News & Reviews:

Bates Motel: "Underwater" Review

Mon, 13 May 2013 23:45:56 -0400

“Underwater” isn’t quite as thrilling as recent episodes of Bates Motel, but it really feels like a setup for next week. Many television shows pull out all the stops on pen-ultimate episodes, but others save it all for the finale. The latter feels like the case with Bates, as numerous plot points are foreshadowed for a confrontational finale. That’s not to say “Underwater” is a bad episode at all, but it certainly feels like a set up.

One aspect that works well here is the way Abernathy is underused. He barely appears for more than a minute at the conclusion, but he is very much present in “Underwater.” Shelby’s corpse, the flowers, the drive-bys: they all hint ominously at what’s to come. And that finale scene in the car is just great. Jere Burns embodies such a frightening presence, in a role quite different than his AA-Counselor persona on Breaking Bad. His mannerisms and pithy threats are just perfect. “I’ll kill your sons first. And then I’ll kill you. Goodbye.”

There are numerous interesting Norman moments in “Underwater.” Though I wasn’t a huge fan of the drowning Bradley nightmare (I generally prefer concrete conversations to obscure dream sequences), I loved every scene with Miss Watson. She always seemed a bit off to me, but she really comes to life in this episode as a nurturing teacher trying to save Norman from his mother. The notion of working to get a short story published just seemed right and a nice change from her pushing Norman towards the track team. The final scene is especially effective when she tells Norman to get the story published anyway.

I like that Norman is finally being treated well at school, and his confrontation with Norma about moving is another strong sequence. He calls her out on her lingering desires to “start over,” flat-out calling her crazy. Their relationship is fascinating, as later that night, they sleep in bed together. There are so many interesting dynamics going on, and on one hand, Norma seems to be intentionally over-nurturing. She feels as though smothering her son (who is displaying numerous psychotic tendencies) may compensate and “cure” him. Yet, on the other hand, Norma is inadvertently making his condition worse.

Just a quick side note: how creepy is that damn stuffed dog? What a nightmare. It can become comical if overused, but it certainly had a scary vibe in “Underwater.” Actually, in retrospect, there were numerous comic moments in this episodes, from Emma’s pot cupcake, to Norma’s interactions with the motel guests, to the decision to move based on a Google search of the “safest places in America.” While I like that Bates Motel never becomes too heavy or dark, the comic tones of “Underwater” felt a little out of place this late in the season. It’s a minor qualm, but I hope next week is a full-fledged drama.

My other complaint (the same as last week, actually) involves Dylan’s story - specifically, his relationship with Bradley. It feels a bit forced and moves too quickly. They sneak into her father’s office, find out that he was having an affair, and then come to a mutual friendship within about three minutes of screen time. Nicola Peltz does an admirable job, but that range of emotions is a lot to ask of any actor.

Overall, “Underwater” really succeeds at getting me excited for next week’s finale. There are so many pieces at play - the midnight meeting with Abernathy, the Winter Formal (Carrie, anyone?), Bradley and Dylan’s relationship, the missing money - and it can all spiral out in any direction. So far, Bates Motel hasn’t disappointed and I have a feeling this is going to be one hell of a finale. I’m counting down the days.

What are your thoughts on “Underwater,” or the series so far? I’d love to hear your thoughts and speculation below.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: "A Boy and His Dog" Review

Mon, 06 May 2013 23:38:00 -0400

Well, it’s safe to say that White Pine Bay is the craziest fictional town in America, and all the insanity somehow falls within the block surrounding the Bates Motel. Tonight’s episode, “A Boy and His Dog” seems slower-paced in comparison to this fast-moving show, until we get to the ending. More on that later because the end reveal will certainly be polarizing; after all, it pushes Bates Motel further away from reality and into the realm of b-horror.

Almost every scene in “A Boy and His Dog” is dramatically interesting, so I’d like to start with what doesn’t work. I find Dylan’s road-trip adventure the least compelling aspect of the episode; the fight felt like an unnecessary push to deliver action, and the drug-producing hippies felt too stereotyped and artificial. Likewise, Dylan’s character arc (turning from uncertain follower to demanding leader) just wasn’t all that interesting. Fortunately, nearly everything else in “A Boy and His Dog” was.

The taxidermy was a great little scene, and seeing that dead dog being stretched out bordered on dark comedy (it was most blatant when Norma awkwardly pet the skinned animal). I like that Norma tries to interfere and stop her son from playing with corpses. She doesn’t quite see the serial-killer-esque actions, but she is concerned that he’ll be labeled in school.

I initially had mixed feelings about Norma and Norman going to a therapist. I feared trying to psychoanalyze Norman’s complex psyche would detract from the careful characterization and subjectivity of the narrative. However, I’m glad to see that the therapist has already been dismissed, and that the scene was actually a way to shed light on Norma. Her defensiveness when he suggested her control issues was played out brilliantly. As always, Vera Farminga is flawless in her portrayal of Norma Bates. On a side note, I loved her telling Norman that he needs to control his emotions better. It was perfectly hypocritical.

Last week introduced us to the man in room nine, and this week shows his true capabilities. It’s still a bit unclear how far the sex slave conspiracy runs, but at this point, it seems the whole town is in on it. I wondered at the conclusion of this episode if the drug dealers staying at motel was the original plan. After all, who else are all these rooms needed for? Their staying at the twelve rooms for a week every other month would fit the time frame. It’s unclear at this point, though I’m sure it will be addressed in the final two episodes.

But, let’s get to that ending. Norma walks up to her bedroom and finds the deformed, twisted corpse of Shelby lying in her bed, badge stuck to his autopsy-stitched chest. It was nightmarish imagery that raises all kinds of questions: who left it? We assume the man in number nine, but did he have an accomplice? Where did he get that body? Was the sheriff involved? For now, the questions are unanswered, but this was a big step for Bates Motel, and it ultimately raises the dreaded how-much-of-this-can-really-happen-to-one-person question.

