Casino Royale. It should be noted that while Quantum of Solace does bring us the first direct sequel in the James Bond canon, the style of the two films couldn't be more different. Casino Royale took its time introducing Bond and proceeded to tell an unusually complex story for a James Bond film. Quantum of Solace should be thought of as the high-energy action-centric exclamation point to the events of its predecessor.

The film reminds me of the recent Bourne trilogy, as Bond seemingly turns up in a quarter of the world's countries before the credits roll. Unfortunately, QoS utilizes the choppy editing of the Bourne films to an even higher degree, rendering many of the excellent action sequences as little more than a blur, with few camera shots lasting more than a second or two. It's a shame since Marc Forster stages several extremely impressive action sequences.

Luckily, this is my only real complaint with this second iteration of the new leaner and meaner Bond. Daniel Craig once again does a great job, albeit with much less dialogue this time around. Craig is excellent at portraying the emotionally damaged secret agent who still finds time to kick immeasurable amounts of ass while jet-setting around the globe. There are the obligatory Bond girls and Olga Kurylenko does a fine job as the sexy but dangerous Camille, Bond's unwilling partner. Giancarlo Giannini and Jeffrey Wright are welcomed back as Rene Mathis and Felix Leiter, respectively. Mathieu Amalric is serviceable as the villain but the relationship between protagonist and antagonist isn't nearly as developed, and thus fulfilling, as that of Bond and Le Chifre in Casino Royale. Marc Forster knows exactly what he wants in Quantum of Solace and that's a fast-paced and exciting film which nicely wraps up the Vesper revenge story arc for Bond while also introducing the villainous and shadowy Quantum organization. The film ends with Bond ready to step fully into the role of a deadly blunt instrument with the Vesper tragedy finally behind him. Meanwhile, the Quantum organization is given a grand introduction and looks to be a stalwart of the series in the future.

Marc Forster's Quantum of Solace is a stylish and action-packed direct sequel to perhaps the best Bond film ever, and while it doesn't match Casino Royale, it does deliver top-notch entertainment and the promise of a continued storyline concerning the development of James Bond and the elusive Quantum organization. 4 out of 5 stars.

Looking ahead to 44 Inch Chest

I just discovered that a new gangster film written by Louis Mellis, who also scripted a little film called Sexy Beast, will be released this summer. 44 Inch Chest will star Ray Winstone, John Hurt, Tom Wilkinson, and perhaps most importantly, Ian McShane. Fans of the stylish and generally amazing Sexy Beast will note that both Winstone and McShane starred in that film as well. I was impressed by Ian McShane's work in Sexy Beast, but it wasn't until Deadwood that I realized just what an incredible actor the man really is.

44 Inch Chest will be the debut feature for British photographer and commercial director Malcolm Venville and will be scored in part by Massive Attack. A British crime picture starring McShane, Winstone, Hurt, and Wilkinson, written by Sexy Beast's scribe, and featuring the music of Massive Attack? Sign me up right now. June can't come soon enough. For plot info and all the particulars utilize the IMDB.com link to your right.

True Blood = Excellent

Wow. I just finished the inaugural season of True Blood and I felt compelled to write something. What a finale. What a season. And what an utterly fantastic new show for HBO. Just when I thought Showtime had them on the ropes .... True Blood comes along. It might not be to the level of the nearly perfect Dexter but it sure beats all hell out of Weeds. So many things to say about this one. A full review coming soon.

Jeffrey Nachmanoff's Traitor (2008)

I must confess I am a big fan of political thrillers. Everything from The Parallax View to Clear and Present Danger. This high level of appreciation means that I am not easily wowed. In recent years there have been more and more films dealing with the situation in the Middle East, or at the very least its effects, specifically terrorism and the continued danger to Americans around the world. Traitor takes a Bourne Identity-esque approach to this subject and thankfully, it manages to avoid the cliches and genre-specific trappings that have tripped up so many movies before it, such as The Siege. Peter Berg's under-appreciated The Kingdom was the last mainstream film to successfully portray the "war on terror" while managing to neither vilify nor glorify either side in this seemingly never-ending conflict.

