Aguirre, der Zorn Gottes (1972) ***½

Aguirre, der Zorn Gottes is not an easy film to like, in fact its slow pace and detestable lead character should serve to alienate the audience, however its fascinating journey into the dark nature of man where personal ambition and greed cloud common sense and good judgment makes for quite a powerful film. The film is almost shot guerrilla style. There are no sets, just men wandering about the jungle in search of the elusive El Dorado. The film score is sparse and the blood effects come off as unrealistic, quite an unnatural color spews from the bodies of the conquistadors. The film perfectly suits the mood of the characters, adrift down the river with no real idea of where it's headed. There is no real foreshadowing of what will happen to the explorers, other than the knowledge that there is no El Dorado. Aguirre (Klaus Kinski) makes the prophetic statement at the beginning that the river will be the death of them however his hunger for wealth and power blind him to the realities of the situation and the film follows his slow descent into madness as his strength and numbers are slowly stripped away leaving him alone with only demented fantasies of success.

This film is said to have been an inspiration for Francis Ford's Coppola's Apocalypse Now and like that film it follow its characters as they venture into unknown territory which breaks down their resolve and morale. The promise of El Dorado is too great of an opportunity to turn their backs on, and once the decision is made to return the scouting party back to the base camp, in effect give up the search, Aguirre stages a mutiny and injures the leader, Don Pedro de Ursua (Ruy Guerra) and convinces the men to continue the search, break off from Spain, and form a new empire built about the riches they will find in El Dorado. Most of the men are willing participants in this mutiny especially after one of Ursua's followers is summarily executed. To maintain order and put a face of respectability upon their traitorous behavior, Aguirre remains as second-in-command and names Don Fernando de Guzman (Peter Berling), an easily manipulable man who is more concerned with where his next meal is coming from than to see the fatal perils of their quest.

The film successfully explores the clash of these "modern" men in direct conflict with the land and peoples that have remained unchanged for thousands of years. They come into contact with cannibals and are picked off little by little by unseen forces which they can not directly engage as only fleeting glimpses are caught of them. This unseen force mirrors that of the jungle, which also contributes to the rising death toll as food supplies continue to run out. Even when faced with the reality that even if El Dorado is found the wealth will not aide in their survival, Aguirre, becoming obsessed with his quest, orders the elimination of any man who even speaks of desertion. He is unwilling to admit that El Dorado does not exist and that they have traveled too far and done so much to turn around and limp home empty handed and with tail tucked firmly between their legs. The men become delirious from lack of food and infection until their raft is left circling in the same spot on the river with no one even capable of mounting a defense when the next attack comes. One man barely stirs when an arrow hits him in the leg as he believes it to be a hallucination.

Aguirre finally loses his grip on reality completely when his daughter is killed during one of the attacks, the only person in the party that he has ever shown any care for. He cradles her body tenderly and it's some of the only emotion we see from this man who has become a ruthless dictator who kills anyone who dares to dissent from his course of action. The final scene has him circling around the raft, while the raft itself circles around the river, the camera adding to the dizzying illusion by itself circling around the raft. The sentiment is that of the last remains of the expedition spiraling out of control, or going down the drain to its final resting place. Aguirre continues to make bold claims of the success of his quest, his dreams of the new empire that will return to Spain and dethrone the king, and the founding of a great dynasty with the offspring of himself and his deceased daughter. The last image of the man who would be king has him ranting and trying to drive his new legion of followers, monkeys which have invaded the raft, into action. The jungle has swallowed up this expedition and soon there will be no trace that it has never existed. Despite the advancements of modern technology there are some spots on the globe, now as even then, that man does not stand a chance of conquering. If only Aguirre had not allowed his obsession to turn away from that first prediction of what would happen. But after all, he's only human.

Favorite moment: After Aguirre finally has Ursua hanged, his mistress Inez (Helena Rojo), the only continuing vocal faction against Aguirre, boldly walks into the jungle to certain death at the hands of the natives the next time the raft makes landfall at a village. The fact that this woman would rather place her life in the hands of murderous natives, and possible cannibals, over that of Aguirre is a powerful statement that she gives her life to make. The death from the natives will be quick and painless compared to slow, ghastly deaths we witness of the men on the raft. Inez simply disappears into the jungle without a trace which unfortunately will be like everyone on this journey except she was able to choose her time, a final act of independence.

