“You can let go now…”.

It’s a very rare thing to witness any sort of television character to go through a major arc throughout the life of a series. Many shows simply “reset” characters after each episode for the sake of preserving the franchise. One show in recent memory managed to build a character arc that was emotional and in some ways spiritual.  The last six years have been marked by a little series you may have heard of called LOST, wherein survivors of a plane crash realize that the island they now inhabit may not be what it seems. It’s also true that the series finale of the show entitled, “The End”, had a very polarizing effect on loyal fans in that some people loved it, and many (who in my mind missed the point of the show) were let down by it. What cannot be denied is the arc of the character in question, Jack Shepherd, played perfectly by the underrated Matthew Fox.

I have never identified with a character’s struggles in a show more than I have with Jack. This is a guy who starts out feeling like he doesn’t have what it takes to be a leader. A man who has too many issues with his now deceased father and a man who cannot accept other people’s choices. He needs to fix things. He needs to be in control. He needs people to listen to him. Throughout the series Jack went from being a “Man of Science” to a “Man of Faith”, which is no easy task for an actor to pull off.

I’m writing this now because tomorrow night The Emmy Awards airs, and one actor will take home the Emmy for best actor. Every year I have lobbied for Bryan Cranston to win for his outstanding performance as Walter White on Breaking Bad. This is the first year that Fox has been nominated for his performance as Jack Shepherd and this year, HE is deserving of the award and then some. I’m currently re-watching season six of the show and Fox’s performance is nothing short of brilliant. As an audience member I can see all the emotion that Jack is going through just by his facial expression and through his actions. Again, acting is no easy profession, and a lesser actor would not be able to convey the struggle that Jack goes through in the final episodes of the show like Matthew Fox can.

Jack is a character who could never let go of anything. He had to save everyone and had to be the one leading everyone to safety because if he controlled everything, in his mind he could never fail. Jack’s faith in science has been tested numerous times in the last six years and finally, in these last two seasons, he’s learned to let go. He’s learned he can’t fix everything or protect everyone. He can’t stop people from dying and he can’t be the one to make all of the decisions. How does someone emotionally connect to a story like that? How can that person make it believable? Two words: Matthew Fox.

Have I mentioned that I think his performance was phenomenal? After the finale aired Jimmy Kimmel did a special broadcast paying tribute to the show. His first guest was Fox, who had gotten quite teary eyed backstage. When asked about his character Fox said, “It’s been an amazing journey”. He was weepy because he had connected with his character on that level. He recognized the hell Jack had been through. The pain, the agony and the acceptance of his own fate. I’ve always been more of a sappy guy, but I’ll be damned if that is not a beautiful sentiment. This could be the one and only time Matthew Fox gets to walk away with an Emmy. He’s stated many times that he is now done with television and pursuing other interests. Lets not deny the man what he most surely deserves: a reward for believing in the character. For taking a chance. For putting his heart and soul into every day of work and, most importantly, for taking us along for the ride.

Written by Walon Green, Directed by Jean de Segonzac

Over the past year I decided to check out a few episodes from Law & Order: Criminal Intent mostly because Jeff Goldblum had joined the show. My aunt was the one who would always talked about how it was the best of the franchise, due in no small part to the performance by Vincent D’Onofrio as Det. Robert Goren. Upon watching the few episodes from last season that I did, I found out that my aunt was right on the money. Golblum is great as Det. Zach Nichols and offers a quirkiness to his character that has brought new life into the show. However, I must emphasize that D’Onofrio is by far one of the best actors working in television. I have not yet had the privilege to check out the episodes from season six and seven; one’s which focus on Goren’s more personal struggles but eagerly look forward to their DVD release.

