2012 In Memoriam, Part I

Thirteen years into the 21st century, Back to the Future Part II is looking less prophetic than I once imagined.  Supposedly, we are now only 24 months from hover boards, self-drying jackets, and dehydrated pizzas.  In reality, we have a re-elected African American president, the Cubs have yet to win the World Series, and poor Marty McFly has Parkinson's.  One thing that never changes though, is the inevitable passing of celebrated figures we all know.

Before embarking on my annual tribute to those who said their final goodbyes, I'd like to offer a fond farewell to Shana, our family dog since I was in college.  My parents brought her home in 2002 when our first dog Lucy was 13 and aging fast.  I challenge anyone to produce a sweeter pair.  Quickly realizing that Lucy, a Brittany Spaniel three times her size, took first pick of food bowls every morning, Shana learned to eat quickly.  This is most definitely a Pava trait.  Remarkably Lucy stayed healthy another three years, no doubt due to the exuberance provided by her new best friend.   

Shana eased the eventual transition for my parents, brothers, and I and quickly forged her own quirky personality.  She had a funny habit of spacing out and staring in one direction as she got older, although somehow she always heard the cookie jar.  After long days at the hospital and bumper-to-bumper traffic on I-95 this past year, Tarah often came home exhausted.  But upon arrival, Shana typically sprinted over, jumped up her leg, and stretched her little body as far as it would go.  This wonderful hello only took seconds and forced a smile every time.  

In August, my parents had to put down our beloved Mini Schnauzer, who was suffering from a heart murmur.  Shana spent the day outside in the sun with us.  She enjoyed a virgin McDonalds' grilled chicken (meaning no bun) and trotted around the yard.  I still miss her.  Shana was 15.

Several notable writers left us this year, including children's author Maurice Sendak (83), best remembered for the timeless classic Where the Wild Things Are.  Science fiction pioneer Ray Bradbury (91) wrote Fahrenheit 451 and many other popular novels.  Jan Berenstain (88) collaborated with her husband Stan on dozens of Berenstain Bear books, whose covers somehow still remain instantly recognizable decades later.  And the title family continues to provide moral lessons to young children all over the world.    

Henry Hill (69), who relayed his experience in the New York Mafia from the confines of the Witness Protection Program, died in June from decidedly uncinematic causes.  His story of betrayal later made Ray Liotta a star and inspired the best American film of the past 25 years, Martin Scorsese's Goodfellas.  Another individual who made waves was Rodney King (47), whose videotaped beating by the LAPD in 1991 sparked racial tension and deadly riots.

Music took a hit this year with the loss of pop icon Davy Jones (66), lead singer for The Monkees.  The catchy hit "I'm a Believer" was the most popular song of 1967.  Donald 'Duck' Dunn (70), brought his formidable bass talents to multiple soul acts, including Booker T, Sam and Dave, and The Blues Brothers.  Beastie Boys co-founder Adam 'MCA' Yauch (47) died following a three year battle with cancer, which sadly also claimed "At Last" singer Etta James (73), The Bee Gees Robin Gibb (62), and the "Queen of Disco" Donna Summer (63).  Robert Sherman (86) wrote and composed many classic Disney songs, while the esteemed Marvin Hamlisch (68) won a Tony, three Oscars, four Emmys, and the Pulitzer Prize for drama.  His numerous Broadway credits included A Chorus Line, The Goodbye Girl, & They're Playing Our Song.  He also figured prominently in 70s films The Sting & The Way We Were.  

On television Neil Armstrong (82) provided one of the great moments of the 20th century, becoming the first man to set foot on the moon on July 20th, 1969.  Mike Wallace (93) always sought the truth over four decades as a news correspondent on 60 Minutes.  Puppeteer and voice actor Jerry Nelson (78) brought his unique talents to Sesame Street, Fraggle Rock, & The Muppets over the years.  He created dozens of memorable characters, including Statler, The Count, Gobo Fraggle, Crazy Harry, Floyd Pepper, Herry Monster, Camilla, Uncle Gobo, Lew Zealand, & Snuffleupagus.  And Dick Clark (82) was America's host for multiple generations, helping all of us usher in the new year with dignity from his annual booth in Times Square.  Don't get me started on his replacement.

Andy Griffith (86) was on a short list of the most beloved television figures of all time, playing Sheriff Andy Taylor on the appropriately titled The Andy Griffith Show.  But despite his connection to Mayberry and later Matlock, my brother and I are probably the only two on the planet who will remember him best as General Rancor opposite Leslie Nielsen's Dick Steele in Spy Hard.  Jack Klugman (90) was most famous for his role as Oscar Madison, one half of TV's The Odd Couple with Tony Randall.  He later starred on Quincy M.E. and was the last surviving jury member from the classic courtroom drama 12 Angry Men.  

Larry Hagman (81) became an 80s icon playing villainous oil tycoon J.R. Ewing on Dallas.  He was also well known for I Dream of Jeannie and submitted a great latter-day performance as a politician with a hidden past in Mike Nichols' Primary Colors.  Sherman Hemsley (74) will forever be George Jefferson to millions of fans who watched him "movin' on up" to his own spin-off The Jeffersons, following a successful run on All in the Family.  Ian Abercrombie (77) provided laughs as Elaine's lunatic boss Mr. Pitt on Seinfeld.  One of my favorite episodes focused on his obsession to find a spaceship in a 3D painting.  Others of note included trendsetting comedian Phyllis Diller (95), Family Feud host Richard Dawson (79), Don Grady (68) of My Three Sons, and Welcome Back Kotter sweathogs Ron Palillo (63) & Robert Hegyes (60).

Happy New Year!

Part II Coming Soon . . . . .

Spielberg's Lincoln: A Man of One Hat

Around the 75 minute mark of Lincoln, I noticed my wife fidgeting in her seat.  I leaned over to ask if she was ok, since she had been looking forward to this particular movie.  She rolled her eyes, sighed, and declared, "It's Tommy Lee Jones in a funny wig."  I chuckled, careful not to offend a mostly older audience that seemed captivated.  Minutes later, I handed over the car keys so that she could find a more entertaining way to fill her weekend afternoon (i.e. Marshalls).  Now alone with my thoughts and popcorn, I refocused my attention to the screen, hoping the second half would prove more involving than the first.  Although the pace intensified as the film built to a climax, I eventually left the theater thinking her brief summary had somehow been on target.    

Where was the magic?  This years encore presentation of Lincoln, following last summers slight but entertaining Abraham Lincoln: Vampire Hunter, is a two and half hour account of the fight to pass the 13th amendment.  Naturally, a movie poster featuring the scroll for the Bill of Rights wouldn't sell too many tickets, so instead we have the 16th president's distinguished mug taking the form of our generations most intense actor, Daniel Day-Lewis.  To be sure, the two-time Oscar winner looks great in the role and disappears into the title character within minutes of the opening credits.  The film is handsomely designed, intelligent about politics, and contains the years most impressive roll call of actors.  And yet, the most accurate compliment I can pay Steven Spielberg's newest prestige pic is that there is nothing overtly wrong with it.