Burn Notice "Rough Seas" (2008)

An entertaining episode even if the burn notice plot takes a back seat yet again after being given a fresh face in the previous episode. This episode shows how well the show can do without exploring the actual burn notice side of the series. In some episodes this season, the cases have only been so-so and it's noticeable that we're not moving along in the other half of the series. Here the SPI case was so diverting and amusing that it didn't feel that something was missing from the overall production. Bringing back a past character is also a nice touch as Virgil, one time client and romancer of Madeline, returns with a new case for SPI. Some missing antiviral drugs, for needy children no less, has been hijacked and Virgil turns to the only man he knows can crack the case. It takes meeting the new client and seeing the children that it affects to make him agree to take the case, but SPI has its mission for the week. Michael has his own side assignment in trying to keep Virgil away from his mother and he has no desire to the see the two of them get together again while Fiona's buddy arms dealer also has him working as a hired hand against some aggressive Bulgarians. All in all in was a jam-packed episode.

The thawing of the cold shoulder Michael has been getting from Fiona we saw last episode seems to have cooled down again as Fiona is pursuing another gentleman and can't help bringing it up whenever she has the chance. Michael clearly misses her as can be seen in the teaser as the camera gives us his point of view of watching her while his voice over discusses the problems of becoming involved with a teammate. He doesn't press for information about the new man in Fiona's life which she finds a bit strange but she is taken aback when he tells her she looks beautiful at the end. That's a compliment I don't think we ever heard from Michael before and further proof that he cares more for Fiona than he will probably ever say. At least Fiona's priorities are still straight as she skips out on her date to help Michael with the mission despite her wish Michael would get a little roughed up when he goes undercover. I wonder 1) if there is a new guy or it's something Fiona made up to make Michael jealous and 2) if he is real we get to meet this new man in Fiona's life. Him and Michael meeting up should make for some interesting viewing.

The ultimate highlight of the episode comes from Michael's cover identity for this mission. Here is a man who has flawlessly played smooth operators, playboys, con artists, professional criminals and blue collar workers. The most hilarious cover came in this episode as he plays a nerdy, frightened lab worker who is "sucked in" to the criminal's plot through no choice of his own. His high-pitched voice and overly-nervous persona is a perfect contrast to the Michael Westen we already know and come to expect. Prone to overreacting a bit much requires him to take a few puffs from his inhaler. Even when carrying boxes, he moves like a hunchbacked assistant out of a Frankenstein film. Some of the best laugh out loud moments come from this uncharacteristic portrayal and how others react to him. It's no wonder he's never seen as a threat and why it's such a shock when he disarms the men and pulls out that gun at the end of the episode. This show always finds a way to balance the humor with the thrilling exploits each week. The humor flows naturally from the characters and is never shoehorned into the episodes.

Charles Finley, Sam's go to cover, makes another welcome appearance in this episode and it's certainly evolved from when he first used it last season. Instead of an overly cautious, uptight business man, he's now a criminal who sells both guns and then medicine to patch them up for the next round. He can even handle himself in a bar fight. There's no real reason to love his use of the alias, but it's fun continuity for people like myself who notice things like that. I said before Charles Finley could be this series's version of "Art Vandelay" from Seinfeld and who knows maybe even Michael and Fiona will use an alias more than once so right before the end of the series they can all use them at the same time like in the "The Puerto Rican Day".

Favorite moment: The "heist" of the liquid steroids off the yacht provided some of the best laughs of the episode. From Michael babbling about how he needs a gun because they will be shooting and that means those people will be shooting back, pointing it a Gerard's (Max Martini) head while cocking back the hammer, his impromptu exchange with Virgil and his recognition of a certain refrigerator on the boat are all great highlights. SPI works best under pressure and that was never more apparent than here which was all thrown together at the last minute.

The Office (UK) "Episode 6" (2002)

The second season of The Office (UK) comes to a close and in an ironic twist of fate it has more cliffhangers than the first season finale which tied up everything pretty much by the end of episode. David is putting up a brave front, acting as if he's better off leaving Wernham-Hogg as now he can do more outside the halls of our favorite British paper company. In a further boost to his ego, at the worst possible time, he is being interviewed for a trade magazine. He feels the need to write the article for her and he's more than willing to blow his chance for some exposure as he's about to head back into the job market. I realize I harp on it every episode but Brent has just become painful to see. Every scene he is in he manages to come off as more of an ignorant jerk that previously and the battering he is taking with his redundancy and then finding out he's been let go from the public speaking gig he managed to secure a few episodes ago only serves to drive him further into immature and jackass behavior. He can't even maintain a semblance of professional civility when he is told he won't be used again as a speaker and kicks them out of his office with a few obscene words.