This is the famous (or perhaps infamous) season opener that changes the entire show forever. Both D’Onofrio and the equally fun Katherine Erbe as Det. Eames (Goren’s partner) are departing from the show after eight years worth of cases. In addition, Eric Bogosian who plays, Capt. Daniel Ross is ***SPOILER ALERT*** killed off in the first half hour of the premiere, which as indicated by the ending scene, will send Goren into a downward spiral that will most likely cost him his job. In other words the show is transitioning (as shows often do) a new group of actors (with only Goldblum staying on) who will hopefully appeal to a larger audience. While I have had only a limited amount of time with the show I still do not yet know how I feel about these characters leaving. There are certain shows (CSI for example) that start off as procedural and then become more character driven. Much like Grissom on CSI, Goren IS Criminal Intent. Goren is such a powerful force in every scene that he’s in that it will be very tough to see him go and I hope the show continues to be as interesting as it has been.

The story of this first episode revolves around Capt. Ross and his apparent betrayal of The Major Case Squad by agreeing to help an arms dealer for a substantial amount of money. We find out, after his death of course, that he was working under cover with the FBI to bring this group down. Goren and Eames set out to find his killer and finish the case for him, but continued to be hindered by FBI interference. Nichols joins their cause, largely because he and Capt. Ross were partners for a number of years. This story sets up the model of acting that all actors should strive for. Golblum and Erbe give spot on performances that convey the anger and sorrow they feel for the death of their friend. It is (as if it were surprising) D’Onofrio that steals the show, at least in the first hour however. One scene in particular really shows what this guy can do: Just after Ross’s death the FBI has sealed the area off and are not letting Goren or Eames through to see their fallen friend. Goren basically rips the FBI a new one, while also fighting to keep back his tears. To drive the point home he says, “We take orders from our boss and our boss is over there!”.

This episode was an hour of high adrenaline, conflicting emotions and some farewells to a lot of great character moments. This premiere sets up what could be a very interesting year; one which I am very much looking forward to. Goldblum is a reason to keep watching, despite the departure of D’Onofrio because his character is a lot of fun. Goren is fun to watch because he really is a genius, and the implications of what being a genius does to his mind sends the audience into some very dark territory. But again, FUN dark territory. Golblum as Nichols on the other hand is the light to all of the darkness. He approaches crime scenes with an upbeat sense of humor, mostly to diffuse the idea that he is probably equally as smart as Goren.

The two new leads, whom we have not been introduced to yet are Saffron Burrows as Det. Serena Stevens and Mary Elizabeth Mastrantonio as Capt. Zoe Callas. I have a lot of hope for both actresses, largely because of their body of work. This could indeed be one show that succeeds in reinventing itself despite the loss of great actors and great characters. I for one am looking forward to what will come…

I was doing an exercise on this film for my scriptwriting class and decided to add something extra to the assignment. Considering the fact that I’m always referencing the things or people that inspire me, I thought I’d post this.

Enjoy!

Back To The Future has been my favorite movie of all time for as long as I can remember. I would describe myself as being optimistic and hopeful, which is really what this film says. Its message is clear: the future is not written; it’s what we make it. There’s so much hope to that idea that the best way I can describe my feelings on this film is that every time I see it I walk away with a smile on my face. The true joy in filmmaking or even in television is the ability to resonate with an audience and, upon continued viewing, appreciate the film even more. This film continues to inspire me because it reminds me that great films are what got me interested in this profession in the first place.

There’s nothing shown in this film that doesn’t need to be in the mise en scene. Everything within the frame is necessary and is either part of some exposition, an in-joke or a means for providing backstory. Upon this latest viewing, it occurred to me that there’s a beautiful relationship in the father son dynamic of this film. Marty teaches his father to stick up for himself, which in the future leads George to tell Marty that anything is possible. One could not exist without the other and for me it’s one of the more inspiring aspects that the film offers.

The other core emotional element to this film is the relationship between Doc and Marty. I’ll always go on record to say that there has never and will never be better chemistry on screen between two people than there was between David Duchovny and Gillian Anderson as Mulder and Scully on The X-Files. However, Doc and Marty come in at a close second and maybe in some respects tie up with the Mulder and Scully dynamic. Obviously there’s no sexual tension like there was for Mulder and Scully, but that’s not the point. The point is a friendship that exists only on screen that conveys a sense of mutual respect and love for one another. The major defining moment for their relationship is when Marty and Doc are about to part ways and Marty hugs Doc. Brown. He’s torn up about his fate in the future and will do anything to stop Doc’s death, which for me being the sap that I am is quite moving.