Lincoln is a curiously lifeless epic, despite some of the most talented behind-the-scenes people in the film industry.  Spielberg chose several frequent collaborators for this project, including cinematographer Janusz Kaminski and maestro John Williams.  Make no mistake, this will be an awards contender.  Except for the upcoming Les Miserables, I suspect Lincoln will be flush with more nominations than any other 2012 release.  These will probably include best picture, director, lead actor, supporting actress (Sally Field as Mary Todd), supporting actor (Jones as Thaddeus Stevens), adapted screenplay (Tony Kushner), original score, cinematography, film editing, costume & production design, makeup, and possibly sound editing & mixing.

Lincoln is undoubtedly the years most loquacious movie with numerous monologues and anecdotes, as well as debates both within the White House and between political parties.  Much opposition to the proposed amendment that would eventually end slavery involves the ongoing Civil War, which we are told might've ended faster had Lincoln dropped his more pressing agenda.  Though no student of history or politics, I was able to follow most of the dialogue once I got passed certain language that didn't seem all that far removed from Shakespeare.  But I would argue "most dialogue" doesn't necessarily equate with most successful script.  Reportedly Kushner's first screenplay stretched some 700 pages, an unfilmable amount.  He and Spielberg wisely opted to focus on a shorter, paramount period in Lincoln's life.  However, I'm not convinced they made sufficient character cuts to accommodate this reduction.

This is a giant cast, but other than Day-Lewis and maybe David Strathairn, who plays right-hand man and Secretary of State William Seward, no actor has more than a handful of scenes.  That we come to recognize these characters at all has more to do with audience familiarity with their faces than writing depth.  I'm sure this project generated huge interest throughout Hollywood.  How else to explain brief appearances by Hal Holbrook, Bruce McGill, Gloria Reuben, Michael Stuhlbarg, and Jackie Earle Haley?  John Hawkes, Tim Blake Nelson, and James Spader turn up as an amusing 19th century version of Three Stooges lobbyists trying to secure votes needed to pass the 13th amendment.  Even Joseph Gordon-Levitt, who became a bona fide movie star in 2012, has only a few scenes as Lincoln's son Robert.  None of the them are bad or even miscast, so much as superfluous as presented in the final cut.

Spielberg's film feels trapped on the surface, lacking the emotional resonance that helped define his best dramatic works.  His unmistakable visual flair, a trademark in everything from Close Encounters to Minority Report, is largely muted in Lincoln, almost as if he didn't want to upstage the material.  There are a few shots depicting the aftermath of battle, but nothing to pack the punch of Saving Private Ryan.  Kushner's background as a playwright is apparent throughout: large individual sets, heavy chatter, little action.  What's surprising is that he also wrote Munich, a more demanding examination of political themes that simultaneously managed to raise the viewers pulse.  In that film, audiences were allowed inside the head of Eric Bana's character, whereas Lincoln continually seems just outside our reach.  Schindler's List, which remains the directors crowning achievement, contained three exceptionally well-developed leading roles.  Spielberg correctly realized this structure would be far more effective than presenting a dozen one-dimensional characters.  I wish he had remembered that here.      

I never felt completely engaged by Lincoln, and repeatedly got the impression that Spielberg wasn't as connected to this material as with his previously mentioned efforts.  Amistad, which depicted a mutiny aboard a slave ship heading to America, was another historical drama from Spielberg that fell somewhat short of expectations.  I suppose this isn't entirely shocking given his background.  The most famous Jewish filmmaker of all time, he has spoken at length in the past about deep feelings toward the Holocaust and the 1972 Olympic Games massacre.  His father served as a Communications Chief in a B-25 Squadron during World War II.  Even Indiana Jones' most formidable adversaries were the Nazis.  Maybe personal passion needs to fuel the engine to be at your best.

Lincoln is a professional, workmanlike production.  If the subject interests you, it's certainly worth seeing.  But it falls considerably short of greatness, despite what academy lobbyists will tell you.  In an election year featuring a double dose of Lincoln, I knew I would favor whichever film took more chances.  I never dreamed it would be the one with vampires.

The Sky Refuses to Fall on James Bond

As many have undoubtedly heard, 2012 marks the 50th anniversary of James Bond, the most durable of modern movie characters.  Agent 007 has disappeared and returned with various styles and new faces over the decades.  Finally, after a lengthy four year hiatus caused mostly by bankruptcy issues for its studio MGM, Bond has exploded back into multiplexes in time to grab its share of the winter box office.

In short, Skyfall is the year's best blockbuster, easily surpassing anything Hollywood offered audiences last summer.  Perhaps more impressive, it's also the most thrilling Bond adventure since Sean Connery donned the suit some forty-eight years ago in Goldfinger.  The film successfully looks to the future while reintroducing the past, no small feat.  The transition is seamless and will bring smiles to many viewers whose memories will be stirred and shaken.  And yet, Skyfall is not merely a trip down memory lane.  If judged only as a solo action vehicle, it is relentless and features one of the most memorable movie villains in some time.

Daniel Craig, now firmly established as Bond for the 21st century, does a lot of running and hanging in Skyfall.  Despite being a required staple of the franchise, the opening pre-credits chase through Istanbul is not superfluous, ending with a dramatic decision by M (Judi Dench) that will stun some viewers.  The main story picks up months later, as M sends Bond on a mission to locate a stolen hard drive containing decrypted names of British MI6 field agents.  If the primary objective sounds like it was lifted straight from Mission Impossible, the ramifications are considerably higher here.  Credit must go to writers Neal Purvis, Robert Wade, and John Logan, who've used a simple starting point to contrast todays technological threats with the comparatively primitive megalomaniacal evildoers of decades past. The depth of this script reveals both Bond and M to be dinosaurs in an age when power can be transferred with one click on a laptop.

As momentum flags slightly around the one hour mark, Bond is taken by boat to a deserted island ruled by Silva.  Sporting bleached-blonde hair and Miami nightclub attire, Silva is played with flamboyance by Javier Bardem.  Had the Spanish actor not won an Oscar playing an equally disturbed psychopath five years ago in No Country For Old Men, I suspect he'd be in line for a nomination here.  Silva's goals are far more intimate than the average Bond adversary, his methods inspired by intellect.  The middle act of Skyfall, beginning with Silva's introduction and closing with a getaway in Bond's famed Aston Martin DB5, represents the films highpoint.

With Skyfall, director Sam Mendes has cemented his status as one of the most versatile directors at work today.  After captivating audiences with his Oscar-winning dysfunctional dramedy American Beauty (1999), Mendes tackled other genres: the star heavy mob tale Road to Perdition, the introspective war drama Jarhead, the 50s era marriage tragedy Revolutionary Road, and the delightful road trip romcom Away We Go.  Yet, he's remained consistent across productions of varying sizes.  His films always look the part, both in design and execution.  When I think back to Road to Perdition, neither the gunplay nor Paul Newman's forceful final performance stand out oddly enough.  Rather, I remember the towering structures of downtown Chicago and the climactic dialogue-free massacre in the rain. In Skyfall there's a brilliantly constructed sequence when Bond shadows his prey up a Shanghai skyscraper, the city skyline in the background.  Heavy shadows and eye-popping colors permeate the atmosphere, making the resulting fight scene unlike any I've seen in years.