Traitor moves at a very brisk pace and seems quite comfortable with the material. Indeed, it can be a tad confusing if you aren't paying attention, but everything is held together by the very capable cast, led by the consistently excellent Don Cheadle. Cheadle had his work cut out for him as he is tasked with playing the morally murky Samir, a man who seems willing to sell his services as an explosives expert to the highest bidder. He is brooding and intense and never stoops to the histrionics which a lesser actor may have employed. His portrayal keeps the FBI and the audience guessing throughout the first two acts and it never feels forced. This is yet another more than capable performance by one of the best actors working today. As previously mentioned, the rest of the cast is uniformly excellent, although most are given little to do besides run around and react to the work of Samir and the Islamic Brotherhood. Fans of the outstanding but criminally under seen Ravenous will enjoy the reunion of Guy Pierce and Neal McDonough as FBI partners who always seem to be just a step behind. The always welcome Jeff Daniels has a very brief but pivotal role and Said Taghmaoui proves once again that no one plays the role of slimy terrorist better (see David Mamet's Spartan for further proof).

Unfortunately, once you get past the cast, there isn't a whole lot to write home about. The story is solid, with plenty of twists and turns. There is the now obligatory snappy editing and urban-fused Middle Eastern score, as well as a nice pace which never allows the audience to stop and catch their breath. Those who enjoyed the Bourne films and don't mind a heavy dose of Middle Eastern politics will find that Traitor offers an interesting glimpse into the world of terrorism as well as a fascinating study of one man's sometimes questionable character. 3 out of 5 stars.

Luc Besson's La Femme Nikita (1990)

It's hard to review a film which has been imitated more than any other film in the past twenty-five years. We have all heard the name Luc Besson, whether it's in relation to Leon, The Fifth Element, or The Transporter series. La Femme Nikita, or simply Nikita, as it's referred to in France, was not his first directorial effort, but it remains his most famous, even in the wake of Jean Reno and Natalie Portman's wonderful Leon. The film spawned an American remake, a hit television show and countless imitations that are still produced to this day. The femme fatale, the female assassin, the notion of a beautiful killer who is ice-cold and vulnerable all at once: this is Nikita.

I'm afraid that those who watch it for the first time will be underwhelmed by both the concept and the action, but they must not forget that this film was the pioneer of the genre. Nikita is a psychotic junkie and we first meet her as she executes a cop from point-blank range. In the next scene she stabs a detective with a pencil. After being condemned to die by the state she wakes up in a mysterious warehouse where she spends the next three years of her life training as an assassin. When finally released, she is regarded as the ultimate weapon by her superiors. A killing machine to serve her country. But did anyone stop and think how she might feel about all of this?

La Femme Nikita includes several harrowing action sequences and the style of the film, right down to the cinematography and music, are vintage Besson. This is an action picture, and therefore I will not mention the acting except to say that it is just good. Anne Parillaud does a great job of making Nikita a character that the audience can sympathize with and root for; no small task considering her vile introduction. Jean Reno also has a small role as a master assassin and fans of Leon will be in heaven during his short amount of screen time. Kudos must be given to Besson for ending the film in a very unconventional manner, which while frustrating to some, is a fittingly open-ended finale to the film that started an entire genre. 3.5 out of 5 stars.

Shane Meadows' This Is England (2006)

This is a powerful film. The skinhead culture has been present in England for many years and Shane Meadows pulls no punches in showing the audience what made some adopt the white supremacist movement as their own. A film like this could only be made in England and Meadows shows a keen understanding of the feelings and beliefs that have lead so many to lead lives of hate in the name of their country. Many will no doubt draw comparisons to American History X and while they do have some similar themes, This Is England is a much rawer experience which forgoes much of the histrionics of its American counterpart in favor of a subtler, more observational approach.