This is probably the point in the season where we should start to feel for David, the cracks in his veneer are showing more often and he is gravely disappointed that no one seems to be taking his leaving with any kind of remorse. When he finally does get real and begs Neil and Jennifer to let him stay on, promising to make serious changes and doing what they want him to do, I'm afraid it's too little too late. Up until that moment he still acts smug and superior and flips off Neil's words of gratitude for his work with the company. He has alienated this viewer so much that I cannot really dredge up any sympathy for him. Maybe it's his personality type that I loathe and biases me so negatively against him as I cannot stand smug people who have no right to be that way. They are an irritant that never go away and that is what David has become over the course of this season. He's too far gone for me to care that he is losing his job and has nothing else to really fill it with. Maybe that's harsh but it's of his own doing because in the end, we hope, people like him get what they have deserved for the longest time. I do wish to point out again how much I admire Ricky Gervais's courage and skill in taking on such a role as it's one most actors would probably shy away from. We're left not knowing if his heartfelt plea allows him one last reprieve from management and will have to wait until the next season, if there is one . . .

David's not the only person (possibly) heading out as Dawn gives her notice as she and Lee plan to head to the States for a holiday. David of course believes that Dawn is resigning as a gesture of loyalty to his being let go and then when he discovers the truth really couldn't care less that she is leaving. This is a stark contrast to how he reacted to Tim resigning last season where he worked hard to get him to stay. Understandably he doesn't have an interest in the office anymore but I thought it was worth a mention. Her and Tim appear pretty friendly despite the initial awkwardness of their first kiss in the last episode. In fact Tim is getting along a lot better with Dawn than he is with his girlfriend Rachel, who he has been keeping at a distance since the kiss with Dawn. He immediately refuses a trip to Rachel's family reunion and says he cannot go. The kiss has caused him to re-assess his feelings for Dawn and as Rachel is looking to get more serious, he does the admirable thing and breaks it off rather than lead her on.

Maybe it was that conversation in the break room where Dawn admits to be attracted to shy guys and Lee reveals she prefers a man with a sense of humor whice resulted in his decision to end the relationship. He knows there is something there and decides he cannot continue to see Rachel. Side note: Sheila (Jane Lucas) has the best laugh of the episode with her admission that she "likes blacks" and the cut to everyone's dumbstruck reactions. I don't know if that was her first line ever but it certainly made an impression in this last regular episode of the series. Certainly once Tim finds out that Dawn and Lee are leaving on an extended holiday it mobilizes him to action. I think it's a great scene that begins with Tim trying to explain away the first time he asked Dawn out and how it was in the name of being mates and not romantic. In the middle of saying he can't change circumstances, he gets up and asks Dawn to speak with him in the conference room. Taking off his mic, we don't get to hear the actual confession, almost as if it was real life and we were a co-worker watching from the bullpen. It ends on a sad note with his solemn confession, "She said no by the way." This season finale really left things on a bitter note for all the regulars unlike last season's with one major exception.

I had been wondering if Tim would be promoted into David's position after he left and surprisingly when asked by Neil to take the job he turns it down. He doesn't want to be stuck in a job he doesn't want and as much as he hates his current job, he knows he won't find anything more in David's and it might make it harder for him to leave once he's in that position. It would take a lot to walk away from the money and the "power" to start over somewhere else. Plus I think he's scared of turning into David, much like how we saw him acting when he accepted the promotion in the last season finale. These two episodes really do complement each other rather well upon inspection. To everyone's surprise he nominates Gareth for the position as he's already a David-ish person and would relish that job. Of course, Tim realized his error once Gareth makes plans for major changes around the office and how his nemesis has just become his boss.

All in all I would say this season is an improvement on the first season, which in and of itself was very well done. The characters introduced the previous year are further explored in these episodes as well as adding some new friends into the mix. The one major grievance is that it became a less ensemble show in its second year as more focus was placed onto the David Brent character and those certainly weren't the best scenes of the episodes. There is no third season, but a two-part Christmas Special follow-up which should be interesting to see our lingering questions being answered and give us a chance to spend a bit more time with the workers of Wernham-Hogg, who we grew to love over the course of this past season. See you at the reunion.

Favorite moment: Gareth's new toy provides him endless fun as it's an overweight man who quickly becomes aroused and climaxes to some silly music. After the third time, Tim throws up his pen in frustration and exits the frame before it lands. Later when trying to win over Neil that Gareth is the man for David's open position, we hear the toy go off again all while Tim is talking up Gareth's professionalism and expertise. A humorous scene in an otherwise serious episode it served as the comedic oasis before all the cliffhangers began.