The other calling card so prevalent in Mendes' work is the theme of family.  Throughout his filmography, personal relationships have dictated character motivations regardless of scope.  Audiences may be surprised by the final act of Skyfall, a title that ultimately refers to something far more personal than any other in the series.  Connery would be pleased with the location. As M becomes the focal point of a battle between two "sons," we learn the hows and whys of Bond's upbringing and are introduced to Kincade, played by Albert Finney in an wonderful extended cameo.

By films end familiar characters are firmly reestablished, including Q and Moneypenny.  Ralph Fiennes will be on hand for future installments as an MI6 higher-up.  Bond has his Walther PPK, and is equally comfortable with a knife.  And the rousing original theme marks a triumphant return, reminding viewers that the more things change, the more they stay the same.

Flight: When Good Films Are Ruined By Deceptive Trailers

Imagine if after the sensational train wreck in The Fugitive, Harrison Ford had slowed down, skipped the chase, and spent the next two hours agonizing over regret and drinking himself into a stupor at his grandfather's farm house.  Sounds pretty depressing right?  Of course you won't see a quote like this in any newspaper or commercial, but it represents a fairly accurate description of what audiences can expect from Denzel Washington's latest effort.

Don't see Flight.  That's what my gut tells me.  At least not if you're looking for escapism after a long, grinding week at the office.  It won't make you feel better.  Your popcorn will taste a little more bitter, your beverage a little less sweet.  And if you're like me, you'll walk out of the theater wondering if you bought the correct ticket.

You're scratching your head aren't you?  That new Denzel Washington movie about the pilot who lands the plane upside down and saves almost everyone on board?  Don't worry, I haven't spoiled anything.  This was all in the misleading trailer (more on that later).  Most critics are praising the drama, while singling out the astonishing plane crash that set the story in motion.  No argument there.  The crash and turbulent decent leading to it represented the films high point.  Those scenes were in fact so effective in creating tension that I wish the whole film had taken place inside the cockpit.  Director Robert Zemeckis has long offered spectacular onscreen images (the Delorean taking flight in Back to the Future, the equally horrific plane crash in Cast Away).  He also knows how to blend drama with visual effects better than anyone.  His other credits have included Who Framed Roger Rabbit & Forrest Gump.  But this was the first time after viewing any of his films that I wished I'd done something else with my time.

Am I being unfair?  I spoke to my parents, who also took this Flight last weekend.  My mom liked it and claimed it to be pretty much what she expected going in, which surprised me.  I'm rarely caught this off guard, at least when it comes to movies.  So I watched the original trailer on youtube, then watched it again.  I stand by my criticism and argue that the trailer carefully tiptoed around the focal point of the story.

The preview was breezy and seemingly uplifting, featuring charismatic personalities like Washington and John Goodman strolling through corridors in sunglasses without a care in the world.  The opening tune was Joe Cocker's unmistakably upbeat "Feelin' Alright."  The only other song, The Rolling Stones classic "Gimme Shelter," appeared to transition towards slightly more adult material while maintaining a similar tone.  Don Cheadle briefly mentioned that alcohol was found in the pilot's system when the plane crashed.  There was no mention of cocaine use of course.  One character referenced the pilot possibly going to jail.  They emphasized that nobody else on earth could've landed the plane the way Denzel's character did.  They showed him being swarmed by media.  They posed the question of whether this pilot was a hero, although the actual film disposed this notion emphatically.  They suggested a climactic trial eclipsing anything that made the final cut.  Finally, the pilot's heroin addicted girlfriend was nowhere to be seen, despite having significantly more screen time than anybody besides Washington himself.      

In fairness, these were marketing decisions that probably had little to do with the creative team behind Flight.  After all, how many of us would run out to see a 138 minute film that was 80% about alcoholism?  But it must be mentioned that this was the third consecutive trailer for a live action Zemeckis film that caused controversy.  Back in 2000 both of his major releases, What Lies Beneath & Cast Away, were attacked by moviegoers complaining that their trailers blatantly ruined the key surprises for those films (Ford was a bad guy in the former, Tom Hanks escaped the island in the latter).  In spite of this, both films ended up being huge successes at the box office.  Similarly, Flight now seems destined for a prolonged run through the holidays after opening to a stronger than expected 25 million this weekend.  But did audiences get what they wanted?  It'll be interesting to see if the film continues to thrive once word spreads.

I'd happily take blame for my own faulty assumptions given the director's track record had the trailer not convinced me otherwise.  I was reminded of Steven Spielberg's Catch Me If You Can, a presumably more jovial effort from a hugely popular filmmaker whose blockbusters at their core often featured more serious themes.  Instead Flight went the other way and is by far the darkest film on Zemeckis' resume.  The subject matter appears to stem from personal experience, though I'm only speculating.  Much of the behavior exhibited by Washington's character seemed carefully modulated, probably the result of tragedy seen firsthand by the film's star, director, and writer (John Gatins).    

Flight was a good film, in some ways very good.  Washington seems a lock to receive his sixth academy award nomination for his leading work here.  I wouldn't even be shocked if the film finds itself in the 2012 best picture race, though it wouldn't get my vote.  It's an R-rated adult drama filled with sadness and moral ambiguity.  But it wasn't much fun and may leave you exiting the theater feeling worse than when you went in.  If that's not your idea of a satisfying weekend afternoon, I suggest you save your money for this Fridays newest James Bond outing.  If nothing else, you'll know what to expect.

Nothing Expendable about Stallone's Newest Franchise

About a third of way into The Expendables (2010), Jason Statham took revenge upon a half-dozen punks on a suburban basketball court because one of them beat up the woman he sleeps with three times a year.  I pictured an enthusiastic Sylvester Stallone behind the camera during that scene . . .

Stallone: "Now Jason, stab the basketball as hard as you can. Deflate it!"

Statham: "Why???  What good will that do?"

Stallone: "Trust me, it's so cool . . . . .  Now tell that punk next time you will deflate his balls!"

Statham: "Mate, this is preposterous.  That's such a nonsense threat."

Stallone: "Just do it!"

Statham muttering under his breath: "He's lost his fucking mind," before reluctantly granting the director's wishes.

Stallone: "And CUT! PERFECT!!!"  

Sly high fived himself, flexed his biceps for the dumbfounded crew, and broke into a unique grin that has always made him look slightly retarded.  He grabbed the camera and sprinted to his next location.

The Expendables was a ridiculous throwback to 80s excess and I mean that as a compliment.  Stallone, at one point the biggest movie star in the world, crafted an over the top homage to an era when his name above the title virtually guaranteed $100 million at the box office. Those days long gone, Sly mostly remembered what worked in the past, including giant explosions, corny one-liners, and running times under two hours. As director, co-writer, and star, the former Rambo bared all responsibility for the success or failure of his action comeback.

