This is a fun episode that really turns the tables on Mike. Archie is absent for much of the show which allows the focus to be centered on Mike and his arrogance toward Archie and even his soft bigotry toward Lionel. On the one hand, the show is pretty brutal on Mike, but his increasingly unhinged defensiveness is hilarious. There are so many small moments to love in this episode such as Archie doing a jig out the door, the neighbor admiring his own nose, Lionel's gratitude to Edith, Edith's wisdom about Archie, and the capper: Mike's reaction when Archie returns home. I'm constantly amazed how affecting, relevant, and downright funny this show can be 40 years after it first aired.
Reviews
11 Reviews
A Musical Gem
29 August 2014
The musical episodes of The Simpsons may not appeal to everyone, but among this genre of episodes, "Yokel Chords" is one of my favorites. While the musical numbers are limited to Lisa's story of trying to educate Cletus' yokel offspring, even Bart's story about Dark Stanley has an incredible fantasy/horror sequence with beautiful animation and a terrific Astor Piazola inspired musical track.
Of course, for musical theater geeks, this episode features the ultimate guest appearance by Stephen Sondheim who gets abused by Krusty and then composes a peppy Buzz Cola jingle. It's a nice guest spot that breezes by quickly but is more than a throw-away (unlike Andy Dick's mercifully short walk-on).
Overall, the episode is very sharp, has a good pace, and features some edgy lines such as a not-quite Jewish insult and a 9/11 line that perfectly encapsulates the justification for the Iraq War and is all the more biting because it comes from Cletus.
Of course, for musical theater geeks, this episode features the ultimate guest appearance by Stephen Sondheim who gets abused by Krusty and then composes a peppy Buzz Cola jingle. It's a nice guest spot that breezes by quickly but is more than a throw-away (unlike Andy Dick's mercifully short walk-on).
Overall, the episode is very sharp, has a good pace, and features some edgy lines such as a not-quite Jewish insult and a 9/11 line that perfectly encapsulates the justification for the Iraq War and is all the more biting because it comes from Cletus.
Saint George
(2014)
Too Raunchy for a Family Sitcom
24 March 2014
I'm not opposed to raunchy or edgy humor. I love "It's Always Sunny in Philadelphia" and "Archer," two shows which are proudly aggressive in their adult humor. The problem with "Saint George" is that it feels like a traditional 3-camera, live audience family sitcom where someone decided to graft on the most unfunny "adult" jokes into the script even though they just don't fit the style of the show. (Actually, they wouldn't fit ANY show because they are just so immature and lame.)
If George Lopez wanted to do something different than his previous show, he should have made this a single camera show like "Louie" and work with writers who know that style. Or he could have gone the "Modern Family" route, emphasizing the multicultural family. But if he wants to save his current show with the least amount of work, he would do well to ditch the childish "adult" humor and simply embrace the family-safe sitcom style that this show really wants to be. It also appears to be what Lopez's fans want.
If George Lopez wanted to do something different than his previous show, he should have made this a single camera show like "Louie" and work with writers who know that style. Or he could have gone the "Modern Family" route, emphasizing the multicultural family. But if he wants to save his current show with the least amount of work, he would do well to ditch the childish "adult" humor and simply embrace the family-safe sitcom style that this show really wants to be. It also appears to be what Lopez's fans want.
The Christmas Bunny
(2010)
In between Hallmark and Lifetime
22 December 2013
I usually hate movies like this, but I actually enjoyed this one. Probably because it was a little darker than I expected. Not as "uplifting" as a Hallmark movie, but not as melodramatic as standard Lifetime fare. The cinematography has a nice indie feel to it rather than a sterile TV movie look. I thought the gloomy Michigan winter nicely framed the uncertain financial prospects of the dad and also the isolation of the girl. Though I wish the relationship between the rabbit lady and the girl had been developed a lot more since they were both so emotionally shutdown. Nevertheless, Florence Henderson did a great job in a role that played against her usual chirpy persona. I actually didn't recognize her until I saw the credits.
Feels like a spin off pilot
28 August 2013
This is a terrific episode, but it's unusual in that it focuses on a group of nurses who we've never seen before. The fact that these characters are so strongly written, well defined and played by a good cast suggests to me that this episode might have been a spin off pilot for Margaret's character and the nurses. In addition, none of the usual nurses are seen. Based on the quality of the episode, a series based on these characters might have actually worked.
The main plot concerns Margaret's relationship with her nurses in general. The B-story focuses on Hawk and BJ helping one of the nurses to spend the night with her new soldier husband. There's even a C-story about another nurse becoming emotionally burned out.
The episode was written by Linda Bloodworth-Thomason, so it's not surprising it contains strong female characters. And even if it wasn't meant to be spin off pilot, it still works as a great episode from a great series.