As Bates Motel moves further away from reality, I continue to find myself intensely invested in the characters and their relationships with one another. Though I posed logistical questions throughout this review, my main concern as a viewer is simple: how is this going to affect Norma and her son? That’s the question I find myself asking at the end of every episode, and the show continually delights with a careful exploration.

Bring on the final two episodes.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: "The Man in Number 9" Review

Mon, 29 Apr 2013 23:45:10 -0400

If last week’s “The Truth” felt like a season finale, tonight certainly felt like a season premiere. “The Man in Number 9” definitely has the elements of a reset, as old plot lines are tied up and new ones are introduced. In a way, this episode feels a little disjointed at time, especially since so much time is covered. But thanks to a truly lovely ending, “The Man in Number 9” ties it all together.

The first half of this season is wrapped up in the teaser. Norma, Norman, and Dylan have a talk with the sheriff, who quickly resolves the story threads with a quick, “here’s what we’ll tell everyone.” It’s efficient and effective; the writers are basically telling us to overlook any lingering questions and move on. After the opening credits, Norma returns to her enthusiastic self. I like the way the episode traditions from day to night, as the darker elements of this family come to fruition. It channels a bit of The Killing’s territory.

We all know Norma’s happiness won’t last long, and she’s back to her neurotic self early on. Still, she’s less of an emotion wreck here, and her actions feel more calculated. Everything from hiring Emma to stalking Bradley - it’s all creepy and well planned. Then comes her highly inappropriate sex talk with Norman. It’s all sharply written, and could have easily been overdone. There’s just the right balance of malice and jealousy in her words and body language. My only qualm is the way Norma imagines Norman and Bradley together; it feels too much to get into both her visions and Norman’s.

However, “The Man in Number 9” really allows Norman Bates to shine, while his mother has traditionally been provided with most of the dramatic tension on this series. From the beginning of the episode, Norman and his mother have been at odds, and Norman ultimately wants to believe he can lead a normal life. There’s a really sad culmination at the end, as Norman holds the dead dog (an object of normalcy, as Norman calls it) and mutters that he was wrong about everything. That scene was so well handled, tying all the pieces together in a touching and sad realization.

I really like the idea of the man in room 9; he’s completely over-the-top creepy, and I’m glad the writers didn’t resolve his story arc too soon. Rather, this was just an introduction, and his demands at the end (the whole block of rooms for a week every other month) is perfectly ominous, and his connection to Keith Summers only heightens the tension. Likewise, I absolutely loved the scene of Norma waking in the night, sensing someone else in the house. That was filmed beautifully.

I should also mention that we see Norman performing his mother’s dialogue for the first time on the series. No, it’s not quite the performance we see in Psycho, but it has all the elements and was another nice nod to Hitchcock’s classic. The moment came in at just the right time, following Bradley’s rejection of Norman. I wonder how far this series will take his transformation.

Overall, I really enjoyed “The Man in Number 9.” It was an effective follow-up to the chaos that ensued last week, and it allowed for a greater exploration of Norma and Norman’s fraught relationship. For me, it was the moving ending that tied it all together. I can’t wait for next week.

-MP

Note: This review is taken from Review Hub Central.

I love your theme! Anyway, talk to me about Bates Motel!

Mon, 22 Apr 2013 23:56:09 -0400

Thank you! It is quite amazing; one of my favorite new shows. But, I’m a sucker for the original Psycho, and I’m still surprised that Bates Motel is so well done. I’m assuming you like it, too? :)

Bates Motel: "The Truth" Review

Mon, 22 Apr 2013 23:45:27 -0400

Wow, that was quite an episode. Last week, I criticized “Ocean View” for packing too much into one episode. “The Truth” moves even faster, yet it is far more successful and gripping. The reason? “The Truth” is focused on one situation, and it brings all the episode arcs to a head, while also containing some major revelations.

I admire how this show has become hyper-serialized, like Breaking Bad. Each episode picks up immediately after the previous one, and “The Truth” spans a single night at the Bates Motel. Based on the teaser for “The Man in Number 9,” we’ll be right back on the steps of the mansion next Monday.

At the start of “The Truth,” Norma, Norman, and Emma strategize on how to handle the victim in number 11. I loved Norma’s initial reaction: the spaced-out flee to her car as Norman jumps through the window and takes the wheel. Norma Bates is an emotional time-bomb, and her reactions range from cold and calculating (as seen in the revelation at the conclusion) to out-of-her-mind screaming.

Early on, Dylan gets a promotion (he’s only supposed to be 21? He looks 30!) after his revenge hit-and-run in “Ocean View.” We also find out that he’s purchased the ocean-view apartment and wants Norman to move in with him. On that score, I was a little confused why they find it a priority to get the tool belt. Don’t they also believe that Shelby has the carpet fiber? That’s the truly incriminating evidence, so I’m not sure why they assume Norma is safe after discovering the belt among Keith Summers’ boat. Shelby can still blackmail Norma with damning physical evidence.

Regardless, I love the way that this episode spirals out of control; the escalation is handled perfectly and took me by surprise. Who would have believed this would end with a shootout in the Victorian mansion? Once Shelby showed up, things looked bad, but the way it all progressed was flawless. Hearing the water in the pipes harkened back to the pilot, when Norma and Norman had Keith Summers’ body in the bathtub. This time, Norma was found out and that poor victim had to flee in to the woods. I wonder if she’ll make a return next week.

I especially liked the scene where Dylan tells Norma that Norman is moving out. Her reaction was fascinating. There were so many horrible, immediate problems occurring, yet Norma only lingered on the loss of her son. This inevitable anger and confusion led them to be caught by Shelby, who returned with a vengeance.