I'm not sure if The Expendables worked in spite of its shortcomings or because of them.  Boasting one of the dumber scripts of the past decade, not a single character was developed beyond a basic stereotype.  The main objective of the film's heavy (a never sillier Eric Roberts) was never really spelled out, but had something to do with drug fields and a power struggle in South America.  Fighting alongside Roberts was the noted thespian Stone Cold Steve Austin.  Their chief opponent was Angel Batista from Dexter, a sketchy general with a mammoth army of anonymous henchmen as Nigel Powers would say.  He lived in an isolated fortress not unlike Bowser's in Super Mario Brothers, encouraged his troops to paint their faces like football fans, and graciously approved the torture of his daughter Sandra, who's brief encounter with Stallone's Barney Ross (never would've pegged Sly as a Barney) set the plot in motion.  I use the term plot loosely.

Ross was flanked by Jason Statham's Lee Christmas, who I kept confusing with Jim Carrey's Dumb and Dumber character.  On the orders of the mysterious Mr. Church (Bruce Willis), Ross' team of mercenaries was called into action.  However, Ross' primary objective seemed to be rescuing Sandra, whom he respected enough after a single meeting to willingly risk the lives of his entire unit, which included Jet Li, Dolph Lundgren, Randy Couture, and Terry Crews.  Now maybe I'm not giving Ross' logic it's due. After all, Sandra also painted cute pictures and gave him one to keep.  I'm still not quite certain whether Stallone's character wanted to bang the 20-something-year-old or adopt her as his daughter, but that indefinable quality was part of the charm in this glorified mess of a movie.

Some other highlights from the original:

- Ross claimed never to sleep and received constant visits from Mickey Rourke's Tool, a tattoo artist
who delivered a priceless crying scene deserving of a Razzie Award.

 - On a tour in New Orleans I saw exteriors of Sly's bar from the film, although it didn't look nearly big enough to house the knife throwing contests he frequently hosted.

-  In a cast loaded with professional wrestlers, Lundgren was by far the worst actor.  He was left behind, switched sides, and even treated howling viewers to a fake out death scene.  Not to mention the onslaught of short jokes he hurled at Jet Li's character.

-  Former Planet Hollywood titans Stallone, Willis, and Arnold Schwarzenegger shared their first movie scene together.  Arnold rubbed his knowledge of foreign countries in Sly's face, while Sly cracked how his rival wanted to be president.  Then Bruce told them to stop measuring their dicks.  Ok, so this wasn't exactly the long-awaited Pacino/De Niro coffee shop scene from Heat.  But for those priceless few seconds, theater audiences erupted.
    
So what can we expect for this weeks aptly titled The Expendables 2?  Testosterone levels have been increased with the additions of heroic has beens Chuck Norris and Jean-Claude Van Damme.  Returnees Schwarzenegger and Willis will see increased screen time.  Stallone has relegated directing duties to action veteran Simon West (Con Air, The Mechanic).  As with any sequel to an 80s inspired slugfest, expect more mayhem and a higher body count.  Fortunately, less logic wouldn't appear to be an option this time around.

And yes, I'll be in line tomorrow night.

Halfway to 2013

I'm slacking.  Through the midway point of 2012 I've only seen 16 movies, by far my lowest total in years.  The funny thing is I don't feel like I've missed anything, with the possible exception of Moonrise Kingdom.  More than ever I am only seeing movies that genuinely interest me and ignoring the rest, save for the first quarter of the year, a dead zone for movie releases.  It's pretty cruel that Hollywood releases their least inspiring offerings between January 1st and March 31st, a time when half the country is freezing with little motivation for leaving home on the weekends.  After a few weeks of winter withdrawal, I trekked out for Contraband and The Lorax among others, decent entertainments I probably wouldn't have considered among stiffer competition.  Amazingly, except for a pack of vicious Alaskan wolves and a foulmouthed, pot smoking teddy bear,  nearly every memorable 2012 release has been based on previous material.  The strongest writers seem to have fully migrated to television and who can blame them?  As a result, the best film to arrive in theaters thus far was a 15-year-old blockbuster.

Titanic 3D ****
Some movies are better sampled than sat through.  When flipping channels it's easy to get lost for 20 minutes during AMC's umpteenth repeat of A Few Good Men or The Shawshank Redemption.  Titanic is not one of those movies. The impact of James Cameron's three-hour juggernaut can only be fully experienced uninterrupted, on a big screen in a darkened theater.  It's the single girliest movie I will confess is a masterpiece without reservation.  The word overrated too often becomes attached to any movie that wins best picture or rakes in hundreds of millions at the box office.  But Titanic feels timeless and would remain so even without the accolades it initially received in 1997.  Some of the corny dialogue (the film's only blemish) was appropriate for the era and led to my telling T, "I know you've been melancholy lately," at least a dozen times in recent months.  The cast was perfect, led by a pair of young actors in Leonardo DiCaprio and Kate Winslet who would go on to become arguably the best of their generation.  James Horner's score is so evocative that I wonder if a silent version of the film could've been effective.  And the 75 minute sinking that closes the film remains the most impressively executed stretch of organized chaos that Cameron has ever delivered.  For the man who also directed Aliens, Terminator 2, and Avatar, that's saying something.
Note: While Cameron and co. took substantial time and effort in recreating the film in 3D, that aspect did little to aid the overall impact.  I remain skeptical about the 3D format, especially when studios add a post production conversion to enhance their bottom line.  

The Avengers  ***1/2
If nothing else, Marvel's megahit was the fastest moving two and a half hour movie in recent memory.  Though it took several introductory chapters of varying quality to unite the characters who made up our title superheroes, The Avengers proved worth the wait.  In fact, I doubt very much whether future solo outings will prove satisfying now that we've seen Iron Man, Captain America, Thor, et al. functioning as a team.  Newcomer Mark Ruffalo benefited most from the shared screen time, revealing the Hulk's tortured existence more fully than previous actors Eric Bana and Edward Norton did carrying their own films.  A sharp, funny script yielded several scenes that gained instant audience approval, including Hulk tossing villainous Loki around like a rag doll following a pompous rant by the latter.  The film's setup-heavy first half was a little talky, but briskly paced with ego contests among the new comrades.  If there's a minor complaint, it's that the two lesser members of the unit (Scarlett Johanssons Black Widow, Jeremy Renners Hawkeye) seem arbitrary, like tagalong afterthoughts in the most popular high school clique.  But no matter.  This was the most involving comic book movie since The Dark Knight and was in many ways it's antithesis.  If Christopher Nolan's film mastered mood and despair while introducing the genre's most menacing villain, The Avengers took a less dire approach, filling a comparable running time with quips and energy in spades, all the while building momentum to a thrilling end battle that barely left New York standing.