If I had to make one complaint about this film it would be the only scene that feels contrived for the sake of plot: when George, who has just saved Lorraine and defined who he is allows another guy to push him away and start dancing with Lorraine, only to knock him down and finally kiss her. It exists only to add more suspense to Marty’s predicament and contradicts the character growth we have just witnessed in George for the entire movie. Thankfully this scene is so small that it doesn’t quite hinder the movie in the way that it could have. In a movie that is so great and so heartfelt, it’s a minor complaint at best.

Back To The Future is a film about filmmaking. The script is the exact blueprint for how great scripts work. Everything fits so perfectly in this film that I’m amazed every time I watch it. The film gave me back the courage to write great things of my own and will continue to be an inspiration in my life for years to come…

Written by Vince Gilligan, Directed by Bryan Cranston

One of the things that continues to amaze me about Breaking Bad is the willingness of the writers to actually use the visual medium that is television. What I mean is that oftentimes too many shows become convoluted with dialogue and as a result have no room to breathe. The opening teaser to the season three premiere entitled “No Mas” is dialogue free and conveys more of a setting, pace and tone for the season than any brilliant dialogue ever could.

***SPOILER ALERT***

Season two was one of the most unique seasons of television I have ever seen. How many times have we seen an episode of a show that shows the end in the teaser, then spends the rest of the hour explaining how we arrived at that end moment? Granted, many shows do this well but frankly, I’ve grown tired of it. I have always remarked that the writers on Breaking Bad try and show (remember show, not tell) the audience something they have never seen before or, if they have seen it, show it in a new and fascinating way. Season two did just that. The opening teaser for the season showed us a cryptic black and white pool with a pink teddy bear that looked burned floating in it. It was the ending images of the season. In other words the first episode showed us the end of the season, not the end of the episode, and as the season progressed we understood more and more events or story beats that would lead to the plane crash that took place over Walter’s home. Not only did the writers devise a circular season, but they made it work beautifully. By the way, the episodes that feature the black and white opening have titles with dual meanings that form a sentence revealing what happens in the season finale. The sentence says: “Seven Thirty-Seven Down Over ABQ”.

“No Mas” begins a week after the plane crash, with Walt finding out that he is the man responsible (indirectly) for it and Jesse accepting his role as “the bad guy”. Meanwhile Skyler finally finds out that Walt is indeed a drug dealer (or as he says it, “manufacturer”) and demands his signature on their divorce papers in exchange for her silence. The teaser of the episode introduces The Cousins, two men sent by the Mexican Cartel to kill Walt. They arrive at the shrine of Santa Muerte, based of a religion that seems to worship death. Throughout the episode we get glimpses of the horrors that The Cousins are capable of as well as seeing that they are getting closer to Albuquerque.

What I love about the episode and the show in general is that it just gets better. It never betrays the characters with regard to who they are and what they’re willing to do. It does not change them for the sake of progressing the plot. Instead, story points are introduced and never forgotten and virtually every decision that Walt makes on the show has some sort of consequence. The use of visual images to convey what Walt in particular is feeling is nothing short of genius and Vince Gilligan’s writing has never been better. Bryan Cranston continues to show that he is easily the best actor on television and also manages to do one hell of a job directing. The rest of the actors, particularly Anna Gunn as Skyler, really show that they can match Cranston’s work and assure us that the show will continue to impress us.

From a credit standpoint I am very happy to see that most of the writers (aside from Vince, obviously) are still with the show. The writers include George Mastras, Peter Gould, Moira Walley-Beckett, Sam Catlin and John Shiban. New additions include yet another X-Files writer, Thomas Schnauz, Diane Mercer and perhaps my biggest joy, Michelle MacLaren, who directed my favorite episode last year entitled “4 Days Out” and got her start on of course, The X-Files. This may seem arbitrary to most people but to me, and hopefully anyone actually in the television business is signifies that these people actually want to work on this show. I have now met Vince Gilligan and can substantiate what has been said about him being one of the nicest guys one could ever meet. He runs his show in a similar fashion, most likely earning the respect and appreciation by anyone who works under him. What I’m getting at is the show works because of the people involved and because the man in charge knows what he is doing. Gilligan, the writers and the cast have already openly stated that this season will be the best yet and from the quality of just one episode already, I have to say that I agree.