The hostage scene and shootout was especially well done. It reminded me a bit of the original Scream. The look of the house and the violence of the situation just had that same ominous tone. Norma dragging Norman out of the house as Dylan and Shelby fought had a wonderful pacing.

Then came the final revelation, which I have mixed feelings about. By the time Norma started to explain what happened to Sam (Norman’s father), the twist was predictable. However, the scene from the pilot is re-dramatized with a deeper understanding. While the revelation (“the truth”) is quite interesting, the story took a bit too much time showing it to us. Though I suppose dramatizing the scene and showing it to us proves that it is real, not just another lie Norma tells to manipulate her sons.

As noted, “The Truth” is an incredibly strong episode of Bates Motel, one of the best of the series. I can’t wait to see what happens when the sheriff shows up on the scene. That can’t be good.

What did you think of “The Truth?” As always, I’d love to hear your thoughts.

-MP

Note: The review is taken from Review Hub Central.

Bates Motel: "Ocean View" Review

Mon, 15 Apr 2013 23:41:26 -0400

This week’s episode of Bates Motel certainly packs in a lot of content. For better or worse, “Ocean View” answers almost all the questions we were asking at the conclusion of last week’s episode. Will Norma go to jail? What’s really going on with Shelby? Was that girl in the basement real? It’s amazing how much ground is covered here.

The beginning of “Ocean View” is especially strong. Norma is in a holding cell when Norman and Dylan come to visit. Interestingly, Norma and Norman are on opposite wavelengths throughout “Ocean View.” When Norman is kind and supportive, his mother is not, and when she tries to comfort Norman, he does not reciprocate. It’s an interesting dynamic, and it works quite well. I especially liked the scene where Norma kicks her son out of the car. It really shows their relationship - with all its complexities - quite well.

I love where the writers are taking the Norman/Dylan relationship. There’s great chemistry between the two, and Dylan taking on the protective-older-brother role feels well-earned. After all, he’s live with Norma for years. There’s a great triangulation between the characters, and Norma’s jealousy is fascinating.

With Dylan’s character arc, the shooting felt especially out of place and the weakest aspect of “Ocean View.” Perhaps it’s because the story isn’t resolved, but it all felt a bit unnecessary. There’s already so much going on, and the added drug market feels like the story is veering off in a weird direction. Likewise, Dylan running down the newly-introduced shooter happened too quickly.

I suppose that’s my biggest qualm with “Ocean View,” and with Bates Motel as a series. It all moves so fast. Who expected Norma’s entire criminal case to be wrapped up in half an episode? The charges are dropped before they are even explored. Likewise, Shelby acts incredibly careless by stealing the evidence. Still, I really enjoyed the scene between Shelby and Norma, and I’m excited to see where that relationship goes next week… especially with that final revelation.

I was 99% certain that Norman had hallucinated the Asian sex slave. And, those markings on his ankle? Let’s not forget that Norman would dress up as his mother in the original Psycho. Performance has always been a part of his psychosis, and I assumed the physical manifestations on his ankle were just further proof of his own twisted re-enactments.

But, no. Norman and Emma find the sex slave on Keith Summers’ boat (in an incredibly eerie scene). After the victim conveniently passes out, they bring her to the motel. I tried to justify how this could possibly be an hallucination. It had to be, right? There’s no way all this crazy stuff can happen to one family.

Yet Norma walks in, questions the victim, and we’re given the proof. For the first time, I was just as floored as Norma by the revelation. It felt surreal and trippy. With so many huge changes in the series (all happening within one episode), I think Bates Motel has come to a crossroads. The writers needs to be very careful with how they proceed from here because the show can easily fall into the “none of this is believable, at all” trap.

There’s so many great moments in this show that I would hate to see it get bogged down by too many careless plot points. Here’s hoping the writers slow down and spend the remainder of the season exploring all this vastly rich material. What did you think? Was there too much? As always, I’d love to hear your thoughts.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: "Trust Me" Review

Mon, 08 Apr 2013 23:56:43 -0400

I’m a huge Hitchcock and Psychofan, but when I heard about Bates Motel coming to A&E, I laughed a bit. It sounded clunky, and I thought it would be yet another cash-in on a classic piece of cinema. But then I started to see some of the footage and early production information, and the show began to catch my attention. I watched the pilot, loved it, and after only four episodes: I’m hooked. Bates Motel is anything but a cash-in.

There is so much to praise about the show, but two aspects stand out especially. First, the atmosphere. Bates Motel feels like it is set in the shadowy realm of Twin Peaks (and I mean that as a compliment), with strange happenings and a unique feel. There’s a 1960s element at play; even though the show is supposed to be unfolding in a contemporary setting, everything from costume to set design is markedly 1960s. Secondly, and more notable: the acting is compelling. The casting is phenomenal with truly stand out performances from Vera Farmiga, Freddie Highmore, and a strong secondary cast.

Tonight’s episode, “Trust Me,” is all about relationships and issues of trust. The episode cleverly takes place in twos: characters are always paired with another, exploring each and every relationship with strong attention to detail. We see Norma & Norman’s twisted, multi-faceted dynamic, which again proves to be compelling. We also see Norma and Dylan’s fraught relationship, filled with demons from the past. But, most notably, Norman and Dylan arrive at some semblance of peace, in which Dylan proves to be a provider and a possible redemption for Norman (though as a prequel, we already know that Norman is doomed).

Other relationships come to a head, including Norman and Bradley’s flirtations. We learn here that Bradley’s father was killed in the accident from episode two, and I wonder if the sexual imagery at the conclusion of “Trust Me” is meant to be taken literal or as another figment of Norman’s complex psyche. On that score, it’s hard to know what’s real and what isn’t, and though that dynamic works for now, I can see it wearing thin as the series progresses. If we must second-guess every shot (is or isn’t think Norman’s hallucination?), the show can grow frustrating. Hopefully, the writers won’t overuse the gimmick.