The Hunger Games ***1/2
Much to my surprise, the film adaptation of Suzanne Collins' phenomenon The Hunger Games proved more exciting than almost any summer offering thus far.  It helped that the source material seemed tailor made for the big screen, as 16-year-old Katniss Everdeen became one of 24 randomly selected teenagers from 12 districts forced into a televised battle to the death until only one remained.  It's a great premise that seemed to please fans of the books as well as moviegoers new to the nation of Panem.    Casting young Jennifer Lawrence as the film's heroine was a home run, though she was aided by an enthusiastic supporting cast, particularly Stanley Tucci, Elizabeth Banks, and Woody Harrelson as Haymitch.  I'm starting to think the former Cheers bartender should have a role in every movie.  Though saddled with a PG-13 rating to maximize the potential audience, The Hunger Games wisely didn't shy away from violence, which helped emphasize what was continually at stake.  And in a nice change of pace for Hollywood, the year's two most popular films (along with The Avengers) have also been among the best.  At least for the time being, moviegoers seem to be wising up to which spectacles are worth their hard-earned money.  After a thrilling and inventive opening chapter, I'll happily volunteer for this sequel.

The Grey ***1/2
The grittiest cinematic outing from the first six months, director Joe Carnahan's tale of redemption followed a small group of plane crash survivors into the harsh Alaskan wilderness.  Low on food and supplies, hope slowly dwindled amidst brutal snowstorms, freezing temperatures, and bloodthirsty wolves who's territory has been breached.  Considering the premise, I was shocked at how involved I became in the fates of several characters and their struggle to stay alive.  Though inevitably picked off one by one in some truly frightening sequences, I wasn't prepared for a thoughtful script that provided moments of clarity and introspection.  How long would you fight in a virtually unwinnable situation?   Best of all was Liam Neeson, whose ability to stay grounded in the thick of chaotic surroundings made him the ideal actor to carry this material.  His conviction sells the audience whether he's playing Oskar Schindler or running around Europe with "a particular set of skills," killing every scumbag in sight.  There's something to be said for that.

Ted ***
The best of an uninspired lot of comedies, Seth Macfarlane's Ted nonetheless provided numerous belly laughs and at least some imagination.  The film opened in mid 80s suburban Boston as an unpopular boy named John, excluded even from beating up other kids, receives a new teddy bear for Christmas.  The next morning it has magically sprung to life and becomes the best friend he never had, a development that fails to curry favor with John's adult girlfriend 27 years later.  Though both Mark Wahlberg and Mila Kunis were somewhat appealing, the real star was the title character, who became the most credible CGI creation since Caesar in last summers Rise of the Planet of the Apes.  As voiced by Macfarlane himself, he got all the best lines, including an unexpectedly hilarious response upon hearing he's having turkey burgers for dinner.  I actually wasn't planning on seeing this movie until I discovered several positive reviews from reputable critics.  Humor is completely subjective of course, but I challenge anyone not to laugh when Ted explores new uses for hand lotion at the supermarket.  It's all pretty juvenile and chalk full of pop culture references as one might expect from the creator of Family Guy.  Still, individual scenes represent the pinnacle of American comedy in 2012.  Make of that what you will.
Note: I knocked Ted down half a star for a dumb subplot involving Giovanni Ribisi as a freaky kidnapper that served only to pad the running time by 30 minutes.  Too bad.

That pretty much brings us up to speed.  Both American Reunion and 21 Jump Street had their moments, while the appropriately titled Abraham Lincoln: Vampire Hunter is destined to become the guilty pleasure of 2012.  Prometheus and The Amazing Spiderman fell below my expectations despite strong efforts from Michael Fassbender & Noomi Rapace in the former, Andrew Garfield & Emma Stone in the latter.  Michael Stuhlbarg (A Serious Man, HBOs Boardwalk Empire) brought extraordinary wit and charm to his small role in the affable, though inconsequential Men in Black 3.

Then there was Tom Cruise as larger than life superstar Stacee Jaxx in the otherwise forgettable Rock of Ages.  Had the film been held until November and not underperformed badly at the box office, I suspect Cruise might've been in line for his fourth Oscar nomination.  The film came alive every time he authoritatively commanded the screen, so it's a shame his character wasn't the primary focus.  Cruise acted circles around his costars and continues to prove that his talent matches his fame.

Next week brings Nolan's trilogy capper The Dark Knight Rises, while most of the years other highly anticipated films, including Jackson's The Hobbit, Spielberg's Lincoln, and Tarantino's Django Unchained won't be out until winter.

See you in December.

Reviewing Habits & the Best Films of 2011

Every December I contemplate the lengthy process of evaluating all the films I've seen throughout the calendar year. Posting a final top ten list is a common practice for full time critics across the country, who often don't pay for trips to the theater.  But there are limitations for the average Joe who gets to the movies whenever possible without the demand for a published report. As such, releasing a complete analysis by year's end is somewhat unrealistic and dishonest for me, as I don't typically see all I need to in said time.

Furthermore, most critics rank films after a single viewing. By the time I see everything I want, some opinions have changed after seeing other titles a second or third time. This leaves me with a dilemma. For 2010, I posted a fairly comprehensive top ten list a few months into the new year, as having free access to all new dvds at the time sped the arduous process. For 2011, I have finally seen enough films to warrant a look back, but it's already July, 2012. And as the saying goes, old news is no news.

So I had a brainstorm to make things easier going forward. With half the year over, I'll briefly discuss the handful of movies I've most enjoyed between January and June, along with a few memorable performances. This serves two purposes. It leaves me a reference when compiling a year-end list, thus shortening the research process later. And it allows me to mention some fun titles with little to no shot of being remembered post holiday season.

Before proceeding, I must briefly acknowledge my favorite films from 2011. The majority of releases fell into the large, gray area of mediocrity, as I saw some 50-60 films in all. Not that there weren't other films worth seeing if you'd be interested in a specific genre or follow a particular actor.  Three good examples were J. Edgar, The Help, and Mission Impossible: Ghost Protocol.  But due to time constraints I will only mention 15, including the five biggest disappointments of last year. The latter are not necessarily among the year's worst (in two cases not even close), but are the films that left me feeling deflated having expected more.

Note: Among well-regarded major releases, I have yet to see Drive, Tinker Tailor Soldier Spy, or War Horse.

2011 Top Ten

1. Hugo
2. The Descendants
3. Midnight in Paris
4. The Muppets
5. 50/50
6. The Artist
7. Moneyball
8. Harry Potter and the Deathly Hallows: Part 2
9. Margin Call
10. Real Steel

I had trouble choosing my favorite film and could easily make a case for several, unlike many past years when a single title stood apart from the pack. Both The Muppets and Real Steel might be viewed as somewhat guilty pleasures, but I'm learning to reflect my opinion without regard for others, as each ranked among my best theatrical experiences last year. Midnight in Paris and Moneyball are the only two I've seen repeatedly on cable, with both rising considerably higher than I once expected. Each film on my list was nominated for at least one academy award with the exception of 50/50, the year's most underrated film.  Five titles listed were up for best picture.