The main plot concerns Margaret's relationship with her nurses in general. The B-story focuses on Hawk and BJ helping one of the nurses to spend the night with her new soldier husband. There's even a C-story about another nurse becoming emotionally burned out.
The episode was written by Linda Bloodworth-Thomason, so it's not surprising it contains strong female characters. And even if it wasn't meant to be spin off pilot, it still works as a great episode from a great series.
Classic Mid-series Episode
28 August 2013
This episode from the early BJ era, is one of my favorites. No weighty storyline. No characters facing a moral dilemma. It's just a straight up comedy episode with lots of verbal humor and less of the broad comedy that was common in the Trapper John era.
The simple plot is that the camp has been grumpy and Potter hopes that movie night in the mess tent watching "My Darling Clementine" will cheer their spirits. Unfortunately, the film keeps breaking, so they entertain themselves by singing songs and doing impressions. It's really a charming episode and a nice change of pace from the more serious or heavily plotted story lines. Though the episodes from this era were generally pretty light, this particular one is a far cry from the dreary and preachy episodes that would be a staple of the series' final years.
The simple plot is that the camp has been grumpy and Potter hopes that movie night in the mess tent watching "My Darling Clementine" will cheer their spirits. Unfortunately, the film keeps breaking, so they entertain themselves by singing songs and doing impressions. It's really a charming episode and a nice change of pace from the more serious or heavily plotted story lines. Though the episodes from this era were generally pretty light, this particular one is a far cry from the dreary and preachy episodes that would be a staple of the series' final years.
A Man and a Woman
31 March 2013
15 years after it first aired, I finally watched this episode. I've never been a fan of the "Jeffersonian" era shows. In my book, Rhoades rules. But I have to admit, "Lez Be Friends" is actually a fun episode. It's not hilarious, and the B-story about the dog is lame, but watching Al befriend Mandy is sort of cute and Al is actually rather nice in this episode. And like Al, I started to get a crush on Mandy, something I've never had for Marcy.
Now that I think of it, here's a bit of trivia: Q: Who are the two gay people that Al has had crushes on? A: Mandy (Marcy's cousin), and Pete (played by Dan Castellanetta) in "The Dance Show" episode. Pete asks Al to help him get his husband back from Peggy's clutches. But when Al finds out that Pete cooks, works, and likes sports (except soccer), Al wants to keep him for himself.
Now that I think of it, here's a bit of trivia: Q: Who are the two gay people that Al has had crushes on? A: Mandy (Marcy's cousin), and Pete (played by Dan Castellanetta) in "The Dance Show" episode. Pete asks Al to help him get his husband back from Peggy's clutches. But when Al finds out that Pete cooks, works, and likes sports (except soccer), Al wants to keep him for himself.
Red Tails
(2012)
A Bad Musical Score For A Bad Movie
23 January 2012
Among the many problems I had with Red Tails, I suppose one of the most egregious was the incredibly overbearing and cloying musical score. But in a rather sad way, the score perfectly fits the entirely forced and artificial nature of the movie itself. Now, I know that typically a film's musical score is used to enhance emotion, but in the case of Red Tails, the music is so over-the-top, in-your-face, and cliché ridden that I couldn't help but laugh at times. One example is the music we hear when a soldier drives into an Italian town. Yes, we know we're in Italy, but in case anyone is confused we're treated to a musical cue that sounds like the spaghetti scene from Lady and the Tramp. And if you can't figure out that the German pilot is a bad guy, why, the music will certainly tell you! Well, that and the GIGANTIC SCAR ON HIS German FACE!
And I'm sure I'll be called a pinko/commie for saying this, but what was up with playing America the Beautiful during the credits? It felt so forced, like the music in one of those "patriotic" animatronic exhibits at Disneyland that gets mocked. And the reason those are mocked is because they are lifeless objects trying to manipulate and force us to feel something without actually LETTING us feel that way on our own. It's cynical trickery. And that's how I feel about the score of Red Tails and pretty much the movie in general.
The men of the 332nd were heroes and patriots. Real ones. But they were also real men, not the cartoon characters in Red Tails. And the Tuskegee Airmen deserve better than the childish fantasy of George Lucas by way of Anthony Hemingway.
And I'm sure I'll be called a pinko/commie for saying this, but what was up with playing America the Beautiful during the credits? It felt so forced, like the music in one of those "patriotic" animatronic exhibits at Disneyland that gets mocked. And the reason those are mocked is because they are lifeless objects trying to manipulate and force us to feel something without actually LETTING us feel that way on our own. It's cynical trickery. And that's how I feel about the score of Red Tails and pretty much the movie in general.