While I love the pairing in “Trust Me,” one must also note how much ground is covered in this episode. Norma has already been arrested, and I can’t wait to see how that plays out in the weeks ahead. Norma is always teetering on the brink of emotional insanity (we see some of it at the garbage dump and with Dylan), which gives this show a strong confrontational approach, like Breaking Bad. Fortunately, Farmiga is more than capable of displaying such a wide range of emotions.

My one criticism with the show (especially in previous episodes) has been the need to add so many layers. I suspect that’s another reason why Bates Motel has been compared to Twin Peaks, because there is an unbelievable amount of weird stuff going on. “Trust Me” has certainly slowed things down a bit, and the show has taken a step back and is starting to explore all that’s been laid out. Still, when Norman explained everything to Dylan, it felt like a bad joke: “Oh, I forgot! And there’s an Asian sex slave tied up in the basement of the cop who is investigating the man who raped Mom but was murdered and dumped in a lake. His hand just washed up, by the way.”

Still, that might be what I like about Bates Motel: it’s ambitious and unrelenting. The show is willing to explore the dark side of the human psyche. Fortunately, A&E announced today that Bates Motel will return for a second, ten episode season. That’s great news and I can’t wait to see where this series takes us.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel Renewed for a Second Season!

Mon, 08 Apr 2013 16:33:00 -0400

Bates Motel Renewed for a Second Season!:

Good news! Bates Motel - my favorite new show this year - has been picked up for a ten-episode second season. I think I may start reviewing it weekly.

Episode 4, “Trust Me” airs tonight at 10 on A&E. Will you be tuning in? For television reviews and more, check out Review Hub Central.

-MP

The Killing Returns June 2nd

Fri, 29 Mar 2013 21:53:18 -0400

The Killing Returns June 2nd:

The Killing will return to AMC on June 2nd for a two hour premiere. I know, it’s crazy that it’s coming back, but I’m excited to see where the show goes from the events of Season 2’s finale.

The press release says that the new season will pick up one year after the finale, which sounds like a good idea… to step away from all that drama and start fresh.

If you’re interested, you can check out any of my The Killing reviews right here. Will you be tuning in?

-MP

Luigi's Mansion: Dark Moon Review

Thu, 28 Mar 2013 22:29:07 -0400

Poor, Luigi. He got his first shot at going solo in Luigi’s Mansion back in 2001, providing a truly unique launch title for the Nintendo Gamecube. The game garnered a cult following over the years, but it was hardly considered a beaming success back at launch. Many unfairly compared the mysterious, brooding gameplay of Luigi’s Mansion to the happy-go-lucky platformer, Super Mario 64. The game received mediocre reviews, and faded into obscurity. Luigi went silent for twelve years, appearing in cameos alongside his ever-popular brother, Mario. That is, until last Sunday, when he returned to his ghost-busting self in Luigi’s Mansion: Dark Moon.

Dark Moon (known as Luigi’s Mansion 2 elsewhere - again, I suspect due to the mediocre reception of the first game in North America) is an all around fantastic title. It oozes with personality, from the moment King Boo breaks up the Dark Moon right up and through the credits. Dark Moon certainly has more story elements than Mario’s recent affairs, and the careful attention to detail shines through every aspect of its design. Luigi is disrupted from a relaxing night after King Boo (back with a vengeance after the conclusion of the first title) releases malevolent spirits into the once peaceful Evershade Valley. The ghosts are no longer friendly, and Luigi is tasked with recovering the fragments of the Dark Moon in an effort to restore balance to the town.

Fittingly, Luigi is terrified of ghosts and of things that go bump in the night. His slapstick comedy and shaky hands create a lovely atmosphere both child friendly and all around charming. In many ways, Luigi is the most defined Nintendo character with a unique and quirky personality. Dark Moon employs some lovely animation, and Luigi reacts realistically (and humorously) to his spooky surroundings.

This time around, there are five mansions to explore, and this allows for some great diversity. From basic haunted houses to mysterious catacombs and clock towers, Dark Moon has you covered. My biggest gripe with the game, however, is the mission structure. Professor E. Gadd constantly hounds you when you’re exploring, and he’ll tell you that a mission is over (even if you don’t think it is!) and then warp you back to his lab to lecture you. It’s a bit frustrating and detracts from the atmosphere. Likewise, it removes tension because if anything ever truly goes wrong, you know he can just bail you out and warp you away.

In terms of gameplay, Dark Moon is an absolute delight. A specialized vacuum cleaner, the Poltergust 5000 (apparently updated by Professor E. Gadd in the twelve years since the original) serves as a unique and challenging gameplay mechanic in which you must first stun ghosts with a burst of your flashlight and then suck them up. Like in the first game, you pull back in the opposite direction of the ghost in order to create the most suction. It almost feels like fishing, but when you’re trying to capture four or five ghosts at once, things become challenging, and you’re pulled all over the map. It’s great. The designers make you work for each ghost you capture.

This leads to another strength of Dark Moon: weapon upgrading. Over the course of the levels, you will scour the mansions for hidden gems and cash. Unlike the first Luigi’s Mansion, where the cash meant nothing until the end, your currency here is used to buy more powerful vacuum and flashlight capabilities. Yes, your flashlight, too, can be upgraded with the Light-Dark beam, which is used to discover hidden items and Boos in the mansions. There is a vast amount of unlockables and collectables scatted throughout the game, which only makes the gameplay all the more addictive.