His Girl Friday (1940) ****

One of the best screwball comedies of all time straight out of Hollywood's Golden Age, His Girl Friday is both an adaptation of a play and remake of an earlier film based on the same material. Howard Hawkes made the brilliant decision to change the second male lead to that of a female, who is also the recent ex-wife of the newspaper editor as well as his best reporter which provides a fresh take of the material as well as adds another rich layer to the relationship between the characters. His Girl Friday is probably best know for its rapid pace dialogue and sharp and incisive wit. The actors deliver their lines with machine gun accuracy coming up for air only when is absolutely necessary. The fact that most of the scenes take place in unbroken shots serves as proof of how well the actors have the material down and impresses the audience with their high level of proficiency in such a difficult task. This film squeezes twice as much plot into its length then other films and it is all necessary to the story. There is no padding and nowhere does the film slow or drag, in fact the pace become more frenetic as it reaches its climax and it makes for one of the most enjoyable films I have ever seen.

Walter Burns (Cary Grant) is the editor of The Morning Post who is losing one of his best reporters, Hildegaard Johnson (Rosalind Russell) who plans to marry Bruce Baldwin (Ralph Bellamy), an insurance salesman, and give up the stressful life of being a newspaperman. Burns has other ideas and plans to win back his ace reporter as well as his wife and an impending execution and a possible reprieve are just the enticement he needs to lure Hildy back into his web. Grant is at his finest here, both charming, suave and a tad too slick for his own good. It's impossible to ever find fault with him however as he wins the audience over with his cavalier and determined attitude. The chemistry between Grant and Russell is absolutely palpable and there's never a doubt in the audience's mind that two will end up back together. They're practically twins, from their speech to their mannerisms and there's that silent passion each regards the other with that ensures they will find each other again in the end.

Bruce is the obvious outcast as he's played as a slightly aloof, slow speaking, all around nice guy who easily falls under the sway of Burns's charms. He is a complete contrast to Walter and aside from a tender exchange at the beginning of the film, there's little to no spark between him and Hildy. Perhaps she chose him because he represents the life she wants and cannot have with Walter. He was never able to provide a home and children, the honeymoon was even postponed to cover a breaking story. Hildy doesn't so much as love Bruce, but is attracted to the freedom that life would bring. She wouldn't live and die with The Morning Post even if that is where she feels the most alive. Her passion for journalism is quickly reignited following the jailbreak of the man who is scheduled to be hanged the next day. She can't even be bothered to help Bruce out of his many arrests once her fingers start dancing across the typewriter. Perhaps Walter only cares for his star to be on the case of the next biggest story, but when push comes to shove he tells her to go with Bruce, because that life is one he admits he can never provide. He's a newspaperman and he'll always be at its beck and call, but he cares too much for Hildy to trick her into staying when she wants something more.

It's certainly understandable why Hildy would want to get out of the business. The group of reporters we meet in the press room of the Criminal Courts Building care about no one that isn't giving them the scoop on their next story. They've become so detached from real life that tragedy is only seen as a profit center and their eyes positively light up at the very mention of a scandal. These are supposed to be reputable reporters as well casting aside the notion of the journalist composed of compassion and integrity. They're not above fudging the facts to make for a more sensational story and to outdo the competition in order to sell more papers. Their treatment of Mollie Malloy (Helen Mack) is appalling, making extravagant and exaggerated claims about the relationship between her and Earl Williams (John Qualen) all in the name of bigger business at the newsstand. Mollie's life has been turned upside down because of her association with the one man who ever showed her a little kindness which has been reported ad nauseum as a tawdry little affair and printed for all the country to read about. Hildy at least shows some sensitivity and leads Mollie out of the room while she rants at the unlistening men focusing on their card game. In the one quiet moment of the film after Hildy and Mollie exit the press room, the group has a fleeting moment of humanity where the realization of the damage they have wrought dawns on them and they show the only remorse they're likely ever to have regarding the subject.

His Girl Friday will always be for me one of my all time favorite films. It has laughs and moments of true sentiment that work due to the excellent written material and the fine execution by the leads. I can't imagine seeing the original film, The Front Page, with two men as the leads because the atypical love story between Walter and Hildy is so ingrained in the success of the picture. These are two people made for each other and the time spent apart allows them to see just how necessary they are to each other. Hildy plans to sacrifice her career for the life she wants until she realizes just how much she wants both and not one at the expense of the other. It's possible Walter may never change and she won't get the home and family she yearns for right away, but I firmly believe that almost losing Hildy will have opened Walter's eyes enough to see how he almost lost her. In that last scene between the two of them, it can be seen that Walter genuinely cares about Hildy's happiness and provides a new hope for their future together while still breaking those news stories before anyone else in the county.