Apologies for the delay on this one. This is my final list for a while, and I am not writing much for these films. However, I hope that the choices speak for themselves and encourage anyone reading to leave a comment. This will hopefully lead to more discussion…

Punch It!

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Alright I really need to start speeding through these lists because I’ve been delayed for so long now. I took my time with the first three, and now the lists will begin to overlap. That being said, if a show was covered on a previous list I’ll only briefly mention some points about it. Compiling a list for 2009 was a challenge because I could not split up hour longs and half-hour longs. It cannot be done. There are (sadly) not ten shows in either length that could make separate best-of 2009 lists. Thus, the way this list will work is the first six shows are in the hour long category and are ranked accordingly. The last four are the comedies and they too are ranked accordingly. If you feel so inclined, think of it as a Top Six of 2009 in Drama (1 being the best and 6 being, well 6th) and a Top Four of 2009 in Comedy (7 being the best and 10 being, well 10th). Oh, and the shows that had a season that started in 2008 and ended in 2009 I am considering as just 2009. You’ll see the corresponding season next to the show.

Lets kick this pig.

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I should never have promised so many lists. These things are tedious. At any rate, I’m continuing on, this time with the half-hour shows of the decade that I loved. Before I begin the list it should be noted that I divided hour long and half-hour long because I felt that all of my original “best of” list omitted too many comedies. I have always been more of an hour long episodic drama type of guy, but I still do love me some comedy. With this list I did have trouble finding 10 shows that I truly enjoyed (again, drama is my THANG) so there is one cheat on the list, as I have not yet been able to see the show but am sure that I would love it. The criteria matches the list for hour long’s of the decade, except on this list there are only two cancelled shows (at least as of now).

Here. We. Go.

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I think that coming up with a top ten list of TV shows has been much harder than I originally thought. Movies seem to be easier because they do not have the longevity or life-span that TV shows do. My early “cut” of the list featured only one half hour show on it and it felt out of place. It also managed to exclude many great half hour shows that I thought were deserving of being on the list so, as I announced via Twitter, I will also be posting a top ten half hour long TV shows of the decade because I believe that hour long and half hour long deserve their own separate categories.

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Well I think My Top Ten Of The Decade attracted many people to the website and now it’s a matter of keeping people’s interest. Therefore I will be doing three more lists in the upcoming days/weeks. There will be two TV show lists, one that focuses on the best shows of 2009 and another that focuses on the top ten shows of the decade. The last list will be the top ten films of 2009, which may take some time because there are three more films that I want to see that may make it on the list (Broken Embraces, The Hurt Locker, The Imaginarium of Doctor Parnassus). In other words, the two television lists will be out soon and the top ten films of 2009 list will be at least a week or two.

As far as the the best television shows of 2009 is concerned, I may or may not reduce that list from a top ten to a top five. Frankly there are just not that many GOOD shows on the air right now. I have been playing catch-up with some shows to try and improve the list but five may be all I need right now. The other two will stay at ten, unless I find an excuse to reduce those as well.

So please stay tuned and check back often. I am trying like hell to keep up with new reviews, news and announcements so that all of you can remain well informed.

More soon…

Follow me on twitter for the latest updates!

http://twitter.com/mattiegiles

The moment everyone has been waiting for…

I’m of course going to be starting from number 10 and counting down but before anyone reads on let me mention that anything anyone writes is simply their opinion. This may seem obvious, but many people tend to attack critics and others like myself for their “best of” lists. I imagine my list will cause some anger among people but my hope is that what I have to say will create and promote a discussion of these films, rather than an attack on me. I should also mention that while there have been many great films since 2000, I have not seen every single one. Thus my list may differ from that of the critics and other film buffs out there.

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