Dark Moon also has a great Co-op and online multiplayer function, called the Scarescraper. Though I haven’t played around with this as much as the campaign, it goes a long way in extending the replay value. From what I’ve experienced, it’s as challenging and addicting as the main campaign.

But the campaign is the real treat for me. Dark Moon has a brilliantly conceived story, with just enough exposition and mysterious happenings to keep you intrigued. I love how the story employs a bit of a slow burn, in which photographs you inspect slowly unravel what’s actually going on. By the end of the game, the stakes are much higher and things begin to move with alarming momentum. It’s really well done and each boss is utterly unique.

Overall, Dark Moon is an absolute treat on the 3DS, and a reminder of why Nintendo remains one of the strongest publishers out there. The amount of content here is unmatched, and all of it feels so masterfully crafted. There are a few qualms: the mission structure, the forced (sort of non-responsive) gyroscopic controls, and the sometimes harsh no-checkpoint rule (on a side note, if you find a gold dog-bone, you get an extra life, so I suppose that’s a bit of a checkpoint). Really, though, these are very minor complaints in a game this good.

Before I wrap this up, I feel the need to mention the 3D visuals. This is by far the best looking use of 3D I’ve seen in a game. If you liked Mario 3D Land, you’re in for a treat. Just wait until you see that snowfall level. It all feels instinctively designed for this system, as each room is a little diorama with perfectly illustrated depth. This is the only game I’ve seen that looks infinitely better with the 3D turned up.

If you can’t tell by now, I couldn’t recommend Luigi’s Mansion: Dark Moon more highly. The developers put so much thought and care into every little nook and cranny of the spooky mansions, and it shines through. Ghostbusting has never been more fun. If you own a 3D, consider this a must-buy.

-MP

Note: This review was taken from Review Hub Central.

Celebrity Ghost Stories Review

Mon, 25 Mar 2013 00:41:28 -0400

Celebrity Ghost Stories is a little known shown on The Biography Channel that’s been on for nearly five years and has featured well over two hundred celebrities. I’ve seen almost every episode and didn’t realize how much I enjoy this show until Season 4 wrapped up a few weeks back. Until Season 5 begins, my DVR is rendered unemployed on Saturday nights.

Celebrity Ghost Stories is simple in style and execution. Each episodes features three or four celebrities recalling a peculiar memory from their pasts. Interestingly, they’re not all hauntings; the stories range from bizarre encounters in the woods to a more typical haunted house scenario. In fact, the broad spectrum of stories works well because you never quite no where each story is headed. Some are terrifying (like Cary Elwes’ sleepless night in a seventeenth-century Spanish castle), while others are poignant and moving (such as Lainie Kazan’s spectral visit from her late husband). The stories are consistently surprising and intriguing.

The show uses minimalistic recreations intercut within each celebrity’s narrative. But, these aren’t Unsolved Mysteriesrecreations; these are simply-filmed images with little to no recreated dialogue. This minimalism works especially well for Celebrity Ghost Stories. The tales presented here are the kind you hear around a campfire, and the less hand-holding by a director, the better. Much of the story is left to your imagination, and the anecdotes are often just as successful if you were to close your eyes and simply listen.

I should mention that not every celebrity story is a success. Some of them are downright terrible. The most successful are the ones that take a peculiar event - maybe a night in a haunted house - and recreate every detail of the encounter. The worst usually cover months or years at a time where “strange things kept happening until I moved out of that house.” But, regardless, there are enough great tales here to overshadow the bad.

I generally steer clear of reality television (and the word “celebrity” only raises more red flags) and yet, Celebrity Ghost Stories works. In fact, the celebrities (not all are as recognizable as Regis Philbin or Carrie Fisher or Joan Rivers, but you’ll know most) actually enhance the narratives. These people are generally well-educated and successful, which adds authenticity to their accounts. That doesn’t mean you’ll believe everything you hear; in fact, I’m sure, like me, you won’t, but the guests are able to accurately articulate their experiences and provide intriguing reflection on the supernatural.

I know this show isn’t for everybody, but I recommend you give it a shot. Celebrity Ghost Stories offers fascinating slice-of-life stories by celebrities who are haunted by an experience from their pasts. The range of storytelling is remarkable, and fans of biographies - or simply those who love a good ghost story - shouldn’t let this one slip by.

If you’re a fan of the show, or are considering watching it for the first time, I’d love to hear your thoughts below.

-MP

Note: This review is taken from Review Hub Central.

Fringe: Series Finale Review

Fri, 18 Jan 2013 22:59:24 -0500

Ah, Fringe. Tonight marks the resolution of FOX’s five year science-fiction series. What began as a typical freak-of-the-week pattern emerged into something entirely different and ends with a two-part episode that neatly wraps up the series. “Liberty” and “An Enemy of Fate” have big shoes to fill in a show that managed to reinvent itself every year.

Part I, “Liberty,” is all about Olivia, who doses up on Cortexiphan and crosses through to the other side. It’s great seeing the alternate universe one last time, as Olivia checks in with Altlivia and Lincoln, who are married with a child. I suspect that if Season 5 had been provided a full twenty-two episode order, we would have spend much more time in this calmer, alternate reality.

The concept is engaging with Olivia crossing over, being escorted to Liberty Island, taking Michael and crossing back another two times. It’s pretty elaborate stuff, yet in typical Fringe fashion, the writers assume we understand and don’t over-explain to their audience. Of course, we Fringe fans have followed much crazier story-arcs over the course of this series.

Then, in Part II, “An Enemy of Fate,” Walter expresses his plan to escort Michael into the future in order to rid humanity of the observers once and for all. I must say, the observer mythology, as elaborated on last week, is quite compelling, and it reinforces the very notion which makes Fringe so special: the importance of humanity in a world governed by science. This notion is the basis of most great science-fiction.