2011 Five Biggest Letdowns (in alphabetical order)

The Girl with the Dragon Tattoo
The Hangover Part II 
The Ides of March 
Scream 4 
The Tree of Life 

Sequels to The Hangover and Scream were among the most uninspired movies I've seen in years and would represent the nadir for 2011 if not for The Dilemma, the only comedy I remember that failed to produce a single laugh. The much hyped adaptation of The Girl with the Dragon Tattoo was competently constructed, but at least an hour too long and did little to convince me as to why this relatively simple serial killer story became such a phenomenon. The Ides of March offered nice supporting performances and remained watchable until a ludicrous plot development that undermined every intelligent line of dialogue that preceded it. As for The Tree of Life, there's a reason this interminable snoozefest failed to find an audience, despite topping several critics lists and having Brad Pitt's name above the marquis. Maybe it was the 25 minute art display early in the film or the fact there was no plot. For a number of reasons, I was not swayed.

Stay tuned for an early look at the best offerings from 2012.

2011 In Memoriam

Well, I'm posting this about three months after I originally intended, no surprise to anyone familiar with the tardiness associated with the name 'Pava.' Still, it's hard to believe another year has come and gone. Hell, 2011 went by faster than Kim Kardashian's marriage (ba-dum-ch). Time to reflect on those who left us over the past 12 months, from sports retirements, to monumental television exits, and everyone in between.

Note: I'm only focusing on those who died during the 2011 calendar year. Recent news of Whitney Houston's death and Tim Wakefield's retirement for example, will wait till next year.

One of the kindest women I've ever known was Dot, our family babysitter for years and years. Though primarily responsible for my youngest brother, Dot took to all of us and treated us as family. The feeling was mutual. Her contagious laugh always made us smile and she provided warmth and humanity on Saturday nights. She introduced me to the movies Tootsie and Goodfellas (the latter irresponsible in hindsight being I was about 12 at the time). She jumped up and down and hit us in excitement after Joe Carter hit a dramatic walk-off home run to win the 1993 World Series. And my parents even tolerated the infamous meatball incident. After my brother told her he had too many sweet-n-sour meatballs on his dinner plate, she grabbed one with her bare hand and chucked it across the kitchen into the sink. I'm sure Mom enjoyed seeing that. Dot will be missed.

The incomparable Steve Jobs (56) died far too soon and was largely responsible for the iPhone, iPad, iPod, and every other influential product that begins with 'i.' Elizabeth Taylor (79) was one of the biggest icons from cinema's golden age, while Jack Kevorkian (83) helped create a lasting controversy over assisted suicide. Betty Ford (93), the former first lady, founded the appropriately titled Betty Ford Clinic for substance abuse and addiction. We lost significant names across all fields of entertainment, from Raiders owner Al Davis (82) to 60 Minutes commentator Andy Rooney (92), rapper Heavy D (44) to wrestler 'Macho Man' Randy Savage (58). Amy Winehouse (27) and "Big Man" Clarence Clemons (69) left profound legacies on the music industry, while Harmon Killebrew (74) and 'Smokin' Joe Frazier (67) created lasting images in the world of sports. Comic Patrice O'Neal (41) enjoyed the height of his popularity before dying of a diabetes related stroke.

Key contributers to major television shows included M.A.S.H.'s Harry Morgan (96), The Cosby Show's Clarice Taylor (93), and Taxi's Jeff Conaway (60), perhaps best remembered as Kenickie in Grease. Michael Gough (94) played faithful butler Alfred in four Batman films, while Farley Granger (85) played the lead in Alfred Hitchcock most underrated thriller, Strangers on a Train. Cliff Robertson (88) won an Oscar for Charly, but was known to a younger generation as Spiderman's Uncle Ben. You'd recognize Charles Napier (75) from roles in Austin Powers, The Silence of the Lambs, and The Blues Brothers as the leader of the Good Ol' Boys. Fellow cast-mate Alan Rubin (68) played Mr. Fabulous in the film, while veteran actor Roberts Blossom (87) earned unexpected fame as Old Man Marley in the smash Home Alone. Composer John Barry (77) might not be a household name, but imagine watching Midnight Cowboy, Out of Africa, or any of the early Bond films without their musical scores and you'll appreciate his talent. And 6' 7", 280 lb defensive end Bubba Smith (66) parlayed a standout football career (the top NFL draft pick in 1967 out of Michigan State) into unexpected success as Moses Hightower in the Police Academy franchise. Smith offered one of the simplest and best explanations ever to describe one's profession, referring to his job before joining the police force.

Hightower: "I was a florist."
Mahoney: "A florist?
Hightower: "Yeah, you know, flowers and shit."

Some others of note from the world of entertainment . . .

Frances Bay (92) She is the answer to the trivia question, Who played the grandmother of both Arthur Fonzarelli and Happy Gilmore? Who can forget the reaction of a mortified Bay in the Happy Gilmore nursing home when Ben Stiller makes a gun-to-the-head gesture with his finger? Amazingly, Bay didn't start her acting career until she was nearly 60, first appearing in Foul Play ('78), and following with bit parts in The Karate Kid ('84), Blue Velvet ('86), Twins ('88), & Arachnophobia (1990). She also did tons of television, appearing on episodes of The Jeffersons, Family Ties, Cheers, Hill Street Blues, The Golden Girls, Newhart, Alf, Twin Peaks, Matlock, Who's the Boss, The X-Files, The Hughleys, E.R. & most recently The Middle. But despite her aforementioned stint on Happy Days, her most famous TV moment occurred in the Seinfeld episode "The Rye." After beating Jerry for the last marble rye in a bakery, he tries to reason with her to no avail before snatching the rye, causing her to call for help as he yells "Shut up you old bag." But Bay's character had the last laugh, reappearing later that season in "The Cadillac," and deciding to impeach Morty Seinfeld as condo president once she remembered her altercation with Jerry.

Peter Falk (83) Comedian Kevin Pollack does an amazing Falk imitation, not just a perfect voice inflection, but he can make his eyeball circulate as if disconnected from its socket. Anyone that can inspire that type of impersonation is an original. At age 3 Falk's right eye was surgically removed due to cancer, all the way back in 1930! Who knew they could even do that back then? Falk is undoubtedly best known for his iconic work as the title role of Columbo, his detective series which initially ran from 1971-1977 and spawned several TV movies years later. He won 4 Emmys for his famous role, as well as an earlier Emmy for The Price of Tomatoes, a Tony Award in 1972 for The Prisoner of Second Avenue, and two best supporting Oscar nominations for his first two films, Murder, Inc. (1960) & A Pocketful of Miracles (1961). Other notable films included The In-Laws (1979), Big Trouble (1986), both opposite Alan Arkin, and Rob Reiner's fantasy The Princess Bride (1987). He provided a memorable cameo in 2002's Undisputed as aging, jailed mobster Mendy Ripstein.