This Is England is the story of a 12 year old named Sean who is struggling to fit in after moving to a new town. He comes to find acceptance and make friends with a gang of local skinheads only a few years older than he. They are a harmless bunch whose interest extends only as far as Jamaican culture. However, the meaning of being a skinhead begins to change when Combo, a charismatic and volatile "original skinhead" is released from prison. Sean falls under his spell and embarks down a dark path where there can be no happy endings. Meadows' deliberately raw method of film making perfectly suits the story and each actor completely inhabits their role. This is the second of Shane Meadows' films I have seen, along with Dead Man's Shoes, and I continue to be impressed by his steady hand and vision, which never wavers, no matter how intense the subject matter. He is definitely one of the rising stars of English cinema and I hope that he one day gains the same recognition on the other side of the pond.

While the subject matter might make some uneasy, there is no denying that This Is England is a powerful and poignant look at a seedy side of English culture which is usually far from the limelight. I applaud Meadows for not backing down and making the film his way while taking a hard look at the National Front and the white supremacist movement which eventually adopted the skinhead look as its own. The result is a thoughtful and emotional look at one boy's journey into manhood, along with the hard choices that come with it. 4 out of 5 stars.

Zack Snyder's Watchmen (2009)

It took over two decades, but Alan Moore's masterpiece of a graphic novel has finally been given the silver screen treatment. Now that it's finally here, the question becomes, does Watchmen succeed? Is Zack Snyder, of 300 fame, able to properly convey what is likely the most complex graphic novel ever conceived in under three hours of screen time? I can happily report that the answer to these questions is a resounding "Yes."

As in any literary adaptation, cuts were made. And no doubt some of these cuts will hit fans hard. Several major characters are given little more than a sliver of screen time. The unpleasant fate of another is completely excised from the film. And of course, the ending has been altered considerably. These are bitter pills for fans of the graphic novel, including myself, to swallow. However, in order to make the film palatable for a major audience and justify the extensive budget, as well as avoid a six hour run time, cuts were necessary. And thankfully, Snyder seemed to know when to put down the knife, so to speak. Yes, this is an abridged version of Watchmen, but it is still Watchmen, and despite the cries of spoiled fan boys, I think that Zack Snyder and company have managed to make the most faithful adaptation possible. That's not to say it's perfect, but adapting a story such as this to the big screen is a monumental task. The narrative jumps from character to character and decade to decade. There are book excerpts and comic excerpts. And of course there is the matter of an alternate reality where Richard Nixon is serving his fourth term in 1985 and the Americans handily won the Vietnam war. So the fact that Watchmen made it to the screen at all, let alone manage to keep its spirit intact, is a feat worth celebrating.

Zack Snyder did a great job with the characters as well as the oppressive, corroding atmosphere of New York City in this alternate, almost otherworldly version of 1985. Much credit is due to the actors and actresses who brought these previously static images to life. Jackie Earle Haley as Rorschach and Patrick Wilson as Nite Owl II both do wonderful work and allow two of the most pivotal characters to really shine. Without these bravura performances the film would falter greatly. Billy Crudup has the difficult task of becoming Dr. Manhattan and he does just that. Matthew Goode has a different take on the all-knowing Ozymandias, but I feel it works well in the context of the film and helps to set apart the so-called "smartest man on the planet" from the rest of his costumed cohorts. Jeffrey Dean Morgan is also quite good as the twisted and morally depraved Comedian while only Malin Ackerman falters as Silk Spectre II. It's not that she is terrible, just that I was hoping for something more. Her character lacks the depth imbued within the pages of the novel and I would be lying if I said it wasn't a minor disappointment. Still, she acquits herself quite well in the action scenes, and after reading so many negative reviews of her performance, I found it to be better than I anticipated.

The budget was reportedly around $120 million, but it looks like twice as much. The cinematography, special effects, and music are all worth noting and although Snyder went a little overboard with his love of speed-ramping during the action sequences, they are thrilling all the same. It should also be noted that Watchmen is not for the kiddies, as anyone who has read the novel can attest. There is graphic violence and sex, and I do mean graphic. There are a few instances where the violence seems a bit gratuitous but to say any more would be to spoil some of the fun. The new ending is a difficult topic to breach without giving everything away. I didn't have a problem with the new alternative approach that Snyder and Co. took as I felt it managed to convey close to the same themes as the book. That being said, the execution left a bit to be desired. Anyone who has read the novel knows about the six full-page panels which open the final chapter. These iconic images are nowhere to be found in the film, and although I suppose I can understand why they were excluded, it doesn't mean I have to like it. Also, one thing I simply must mention is the make-up used for President Nixon. It is simply awful to the point of being distracting and I literally winced every time he was onscreen. There is also a very regrettable soundtrack choice which noticeably detracts from a key scene in the film.