The rest of the episode is handled well, with strong action sequences and a great sense of momentum. In the final moments, we’re given the happy ending foreshadowed in the Season 5 premiere. Though the resolution might have been a bit predictable and possibly seen as an easy “reset” in this sometimes convoluted science-fiction series, it ultimately works here. Why?

Because Fringe has never been about the science, not really. Of course, science was the catalyst for storytelling, yet the crux of the series could be condensed down to the lovely Season 2 flashback episode, “Peter,” in which a grief-stricken Walter tampered with nature in order to save his son from death. Everything since has been a consequence of those actions, and “An Enemy of Fate” allows Walter to let go of Peter once and for all. This is what he needs to do; it’s what the series has been building up to, and Walter realizes that September’s suggestion to go instead feels wrong. Walter’s sacrifice will allow for some karmic justice that he has been searching for over the course of the series.

The final image of Fringe - the white tulip - harkens back to the wonderful conclusion of Season 2’s “White Tulip,” yet it bares a very different connotation here. In that episode, Walter sought out forgiveness from God. Here, Walter is able to forgive himself, and he can honestly face his own trepidations involving losing Peter once more. It’s a poignant ending that may not be all that surprising, but it is satisfying in its own right.

Credit is due to all the wonderful cast members on this show, and I hope that John Noble will finally receive that hard-earned Emmy nomination for “An Enemy of Fate.” Likewise, let’s not forget to credit FOX for allowing this series (with a small but incredibly loyal following!) to stay on the air for so long. It’s not often a network will stand behind a faltering science-fiction show.

Fringe will stick in my mind as one of the strongest and most entertaining shows of the past few decades. Though it’s had a few wickedly strange episodes (“Brown Betty” and “LSD” come to mind) and some storytelling missteps (I’m still not a fan of that reset in Season 4), the show consistently addressed science in relation to humanity. It’s the first show I’ve ever reviewed for this website, and though I sadly stopped writing for Review Hub Central this past semester (due to the demanding writing required for graduate school), I knew it would be disingenuous and somehow wrong not to review this final episode.

So, here’s to Fringe, the wonderful science-fiction show that never sacrificed heart for science and showed us the distinct possibilities of both.If you’ve been reading my reviews, I cannot thank you enough for the comments, feedback, and theories you’ve given me these past few years. I hope that we find one another on a different show… or perhaps in an alternate universe.

-MP

Note: This review is taken from Review Hub Central.

I know I’ve been missing the last few months, but...

Fri, 18 Jan 2013 13:04:00 -0500

I know I’ve been missing the last few months, but I’ll be back tonight with a review of the series finale of Fringe. I just spent the last two days catching up on Season 5 so that I can watch it live.

I can’t believe the show is nearly over, and I can’t wait to see how they wrap up the series. Is it too early to already miss it?

The Killing Was Renewed for Season 3?!

Wed, 16 Jan 2013 22:05:03 -0500

The Killing Was Renewed for Season 3?!:

This news came yesterday, and I meant to post about it: apparently The Killing will be back for a third season. This news has been hovering around for some time, but AMC made the official announcement yesterday. I’m quite surprised, considering the Season 2 finale worked so well as a series finale.

Rumors point towards a May premiere. Feel free to catch up on all my The Killing reviews right here.

What are your thoughts? Will you be tuning in? I know I will. I look forward to seeing how the show-runners handle a new season.

-MP

Fringe: "In Absentia" Review

Sun, 14 Oct 2012 20:27:52 -0400

I’m a week behind on my Fringe reviews, but I still want to post a quick article on Season 5’s second episode, “In Absentia.” This episode works to ground the new dynamic by reintroducing us to old series’ staples in a new, very different world. I enjoyed this episode a lot, as it effectively collides two different worlds.

“In Absentia” is essentially about recapturing the Harvard lab. Thankfully, the writers know how iconic that set is to the Fringe universe. Harvard has been overtaken by Nazi-esque observers, and getting in isn’t going to be easy. There’s definitely a Star Wars vibe going around this season with imperial and resistant movements, but I suppose those dynamics just go with the territory.

The episode focuses on a Loyalist - Manfretti - who is captured by Olivia and the gang. Manfretti is a physical representation of the 2036 world, meant to make us question the morality of this future society. When trying to extract information from Manfretti, is Olivia’s sensitivity the way to go? Or is Henrietta’s cynical torture device the proper approach?

On any other show, this good cop/bad cop routine is neither fresh nor interesting, but it works here because we know so little about this future society. The writers pretty much threw us into this world with little to no exposition. As viewers, we’re just as confused watching as Olivia and Peter. So the dynamic works because we begin on Olivia’s side; we’re seduced by Manfretti’s humanity as she is. But of course, his story is one big lie.

Yet, here’s the poignancy: Olivia believing Manfretti’s falsehood showed Henrietta that hope exists and the perhaps there’s something worth fighting for. Overall, Henrietta hasn’t been the most interesting character, but her cynicism will certainly allow for an interesting transformation as the series moves towards its finale.

At the end of “In Absentia,” Walter finally finds the tape he recorded before ambering the lab and himself. The coming scavenger hunt seems too contrived for the series (especially since it’s been done in Season 3, when building that damn machine), so here’s hoping the writers find a way to make it compelling.

As noted, this was another strong episode of Season 5 that further grounds the show in 2036. I’m excited to start watching “The Recordist.”

-MP

Note: This review is taken from Review Hub Central.

Fringe: "Transilience Thought Unifier Model-11" Review

Fri, 28 Sep 2012 22:35:16 -0400

Once again, Fringe has re-invented itself as the series moves into its fifth and final season. “Transilience Thought Unifier Model-11” serves as a strong setup to a very different season. Last year’s polarizing “Letters of Transit” laid just enough groundwork for “Transilience” to establish itself without alienating the show’s audience.