The men of the 332nd were heroes and patriots. Real ones. But they were also real men, not the cartoon characters in Red Tails. And the Tuskegee Airmen deserve better than the childish fantasy of George Lucas by way of Anthony Hemingway.
Haywire
(2011)
A Fine Half-a-Movie
22 January 2012
The main problem with HAYWIRE is that the script is severely underwritten. Not just in the usual sense of depth and character, but more importantly in the sense that it plays like an unfinished script. Sort of like the screenwriter ran out of time finishing a draft and someone said, "Look, just slap a closing scene on it and the intern will start making copies." It really feels that incomplete. So in the end you feel cheated.
All of this is a shame because HAYWIRE had the potential to be a pretty solid action movie. The cast, as usual for Soderbergh, is A-list. The locations, sets, action, all fine. And that brings us to Gina Carano, whom I was expecting to be the weakest link in the film. Well, far from it. Sure, she's got a long way to go before she'll be cast in an Alexander Payne film, but in this film she's perfect. And to Soderbergh's credit, there are some stunning action sequences that probably work better because of a lack of "acting." One moment in particular is a shot of Carano leaving a hotel knowing she is being followed. The camera stays in front of her as she walks briskly at us. No music, no running, just fast walking and the natural sounds of the street. You would never see that in a Bourne or 007 film. But I thought the effect was wonderful and provided a brittle tension that finally exploded into an excellent chase sequence.
Unfortunately, moments like those are all for naught since the script is simply MIA. And if Steven Soderbergh can miss such basic story structure problems like the ones in HAYWIRE, then maybe a few years painting might do him some good.
All of this is a shame because HAYWIRE had the potential to be a pretty solid action movie. The cast, as usual for Soderbergh, is A-list. The locations, sets, action, all fine. And that brings us to Gina Carano, whom I was expecting to be the weakest link in the film. Well, far from it. Sure, she's got a long way to go before she'll be cast in an Alexander Payne film, but in this film she's perfect. And to Soderbergh's credit, there are some stunning action sequences that probably work better because of a lack of "acting." One moment in particular is a shot of Carano leaving a hotel knowing she is being followed. The camera stays in front of her as she walks briskly at us. No music, no running, just fast walking and the natural sounds of the street. You would never see that in a Bourne or 007 film. But I thought the effect was wonderful and provided a brittle tension that finally exploded into an excellent chase sequence.
Unfortunately, moments like those are all for naught since the script is simply MIA. And if Steven Soderbergh can miss such basic story structure problems like the ones in HAYWIRE, then maybe a few years painting might do him some good.
The Old Guys
(2009– )
I miss this show!
15 November 2011
The Old Guys is a quirky, intimate show that I've quickly come to love. The core cast works wonderfully together, though I have special affection for Katherine Parkinson (who doesn't?) as an insecure daughter and Roger Lloyd-Pack as her self-obsessed father who still seems astonished that he's a day over 50. The comedy is definitely not cutting edge, but the situations are fun and the cast adds spark and unexpected delivery to ordinary lines such as Parkinson's admiration of her boss, "I'd love to be able talk to her about some of my ideas. I've got a hell of a lot of ideas. Over fifteen!" And every now and then there are pure moments of the sublime, such as Roger Lloyd-Pack's improvising on Auden's "Funeral Blues" with "Stop all the clocks...completely. No exceptions...And turn off the phone. Or put it on vibrate...Shut those bloody dogs up!"
I think the show was cancelled after only 12 episodes, which somehow equates to two seasons in UK time. Wikipedia suggests there may be a third season coming in 2011 or 2012, but I've haven't seen anything to corroborate this. I'd be thrilled if it was true.
Now as for the show's theme song, to my ear it must surely go down as one of the worst in TV history (no offense to Ivor Cutler). I get the song's irony, but it just doesn't work as a TV theme and it makes the show seem slighter than it is. If they do bring the show back, I hope it is with something different or even with no theme at all.
I think the show was cancelled after only 12 episodes, which somehow equates to two seasons in UK time. Wikipedia suggests there may be a third season coming in 2011 or 2012, but I've haven't seen anything to corroborate this. I'd be thrilled if it was true.
Now as for the show's theme song, to my ear it must surely go down as one of the worst in TV history (no offense to Ivor Cutler). I get the song's irony, but it just doesn't work as a TV theme and it makes the show seem slighter than it is. If they do bring the show back, I hope it is with something different or even with no theme at all.
Kisna: The Warrior Poet
(2005)
Hasn't Bollywood learned from Lagaan?
