Australia is all aflutter with Glee. That’ll happen when you fly here.
The Closer
Having been nominated for a slew of awards since it came on the air (and scoring lead actress Kyra Sedgwick a Golden Globe in early 2007), The Closer has been popular with critics and fans alike.
There are no exploding buildings, but the drama produced here is every bit as thrilling as the usual big displays of action. Kyra Sedgwick is brilliant as the soft-spoken Brenda. The deputy chief knows her strengths and, more importantly, she knows people. What unnerves criminals - and audiences - is the calculated game she plays. Brenda’s all smiles and polite chit-chat, but there’s never a doubt she’s working some angle.
There are no exploding buildings, but the drama produced here is every bit as thrilling as the usual big displays of action. A tight police drama the way it should be made.
Minh Nguyen
Bones
The delightfully naive Dr Temperance Brennan (Emily Deschanel) continues to delight with her quirkiness. There’s no doubting Brennan is a character straight out of Tinseltown’s imagination. The talented forensic anthropologist, whose ability to decipher bone fragments borders on the supernatural, also moonlights as a crime novelist on the side. Of course.
Brennan’s partner in crime solving comes in the form of Agent Seeley Booth (David Boreanaz). You read that right, Temperance Brennan and Seeley Booth. Because we all live in some kind of Mills & Boons hyper-reality where parents names their kids whatever the heck they like.
Dubious character names aside, this entry into the ever-popular crime genre is actually good viewing. Let’s not kid ourselves though, Bones isn’t this generation’s critical masterpiece. No one’s asserting that here. It’s just fun. The pace is quick, and the writers manage to strike the right balance between humour and drama. Booth and Brennan’s personalities bounce off each other nicely and the supporting characters are equally quirky and likeable.
In Emily Deschanel and David Boreanaz, the creators have struck casting gold. It’s rare when a show not only manages to entertain in moments of drama, but also in the moments between.
Not high-art by any means, but still a good ride.
Minh Nguyen
Grey’s Anatomy
When it first premiered on the small screen, Grey’s Anatomy quickly set viewers’ hearts aflutter with its leading man Dr Derek “McDreamy” Shepherd (Patrick Dempsey). His ensuing romance with feisty intern Meredith Grey (Ellen Pompeo) produced a kind of white-hot chemistry that hooked audiences.
And then something happened. Somewhere along the lines, Grey’s Anatomy stopped being a drama with soapy overtones and just became a full-blown soap opera. Where the characters were previously faced with difficult decisions grounded in reality, the cast now engaged in non-stop antics that verged on the unbelievable. With such randy surgeons helming the hospital, would you really want to be admitted to Seattle Grace as a patient?
The perceptible fall in standard lies squarely with the writers. Given the chance to create something truly memorable, they chose to go for instant, commercial success. And this decision to sell-out has hurt the show in the long run. No audience member is going to buy that these people are doctors.
But if you religiously tune into ABC’s, um, medical drama, you’re not really there for the deep drama. You’re there for your regular serve of scandal and escapism. And what’s wrong with that really?
Minh Nguyen
Following a car accident, modern-day cop Sam Tyler (John Simm) wakes to find himself in 1973. Has Sam actually been transported into the past, or is it all in his mind? The first season of Life on Mars explored Sam’s sanity, but no real conclusion emerged. One thing is clear: whether it’s insanity or the laws of time keeping him in the ’70s, Sam wants to get back to the 21st century.
The sci-fi premise of Life on Mars may not make a lot of sense to new viewers who missed season one. But the plot becomes clearer as you watch the series yourself, so don’t fret too much about the time travel thing.
Themes of space and time aside, Life on Mars is essentially a police drama. Sam’s position as a modern man forced to navigate the past make for interesting conflicts, but ultimately we’re in it to see him catch the bad guys.