Counting myself as an avid fan of the graphic novel I came into the film with tempered enthusiasm and I left feeling as though I had seen a great representation of this classic and powerful story. It's definitely not perfect and it's definitely not for everyone. Newcomers may have a hard time understanding it all and they will certainly be missing out on many of the wonderful details that so fully immersed readers in the Watchmen universe. The DVD release promises to reintroduce nearly an hour of footage and I have no doubt that this will improve the film as an adaptation. All that said, I strongly recommend Watchmen for fans and newcomers alike. It is a masterpiece of fiction that has been transferred to the big screen very much in keeping with its original form and that alone is a triumph. 4 out of 5 stars. (For fans of the novel who don't mind the altered ending - 4.5 out of 5 stars.)

David Mamet's Redbelt (2008)

David Mamet turns his ear for dialogue and complex characterizations to the shady side of Mixed Martial Arts in 2008's Redbelt, which stars Chiwetel Ejiofor and Tim Allen, as well as a veritable parade of character actors fresh from the Mamet stable. The result is a film that while set in the world of MMA in Los Angeles, would not be out of place in feudal Japan. Redbelt is essentially the story of a lone samurai. A man who values honor and integrity above all else. And the trouble that this "correct" lifestyle gets him into.

Those expecting an action extravaganza will be sorely disappointed. Yes, there are a few expertly choreographed fights, but Mamet employs the editing-heavy filming technique seen in every new action movie. The fighting scenes are still enjoyable, but no one will confuse Redbelt with The Matrix. Ejiofor plays Mike Terry, the owner of a struggling Jujitsu dojo who becomes embroiled in a world of lies, cons, and shady characters. To divulge any more about the plot would be a great disservice to David Mamet's tight and inspired screenplay. The rapid fire dialogue that has long been Mamet's trademark is toned down compared to say, Glengarry Glen Ross or Heist, and this leaner version fits the mood and characters perfectly. Speaking of the characters, the acting is top-notch across the board. Mamet's usual suspects such as Ricky Jay, Rebecca Pidgeon and Joe Mantegna provide predictably solid performances and Tim Allen is excellent as a fading movie star whose drunken barfight sets the film's events in motion.

The key to the film is the performance of its lead, Chiwetel Ejiofor, and he doesn't disappoint, delivering a virtuoso performance as a man forced to deal with the consequences of being an honorable man surrounded by dishonorable people. Ejiofor has charisma and gravitas to spare and he is more than convincing as a powerful Jujitsu black belt. Why this man is not a major movie star is beyond me. His work in films such as Serenity, American Gangster, Inside Man, and Children of Men are further proof of his excellent acting chops. With Redbelt, he is handed the keys to an excellent film and proves that he should be getting many more leading opportunities in the future.

Redbelt is another great film by David Mamet. It won't set the world on fire as the ending feels a tad rushed and there are a few third act turns which aren't properly explained. However, the positives far outweigh the negatives and frankly, the film is worth watching for Chiwetel Ejiofor alone. 4 out of 5 stars.

Johnnie To's Triad Election (2006)

It seems rare these days to get a sequel to a film that doesn't have pirates or robots or superheroes. So when a genuine sequel to one of the best gangster movies of the past 20 years comes out there is reason to celebrate. Johnnie To's Election 2 (or Triad Election as it was confusingly renamed in the States) picks up as the Wo Sing Triad is readying for the next chairman election and every character is back. Louis Koo's Jimmy steps to the forefront this time around after his intriguing supporting role in the first film. While it doesn't move at the near breakneck pace of the first film, Election 2 fleshes out the many characters and the story unfolds naturally and gracefully. Fans of the original film will be in heaven while those who missed Election will have absolutely no clue to what's going on. The films work best when viewed back to back and I can't help but draw numerous comparisons to the first two Godfather films.