Len Lesser (88) "Jerry, Helloooooooo." The affable character actor was among the more prolific and versatile television actors of the last fifty years, appearing on Gunsmoke, The Untouchables, My Favorite Martian, Get Smart, All in the Family, Bonanza, The Love Boat, Mad About You, & Everybody Loves Raymond among several others. But he will always be best remembered for his role as Uncle Leo on Seinfeld. Throughout the show's enormously successful run, Leo dug wallets out of trash cans, accused dates of anti-semitism, stole books right off the shelves from Brentanos, put Jerry's Nana in an old folks home to welch on a $50 bet, and got his eyebrows blown off after opening an explosive UPS package, resulting in Elaine drawing him new ones with a Sharpie. Despite the lengthy IMDB page, Lesser was inexplicably omitted from the Memorial segment at this year's Emmy awards for the always pathetic explanation that there isn't enough time to show everybody. Luckily I'm here to remind you, Lesser was one of a kind.

Sidney Lumet (84) Quite possibly the most underrated film director of all time. While his name doesn't jump out like Coppola, Kubrick, Scorsese, or Spielberg, his prolific resume spanned 50 years and over 40 films. Not quite as consistent as some in his lofty peer group (though no less so than Woody Allen or Mike Nichols), Lumet had strong ties to New York City and a reputation for drawing great performances from his stars. His first film, 1957's Twelve Angry Men, was arguably the finest debut in cinema history. The entire film confined to a single jury room on a sweltering Manhattan afternoon, it consisted of nearly two hours of dialogue amongst an outstanding ensemble led by Henry Fonda. Lumet drew two iconic Al Pacino performances in the 1970s, first with Serpico ('73) and most notably Dog Day Afternoon ('75). The star's "Attica, Attica" rant outside the bank with police and media swarming is among the most famous in film. The next year he earned praise for his satire Network, which earned Oscar wins for three cast members (leads Peter Finch & Fay Dunaway, supporting actress Beatrice Straight) and additional nominations for William Holden and Ned Beatty. In 1982 he directed Paul Newman's finest adult performance in the Boston set drama, The Verdict (1982). Another nine films directed by Lumet earned academy award nominations, including The Pawnbroker ('65), Murder on the Orient Express ('74), The Wiz ('78), and Running on Empty ('88). Lumet received a lifetime achievement Oscar in 2005 and two years later released his final film, the well received Before the Devil Knows You're Dead ('07).

Pete Postlethwaite (64) Postlethwaite may have had the hardest last name to pronounce in Hollywood. Thank God I just have to write it. But the talented veteran earned a reputation as one of the most dependable supporting actors in the business. Even in dreck like The Lost World or Clash of the Titans, he made his presence known. He earned a best supporting actor nomination for In the Name of the Father (1993) and appeared in Hamlet, The Last of the Mohicans, Amistad, The Constant Gardner, & Inception. However, I will remember him for mostly for two hall of fame worthy badass performances. In The Usual Suspects (1995), he played Mr. Kobayashi (How cool a name is Mr. Kobayashi?), henchmen for the mysterious Keyser Soze, who always maintained his composure while delivering threats to our title characters. And in The Town (2010), Postlethwaite closed with a bang, playing Fergie, neighborhood boss in Charlestown, who layed the smack down on Ben Affleck in one of the film's best scenes. In two minutes, he threatened to "clip his nuts like he clipped his daddy's," explains that he was responsible for doing his "mother the chemical way," and warns him that he'll kill his girlfriend if he doesn't come along for the Fenway Park heist that closes the film. It's an awesome performance loaded with attitude, which is perhaps the perfect word to describe his impact on the screen.

G.D. Spradlin (90): One could do a lot worse than a supporting role in the greatest film ever made. As Senator Pat Geary in The Godfather, Pt. II (1974), Spradlin oozed corruption, praising Michael Corleone publicly then attempting to extort him in his den on Lake Tahoe. "I don't like your kind of people. I don't like to see you come out to this clean country with your oily hair, dressed up in those silk suits. You try to pass yourselves off as decent Americans." The balls on this guy!!! Only later when a dead hooker mysteriously shows up in his room does he become one of the Corleone families most vocal supporters. Despite appearing in over 70 movies and television shows, Spradlin is best remembered for a handful of scenes that couldn't exceed ten minutes in length. In many ways, a memorable performance in a landmark film is all any actor can hope for.

In 2011 we said adios to Regis Philbin (retired), who called it quits after nearly 28 years on Live with Regis and Kelly. After suffering through a brainless lockout, we enter a new NBA season wondering what might've been for now retired NBA stars Brandon Roy (Portland) and Yao Ming (Houston), the latter of whom left a cultural impact that greatly surpassed his actual playing career. Baseball's Tony La Russa capped an amazing managerial career with a third World Series victory, his second with the Cardinals. And legendary Penn State football coach Joe Paterno provided a tragic ending to one of the strangest stories of all time. He was 85.

The year's most pertinent sports retirement (for a player) was undoubtedly Shaquille O'Neal, though it yielded a much quieter story than was warranted. Sure, he was a disappointment with the Celtics last year, the Cavaliers before that, and even the Suns before that. But a bigger stir should've resulted for one of the ten greatest basketball careers ever. He starred for LSU, changed the fortunes of three NBA franchises (the Magic, Lakers, & Heat), winning four rings total, and infused the league with a personality that was truly larger than life. The Diesel retired second all time in field goal percentage, fifth in total points, twelfth in rebounds, and seventh in blocked shots. I will remember Shaq.

In local news, the Celtics lost one of the league's first stars, Ed Macauley (83), a seven time all-star who was traded in 1956 for the draft rights to a skinny defensive minded center named Bill Russell, altering Boston basketball forever. Dave Gavitt (73) ran basketball operations for the C's from 1990-94 and as president of USA basketball created the original Dream Team. Most notably, he was the major force behind founding the Big East Conference in 1979. And Myra Kraft, beloved wife of Patriot owner Robert Kraft, provided an emotional spark for a season that will eventually be remembered with fondness. The Patriots took the field each week wearing her initials on their jerseys. She was 68.

Reluctantly, I must mention the Red Sox who in 2011 made history in defeat. After a season of turmoil ending with the worst collapse in the sports history, ageless Tim Wakefield retired, Jason Varitek will probably do the same, Jonathan Papelbon signed with Philadelphia, Theo Epstein bolted for the Cubs, and Terry Francona joined ESPN as an analyst. The latter deserved a classier exit and likely goes down as the 3rd best coach or manager in this towns history behind Red Auerbach and Bill Belichick. And Carl Crawford passed aw . . . wait, what? Crawford's still alive? Who the hell was playing left field last year? Even former Red Sox were making waves around the league. The mercurial Manny Ramirez retired rather than face a drug suspension, and has since improbably been signed by the Oakland A's. Whatever happens, Manny was a vital contributer to two Red Sox World Champions and goes down as one of the best hitters in history. Finally, a bittersweet farewell to Dick Williams (82), manager behind the 'Impossible Dream' season in 1967. After eight consecutive losing seasons prior to his arrival, the hall of fame manager forever altered the fortunes of Boston's most beloved franchise. He later won two championships with Oakland.


And in the end . . .


Michael Scott, The Office (2005-2011): Upon running over coworker Meredith in their employee parking lot; "Guess what? I have flaws. What are they? Oh, I dunno, I sing in the shower? Sometimes I spend too much time volunteering. Occasionally I'll hit somebody with my car."