The year is 2036, and the observers have taken over the world. After last year’s odd, somewhat-rushed resolution, I like that the show jumps forward. The flashbacks are kept to a minimum, with one notable scene involving a young Henrietta being torn away from her parents, Olivia and Peter. This scene is referenced later in the episode, as Olivia and Peter share an emotional reflection on the day they lost their daughter. Interestingly, Olivia kept fighting while Peter broke down.

The pacing is great throughout “Transilience.” From rescuing Olivia from amber to shutting down the carbon dioxide filters, this episode moves along quickly while also establishing the new and bleak universe. In fact, this is what I admire most. Fringe is not always plot-driven; the show has a strong emotional core that is often overlooked by critics and fans. “Transilience” manages to reveal the beauty in the desolate.

This is accomplished in a number of ways. Notably, the relationships are at the heart of the show, and Olivia’s interactions with Henrietta are especially riveting. The writers pay careful consideration to the ensemble, and there’s a few lovely moments between Astrid and Walter.

The Season 5 aesthetics are altogether unique, as Fringe enters into a dystopian nightmare. A fascist government run by the observers tightly control a gritty, imperial New York. The scenery is very different from typical Fringe landscapes, and I love the attention to detail. Everything from the Nazi-esque uniforms to the crumpling, brick and mortar buildings help to situate the show and add to its credibility. Likewise, the scene with the amber gypsies was beautifully filmed.

The ending is great, when Walter sneaks out to a car and listens to music. He stares at a dandelion growing up through the rubble. It’s the perfect conclusion; Walter manages to find beauty in a bleak, cruel world. This dystopian nightmare isn’t without hope, and Henrietta manages (like the dandelion in the opening scene) to prosper and provide optimism in a world gone mad.

“Transilience Thought Unifier Model-11” situates Season 5 in the Fringe universe while also providing a thoughtful, poignant episode about family, politics, and hope. This is a strong start to the final thirteen, but there’s only twelve episode left. I can’t wait to see how the series ends.

What are your thoughts? As always, I’d love to hear your comments below. Do you like the new direction?

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: "Gliding Over All" Review

Sun, 02 Sep 2012 23:45:00 -0400

Breaking Bad wraps up part one of its fifth and final season with a very different episode. “Gliding Over All” is a brilliant hour of television that manages to reflect on the series in a quiet, subdued manner. That being said, this one still ends big and dramatically changes the scope of the series.

Before getting into specifics, I’d like to start off with this: “Gliding Over All” has lofty ambitions and manages to tell a lot with very little. This episode jumps through time, and some might see this as a fault. I disagree, as the episode certainly pulls out all the stops and shows us both sides of Walter White: the good and the evil, while we’re left wondering where his morality lies.

We start with the evil, as Walt orders the hit on Lydia’s nine names (ten, if you include the lawyer). The murders are grisly and all committed within a two minute time frame. There’s a lot of Heisenberg in the first twenty minutes: from his dismissal of Jesse to his meeting with Lydia. But then, we’re given a montage, in which nearly three months pass.

I suppose some might argue that this change shouldn’t happen off screen - that Walt’s transformation back towards humanity needs to be visible through action and dialogue, not through a montage. However, I disagree with these sentiments. The near constant visual cues to seasons past (the paintings, the smashed hand towel dispenser, the fly, the references to the RV, the same images preceding the Wayfarer 515 crash are just a few examples) show Walt’s newfound reflection. The monotony of cooking without Jesse wears on Walt until he, too, wants out.

This change is also aided by a visually brilliant scene between Walt and Skyler. Skyler decides to show Walt what she’s been doing with the money: she’s been stacking it up in a storage unit. This action makes sense; it’s hard to imagine Skyler still laundering money the same way she did in Season 4: by faking customers and ringing up artificial transactions. Her resolve has weakened considerably this year, and I love that she demands her life back as both she and Walt stare down at the money.

There will no doubt be speculation as to whether or not Walt’s cancer returned in “Gliding Over All,” thus prompting his shift in character. It’s certainly possible, but any thoughts would be just that: speculation.

“Gliding Over All” seemingly ends well. Walt gives a near-suicidal Jesse his share of the money, and then tells Skyler that he’s out of the business for good. Things are seemingly back to normal until that final tease. Hank finds a signed copy of Leaves of Grass from Gale. The quick flashback to “Bullet Points” is a great moment, and makes the wait for next year all the more exciting. On a side note, I have that exact edition of Leaves of Grass on my bookshelf (I have since before it even appeared on Breaking Bad), and I loved watching it take on greater significance with each year.

Sadly, we’re halfway through. Halfway through the final season of one of television’s finest dramas. “Gliding Over All” is a smartly-directed episode that quietly reflects on Walt’s good and bad traits, while allowing a sort of karmic ending to unfold. I loved every minute of this decidedly different episode, and I’m eagerly awaiting the final eight episodes.

I thank all of you who’ve read and commented on my reviews this past season. I always appreciate hearing your unique thoughts, opinions, and theories. I’ll see you all next summer for the final eight.

-MP

2 Hours Until the 2012 Breaking Bad Finale!

Sun, 02 Sep 2012 20:07:00 -0400

Can’t wait. I’ll post a review shortly after tonight’s episode, “Gliding Over All” airs. While we wait, feel free to catch up on all of my Breaking Bad reviews right here. How do you think it’s going to end?

Breaking Bad: "Say My Name" Review

Sun, 26 Aug 2012 23:54:00 -0400

“Say My Name” - the penultimate episode of 2012 - is another strong one with a big ending. Season 5 has not been the tension-ridden nightmare of last year, but it certainly brought about some huge changes for Walt thus far. Things are different now. This year has not been about the external threats caused by Walt’s choices. No, instead we’ve been stripped of those threats and provided with a look at who Walt’s become. And “Say My Name” provides some terrible revelations.