22 January 2005
While I am a Bollywood aficionado, I do feel Hindu commercial cinema could stand to improve the quality of their output while still maintaining those fundamental elements that make Bollywood so much fun. Such an effort would help to widen the commercial appeal of these films to western audiences while still allowing them to be what they should be first and foremost, that is a national product for Indian audiences. KISNA is prime example of a film that could have followed the example of the brilliant LAGAAN and broken borders, but instead falls into the same "might have been" category as so many other Indian musicals.
There is a lot to like about KISNA. The story is interesting and one that would appeal to audiences not particularly familiar with the Bollywood genre, the characters are intriguing, the songs are above average, and best of all, the movie is shot with an eye for the spectacular. But despite all of this, the director fails at pulling it all together despite having all the elements for a real classic. Apparently the film was written, produced and directed by a single person, but I'm sure a little oversight and collaboration would have helped. I suspect this director was a bit full of himself as evidenced by the final image of the film being of himself sweeping his arm out over a vast valley where the movie was shot as if to say, "this film is all mine!"
KISNA is bound to be compared to LAGAAN and with good reason. Both films are concerned with the British Raj and both depict a love triangle between an Indian man and woman and the British woman who comes between them. Yet whereas LAGAAN had a light fairy-tale feel to it, KISNA is all drama and action. This is not necessarily a problem, except it's executed with a heavy hand from the start. The worst parts, however, are the repetitive action sequences which are basically the same situations played out over and over again. By the third time the young British woman is carried away by a bad guy you sort of hope she doesn't come back. As well, some of the stunts are merely implied by camera work rather than actually shown which feels a bit like a cheat and takes some of the excitement away.
Still, if you want an excuse to see KISNA, the musical numbers certainly fit the bill. The cinematographer and dance choreographer do an exquisite job fueling the numbers with vibrance and excitement and some of the sequences are simply stunningly beautiful. There is, however, one very unfortunate exception. During one number which really should have been a touching song of unexpressed feelings by one character for another quickly devolves into the most absurd display of tasteless pop pandering I've seen in a Bollywood film in quite sometime. Rather than a deserted church in 1947 India, we are transported into something akin to a Mariah Carey music video replete with glowing motion trails and video generated rainbows. I half expected to see a unicorn fly across the screen followed by a VH1 logo.
As for the actors, most do exceedingly well in their roles. Although I was less impressed with the young British woman due to her overly-dramatic takes, I suspect it was the director who pushed for this style. I'm sure the actress had a better performance that remained untapped.
Though nowhere near the pinnacle of LAGAAN, KISNA is worth a trip to the cinema if only to admire the wonderful musical numbers and also to ponder what this film "might have been" if it had been in the hands of a more capable director.
There is a lot to like about KISNA. The story is interesting and one that would appeal to audiences not particularly familiar with the Bollywood genre, the characters are intriguing, the songs are above average, and best of all, the movie is shot with an eye for the spectacular. But despite all of this, the director fails at pulling it all together despite having all the elements for a real classic. Apparently the film was written, produced and directed by a single person, but I'm sure a little oversight and collaboration would have helped. I suspect this director was a bit full of himself as evidenced by the final image of the film being of himself sweeping his arm out over a vast valley where the movie was shot as if to say, "this film is all mine!"
KISNA is bound to be compared to LAGAAN and with good reason. Both films are concerned with the British Raj and both depict a love triangle between an Indian man and woman and the British woman who comes between them. Yet whereas LAGAAN had a light fairy-tale feel to it, KISNA is all drama and action. This is not necessarily a problem, except it's executed with a heavy hand from the start. The worst parts, however, are the repetitive action sequences which are basically the same situations played out over and over again. By the third time the young British woman is carried away by a bad guy you sort of hope she doesn't come back. As well, some of the stunts are merely implied by camera work rather than actually shown which feels a bit like a cheat and takes some of the excitement away.
Still, if you want an excuse to see KISNA, the musical numbers certainly fit the bill. The cinematographer and dance choreographer do an exquisite job fueling the numbers with vibrance and excitement and some of the sequences are simply stunningly beautiful. There is, however, one very unfortunate exception. During one number which really should have been a touching song of unexpressed feelings by one character for another quickly devolves into the most absurd display of tasteless pop pandering I've seen in a Bollywood film in quite sometime. Rather than a deserted church in 1947 India, we are transported into something akin to a Mariah Carey music video replete with glowing motion trails and video generated rainbows. I half expected to see a unicorn fly across the screen followed by a VH1 logo.
As for the actors, most do exceedingly well in their roles. Although I was less impressed with the young British woman due to her overly-dramatic takes, I suspect it was the director who pushed for this style. I'm sure the actress had a better performance that remained untapped.
Though nowhere near the pinnacle of LAGAAN, KISNA is worth a trip to the cinema if only to admire the wonderful musical numbers and also to ponder what this film "might have been" if it had been in the hands of a more capable director.
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