Is Scott the funniest television character ever? It may seem like hyperbole, but he's in the discussion. The only one who even compares for me is George Costanza, who never had to carry a show as the lead. From his unhealthy love of Ryan to his blind hatred for Toby, Michael kept audiences in stitches for years. Mystifyingly, Steve Carell never won an Emmy as the bumbling manager of Dunder Mufflin, a small paper supply company in Scranton, PA. He was nominated several times, often losing to the vastly inferior Alec Baldwin. Regardless, Carell's amazing, deadpan responses, illogical strategies, and complete lack of filter made him an original prototype among sitcom actors. And fortunately for viewers, the wheels in his head never stopped turning.

"I don't understand. We have a day honoring Martin Luther King, but he didn't even work here."

Or upon seeing Pam (someone he loves) wearing glasses for the first time, "Oh my God, Pam. Those make you look so ugly. Um, Pam in order to get hotter you take the glasses off. You're moving in the wrong direction." When she responds, he sticks his hand out and cuts her off with, "ah, blah, ga, blah, I can't even, hear you. It's just noise coming out of an ugly scientist."

We should've hated Michael, but we just couldn't. He successfully straddled a line nobody else has attempted to go near. Making the success of The Office even more remarkable was in choosing to film it mockumentary style, they never used canned laughter, a large subconscious influence on audiences for several of TVs most popular sitcoms over the years. The Office helped make this technique popular on major networks over the past decade (see 30 Rock, Modern Family, Parks and Recreation). I don't mean to refer to the show in past tense, as it remains a Thursday night staple and is often amusing in his absence, but Carell was the anchor and it's nowhere near as funny now as during it's peak. He had a remarkable ability to combine incompetence with warmth, and his graceful exit last April was among the better character departures I've seen. Now he can only be seen in reruns, as Michael and company often keep me up until the wee hours of the night.

"That's what she said."



Entourage (2004-2011): At one point I thought this would become my favorite show. Early seasons brimmed with energy and funny dialogue and the initial idea was an appealing one. Four childhood friends from Queens, NY try to make it in Hollywood on the heels of their budding movie star Vincent Chase (Adrien Grenier). Although the primary group was engaging (Kevin Connolly as Eric, Jerry Ferrara as Turtle, & Kevin Dillon as Johnny 'Drama,' older half-brother to Vince), they probably only had the depth as actors and characters to last a few seasons. Contrastingly Jeremy Piven's super agent Ari Gold, who represented Vince, became one of the most entertaining television characters of his generation thanks to profanity-laced tirades thrust upon those both deserving and otherwise. It wasn't a huge surprise to see the shows tone and plot shift toward Ari as the series progressed. Unfortunately, the final two seasons ended in a blaze of uncreative, rushed, non humor, as the writers made the fatal mistake of assuming audiences wanted to become dramatically invested. The best parts of Entourage always involved the comfortable rapport the stars shared with one another, simultaneously making viewers feel like they were one of the boys. The show also provided what appeared to be an accurate interpretation of the world of young, rich stars in Los Angeles. Whether it actually was I don't know, but fringe characters like Billy Walsh (the incomparable Rhys Coiro) enhanced the image.

Maybe Entourage should've quit while it was ahead, but I can't deny the pleasure of those early seasons, particularly the first three. When everything was clicking (the Aquaman saga, Ari vs. Terrance, 'Drama' releasing some of most original insults this side of White Men Can't Jump), the show had momentum, always making me wish there were another five minutes remaining. And no show during the last decade provided so many memorable star cameos. Val Kilmer, Mark Wahlberg, Jessica Alba, Gary Busey, James Woods, Bob Saget, Dr. Joyce Brothers, Larry David, Ralph Macchio, Seth Green, Brooke Shields, James Cameron, David Schwimmer, Ed Burns, Anna Faris, Matt Damon, and a host of athletes wisely took advantage of the opportunity to make fun of their own image, preferable to refusing an appearance thus giving the show the freedom to do as it pleased. The best cameo by far belonged to Martin Landau. As legendary producer Bob Ryan, Landau submitted a fantastic three-episode arc that was both poignant and hilarious. But as became typical of a growing lack of ideas, the producers later brought him back as sporadic comic relief. If I seem hard on a show that occupied hours upon hours of my life, it's only because the potential was there to leave behind a stronger legacy than it did. If nothing else, Entourage introduced us to Emmanuelle Chriqui, whose Sloan McQuewick gets my vote as the hottest character ever to appear in anything.



Friday Night Lights (2006-2011): Start with the perfect intro theme, which somehow captures the soul of the show with no words. In only 43 seconds, the viewer becomes immersed in a town that takes itself very, very seriously. If Entourage peaked early and floundered late, network televisions best drama remained a beacon of consistency, going out on top with arguably the finest series finale of all time. I truthfully can't think of one to match it, especially in recent years. Unfortunately we didn't hear nearly enough about this as the show struggled to accumulate a respectable audience by network standards. The critically beloved drama barely survived a ratings fiasco on Friday nights, was eventually cancelled despite a small, devout core of fans, and finally rescued in a deal by DirecTV and NBC. Nobody would've blamed the shows writers and actors for packing it in amongst all the upheaval, but instead they improved, with the show improbably peaking in seasons one, three, and finally in five. Peter Berg deserves credit for developing the series and finding a cast as likable as they were relatable, two qualities that don't always go together. At its core were Eric and Tami Taylor (brilliantly portrayed by Kyle Chandler & Connie Britton), who grounded every episode and created probably the most believable marriage on television. From an acting standpoint, only Sopranos leads James Gandolfini and Edie Falco occupied a similar plane.

All of the primary younger actors from both main casts did a fantastic job, with special mention going to Zach Gilford (Matt Saracen), Gaius Charles ('Smash' Williams), Michael B. Jordan (Vince Howard), Adrianne Palicki (Tyra Collette), and Jesse Plemons (Landry Clarke). They were surrounded by fantastic smaller characters who lent authenticity to each and every scene. Try to picture Dillon, Texas without Buddy Garrity or Matt's Grandma and you realize their impact. And I would've loved spending my adolescence gawking at Lyla Garrity and Julie Taylor in high school hallways. Of course I would be remiss if I didn't mention Taylor Kitsch who played breakout character Tim Riggins, the coolest teen character since Dylan McKay (come on, you knew it was coming). A pair of the series best moments came courtesy of Kitsch during season three; parting ways with New York bound best friend Jason Street (Scott Porter) and leaving his football cleats on the field after the state championship, his final game.

It's tough to describe just how good Friday Night Lights was, because a general plot synopsis sounds like a parade of cliches. But at the end of the day, FNL wasn't so much about football or college applications or even family. It was about the little moments in life and the decisions we make that impact those around us. Coach Taylor's sacrifice in the finale helped balanced the household dynamic and gave Tami an opportunity to follow her professional dreams for the first time in her life. And it allowed the viewer to say goodbye to Dillon along with the Taylors.

Clear Eyes. Full Hearts. Can't Lose.