I have to say, the teaser is one of the strongest of the whole series. Seeing Walt back in Heisenberg-mode is great, and his negotiations are always a strong point for the series. Walt is very reminiscent of Gus here, and his pride is front and center. The line “I’m the man who killed Gus Fring” shows us exactly where Walt’s mindset is. Cranston played the scene wonderfully, and his concluding line - “You’re God damn right” - was delivered perfectly.

I was especially struck by Jesse’s resolve in “Say My Name.” Last week, I was a bit critical of Jesse’s reactions proceeding the child’s murder in “Dead Freight.” However, here we Jesse put his foot down and refuse to continue with Walt’s business. This decision was well played, and certainly more realistic. It shows a strength to Jesse that I didn’t expect to see so soon. After all, it wasn’t long ago that he was praising Walt for saving his life.

Every now and then, there’s a scene on Breaking Bad that resonates strongly without trying. In “Say My Name,” my favorite moment was at the carwash. There was this oddly sad moment of understanding between Jesse and Skyler; it was understated and could easily be missed, yet it managed to encapsulate how poisonous Walt’s become to those near him. As Skyler shakily walks back the office, part of Jesse realizes that Walt is a master-manipulator, both at work and home. I know the ending of “Say My Name” easily foreshadows this quiet moment, but I thought it extremely effective and work mentioning.

But, let’s get to the ending. Poor Mike. He’s easily one of the most likable characters on Breaking Bad for his no-nonsense attitude and strong resolve. But here we see him weakened and maybe a little scared… certainly more humanized than at any other point in the series. And of course, Walt kills him. If anyone would kill Mike, it’d have to be Walt.

The actual murder is left a bit hazy. Part of me suspects that Walt just wanted to shatter the windshield, and Mike inadvertently shot himself while reaching for his handgun. I’m not certain though. After all, what would be the point of just blowing out the glass: to get Mike’s attention and gratitude? I have no way to confirm who fired the bullet, so I’d love to hear your thoughts in the comments below. The fact that he was shot in the gut makes me think he was reaching for his own gun.

Either way, the outcome is grim. Walt’s awkward body language and dialogue reflects on his state of mind as he stands next to a dying Mike. The scenery is particularly striking (was that the same lake where Hank threw Tuco’s grills back in Season 2?), and it provides a stark contrast to the grisly accident (or murder?). It’s sad seeing such a strong character go, and it’s only appropriate the he dies because of Walt.

“Say My Name” marks another strong episode of Breaking Bad that raises the stakes even higher. Next week is the finale for 2012. Then we’re halfway through the final season. Mark your calendars… the countdown begins.

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: "Buyout" Review

Sun, 19 Aug 2012 23:49:13 -0400

“Buyout” is a transitional episode of Breaking Bad. It’s definitely not the strongest hour we’ve seen this season, yet it manages to move the story forward in all the right ways. More importantly, “Buyout” looks back just enough at Walter’s roots, revealing some of the underlying motivations behind his behavior.

The episode begins with Walt, Mike, and Todd disposing of the body in - you guessed it - hydrofluoric acid and a barrel. The teaser was especially effective by having the group deconstruct the bike before even showing the body. After, the group discuss Todd’s behavior and what needs to be done.

I often don’t blame Breaking Bad for taking shortcuts on anything, but I did feel that Jesse’s reaction was a little out of character. It’s hard to pinpoint the reason - maybe it was the forced anger - but his emotions didn’t feel as dramatic or resonant as when he shot Gale in “Full Measure.” And, I imagine a child is much worse, even if he didn’t pull the trigger himself.

Meanwhile, Skyler has a great scene with Marie, in which she laments over her poor parenting. Skyler was seemingly moments away from revealing the truth (but honestly, how would you even begin to explain all that’s gone down?), yet is taken aback by Marie’s knowledge of the affair. It was a typical Breaking Bad moment, in which the muddled lies reveal varying opinions and sentiments among characters. Both Betsy Brant and Anna Gunn were great in that scene; they really felt like sisters.

“Buyout” picks up when Jesse and Mike decide to sell out the business to competitors. We all know Walt won’t handle this well, and the escalation is handled nicely. I like that Jesse’s decision is influenced by Walt’s chilling whistle while manufacturing meth. It was a clean, effective way to show Walt’s solid foundation after the murder; he’s mostly unaffected by the closing moments of “Dead Freight,” even if he claims to lose sleep over it.

My favorite scene of “Buyout” has to be the discussion between Walt and Jesse in the White home. Walt’s explanation of Grey Matter was a long time coming and reinforced many of the interesting character arcs from Seasons 1 & 2. Not only does it reflect on Walt’s unwillingness to allow Gretchen to pay for his treatment, but it certainly connects with his current predicament: selling out of a multimillion dollar industry. But as Jesse points out, it’s not the same thing.

Also, the dinner scene bears mentioning. Seeing Jesse interact with Skyler again was perfect, as the two have absolutely no chemistry whatsoever. The dinner was appropriately awkward, as Skyler continues her passive-aggressive behavior in front of a visibly uncomfortable Jesse. I loved the conclusion, too: Jesse mutters “Thank God,” when Walt explains that his kids are gone. It’s nice to see some humor back on Breaking Bad.

The final moments of “Buyout”are purely speculative, as Walt hatches yet another plan. It should be interesting to see what that entails next week, where seemingly everybody wins. But as we’ve all come to accept: nobody ever wins on Breaking Bad.

“Buyout” likely won’t be a very memorable episode in the larger arc of the season, but it continues to tell the story honestly and with precision. With only two episodes left, it will definitely be interesting to see how the first part of the final season wraps up.

-MP

Note: This review is taken from Review Hub Central.