{The US version with Jason O’Mara in the lead strikes a slightly different tone than the Bafta-winning British original. Not finding the same success across the pond, the remake has been axed after one season.}
Minh Nguyen
Do Communists Have Better Sex?
A Study of Reds in Bed
What this aptly titled documentary alleges is that East Germans are far more progressive in the sexual arena than their Western counterparts. Once the mind stops baffling at why such a project would have been conceived and commissioned in the first place, the premise begins to intrigue.
Not only do East Germans partake in more sexual activities, they typically start earlier, have more partners, are more experimental, and enjoy themselves a whole lot more than, well, West Germans.
Can it be that communist East German society created a liberal paradise of free experimentation and expression? Despite the odd appearance of nudity, this is not that kind of documentary. Filmmaker, André Meier attempts to seriously analyse an interesting sociological situation. Points of discussion centre on the differing public policies between East and West to find an answer.
In proving the case, Meier stretches his research to encompass a number of sources which include archival footage, pornographic magazines and films of the region, a few home videos, as well as educational films that were state produced.
In the end, the answer to the title is a resounding maybe. But the ride will have at least been educational.
Minh Nguyen
Aaron Pederson plays thirty-something lawyer Drew Ellis. In a bid to “find himself” Drew has left his comfortable existence in Perth to rough it in the Kimberley as a lawyer for the Aboriginal Legal Service. Cue self-reflection, self-discovery, and other existentialist malaise besides.
Seasoned television actor Aaron Pederson doesn’t possess the kind of magnetism a leading man should. Wooden in delivery, Pederson’s Ellis is neither sympathetic nor engaging. Instead of passionately connecting with Ellis’s turmoil the viewer merely sighs in recognition. The cast of supports, too, are as stock-standard as they come. Only Marta Kaczmarek as the maternal and gentle Ellie Zdybicka manages to produce some sort of spark.
Appearing sleeker than the usual small screen production, The Circuit’s ultra glossy presentation works against the story being told. The abundance of super quick zoom-ins and zoom-outs is rather jarring and, as a whole, the first installment comes off confused and messy.
A drama like this should have been character driven with the most electric moments being emoted internally. What is delivered instead is heavy handed superficiality.
Minh Nguyen
Often panned by critics for representing a false sense of reality, The L Word isn’t as throwaway as it may seem. The stereotypical characters (and the attractive actresses that inhabit them) do detract from the show’s overall depth but, when it comes down to it, these protests are more politically motivated than anything else.
Essentially, people feel it their duty to be offended by the shallow storylines of a lesbian drama, waving their politically correct flags to show just how forward-thinking they are. A nice sentiment, but a little narrow-minded. So what if Hollywood is offering up a stylised version of reality that’s glossier than most magazines, and not representative of the lives of real lesbians? It’s Tinseltown. Fantasy is their business.
Promoters of The L Word are also guilty of jumping on this PC bandwagon, as they tout it as a breakthrough program. We should all get off our high horses and accept The L Word for what it really offers: entertainment.
Minh Nguyen
When Showtime premiered Weeds way back in 2005, it quickly took the television world by storm. With its razor-sharp script and well-drawn characters, the dark comedy not only pushed the boundaries of TV, it aggressively toppled them. The show’s unapologetic approach to crafting a good story was what made it most attractive. With the passing of seasons the cable hit doesn’t show signs of backing down, continuing to surprise and engage.
It’d be all too easy to put Weeds’s success down to its controversial subject matter. Sure, the premise of a suburban mother dealing marijuana is intriguing, but that’s only part of the show’s genius. What makes Weeds truly compelling is its ability to touch what’s real. Though characters and storylines continue to veer off on unexpected tangents, the path taken always comes off authentic; though what unfolds onscreen is often outlandish, it’s never contrived. Equally impressive are the actors assembled. From uptight frenemy Celia Hodes (Elizabeth Perkins) to slacker brother-in-law Andy (Justin Kirk), all the performances are pitch perfect.
Minh Nguyen