The acting, cinematography, action, and pacing are pitch-perfect and fans of the original will be thrilled by the twists and turns that befall Lok, Jimmy, Uncle Teng, Jet and the rest of the Wo Sing Triad. After watching Election I was blown away. I seriously doubted that To would be able to match it with Election 2, let alone top it. And I am pleased to announce that he did just that. Election 2 is, hands down, one of the best gangster films I've ever seen, and when viewed alongside the original Election, the pair of films set a high watermark that has only been matched by a handful of gangster films.

If you enjoy Hong Kong cinema, gangsters, and the occasional burst of brutal violence, than do whatever it takes to see these films. Support the master of the Hong King crime genre. This is an outstanding film, and when taken with the original, a triumph.

5 out of 5 stars.

Johnnie To's Breaking News (2004)

My exploration of Johnnie To continues with a look at his 2004 thriller Breaking News. The film is minor To but it still manages to provide some excellent gun play and a not so subtle look at the media and its effects (detrimental and otherwise). Nick Cheung is great as the ruthless police officer and those who enjoyed his work in Election will find that thankfully, he has more to do this time around. Breaking News is short, like most of To's films, and the ending is rather abrupt. However, given the story being told, the quick wrap-up seems fitting. Don't expect another Election and you should enjoy yourself just fine ... think Exiled meets Dog Day Afternoon.

An enjoyable, if somewhat forgettable, romp through a Hong Kong apartment building fused with an interesting, but cursory take on the effect of the news media. 3.5 out of 5 stars.

Johnnie To's Election (2005)

I can't believe that it took this long for me to discover Johnnie To. The man has averaged nearly four films a year since 2000. Admittedly, I've only seen a few so far (Fulltime Killer, Breaking News, and the amazing Exiled) but I have to say that I am impressed. Election takes a familiar premise -- gangster infighting, power struggles, corruption -- and executes it near perfectly, with help from an excellent and sprawling cast. It should be noted that this is not another Hard Boiled. If you're looking for double-fisted handguns and slow motion gunfights than go watch The Killer again. No, Election is more like The Godfather or Goodfellas, or even Miller's Crossing. Yes, that's quite a list, but I honestly feel that Johnnie To's Election deserves a place on the short list of the greatest recent gangster films. And while I don't pretend to have seen every good gangster movie in the world, I have seen quite a few and this is one of the best.

What works:

• Simon Yam is excellent, as always, as the cool-headed and calculating Lok and he is just one of the many fine actors who help make the film much more than the sum of its parts.
• When the action does start, it doesn't pull any punches. In fact, there isn't any gun play in this film at all Characters attack each other with all manner of hand held weapons and To doesn't try and glamorize the violence (this isn't Exiled) so when it does happen it seems unexpected and disturbing.
• The cinematography is quite good, as we should all expect from To by now. He frames shots in ways that make the old seem new and the mundane feel exciting.
• Election doesn't hold your hand. If you've seen the beginning of Infernal Affairs than you know what I mean. To doesn't hold the viewer's hand while setting up the history and customs of the Triads. Instead he assumes the viewer is familiar with the genre and launches into the meat of the story immediately. In my opinion, the experience is much richer due to To's willingness to forsake the traditional set-up that opens so many gangster movies these days.
• The ending. See the movie and you'll know what I'm referring to.
  

What doesn't work:

• It could be just me, and I know I lack the necessary knoweldge of Chinese culture, but some of the music seemed a bit melodramatic and out of place for me. A minor quibble.
  
• Honestly, it could have been longer. An hour and forty minutes is pretty a tight timeframe to tell this story, but it's a testament to Johnnie To that the film never suffers for it. I just wish it was longer so I could enjoy even more of it.

Johnnie To's Election is a powerhouse crime picture filled to the brim with excellent acting, unpredictable twists, and even a little machete fighting. 4.5 out of 5 stars.