Favorite moment: Two titans collide when Walter meets Bruce for the first time when Walter discovers that Bruce has accompanied Hildy to the office to give her notice. Walter assumes that an elderly gentleman waiting in the lobby is Bruce and proceeds to greet him and wish him well. A hilarious scene with helps to set the overall tone of the film. It's not to be taken too seriously and with a sly wink to the audience that Walter is knowingly putting one over on everyone. It was as this scene that I knew this film was going to be a hit.

Change of Tactic

It was inevitable really. It's next to impossible to write a review for every movie and TV show I happen to watch, so much so that I'm avoiding watching a lot of things I like because I'll then have to write a review. So, I'm making an amendment to my original pledge. I will still continue to review the movies I watch, but as for television, I am going to review shows only from the beginning. Right now that's just Burn Notice and The Office (UK), but the fall TV season is right around the corner and I have shelves full of DVDs of shows that I can review as well. I think this method is more effective because then the reviews can follow the continuity of the show as the plots and characters develop. I'll reorganize the TV show posts once I come to them again in the grand scheme of things. Hopefully this will free up more time and make for richer reviews of the TV shows. Here's hoping for no more cuts!

Brideshead Revisted (2008) ***

Brideshead Revisited is a powerful and touching love story involving a brother and sister and the man that both fall in love with. While the film starts out strong, the last third starts to lose direction and devolves into a staunchly anti-religion, specifically Catholicism, message film which feels out of tone with the the strong and evocative first two-thirds. Charles Ryder (Matthew Goode) enrolls in the University of Oxford with expectations of becoming an artist. He comes from a working class family and quickly become friends with Sebastian Flyte (Ben Whishaw) after their introduction which consisted of Sebastian vomiting in Charles's room through a window facing the courtyard. The two rapidly grow close over the course of the term with one of the highlights being a visit to Sebastian's home of Brideshead, an expansive and beautiful estate that leaves Charles positively smitten. It's not long however before Charles becomes equally enamored with Sebastian's sister, Julia (Hayley Atwell) and a love triangle is forged that can end is nothing less than tragedy.

The love story in this film is given a unique twist in that the two people vying for the affections of our protagonist are brother and sister. The possible homosexual relationship between Sebastian and Charles is subtly and tastefully explored. The two share a bond that only grows throughout the course of the film and aside from a single kiss there is no definitive proof that the two shared an intimate relationship. Certainly Sebastian has stronger feelings for Charles other than those of friendship as he is positively devastated when he sees Charles kissing his sister during a trip to Venice. It's also strongly hinted at that Charles as least partially reciprocates Sebastian's feelings as the two share a physical intimacy in addition to the love and care they have for each other. Charles takes no comfort in the fact that he broke Sebastian's heart when he decided to pursue Julia and probably one of his biggest regrets is that he was never able to mend that rift completely. Sebastian's loss only served to fuel his raging alcoholism which eventually led to his death far from home and family. Whishaw was superb in the role of the tragic and lifelong depressed Sebastian who only wanted someone to love him for him, something not even his mother was even able to give him before she died.

The most gripping and fascinating relationship in the film however is the one between Sebastian and his mother, Lady Marchmain (Emma Thompson) who constantly uses her strict religious moral code to ostracize her son from his own family and fan the fires that drive him to drink. She is a cold, calculating matriarch, who it is said had to exert constant control over the actions of her children from the time they were toddlers. Her use of religion as a means of causing emotional distress over her children was what drove her husband away and that need for control only grows now that her children are on the cusp of adulthood. She even manipulated Charles into doing her bidding in order to keep Sebastian in check. It's no wonder why Sebastian never wanted Charles to meet his family, especially his mother as she succeeds in poisoning their relationship enough that the bond the two shared is effectively broken only a short time after they first meet. Charles catches a fleeting glimpse of Sebastian and his mother talking that leaves the son in tears and provides an understanding for how childish he acts, going so far as to still keep his teddy bear lying around and speaking to it. It's thoroughly depressing how emotional turbulent Sebastian is that he cannot find an ounce of happiness and he has to turn to alcohol for any kind of comfort. The mother-son dynamic has never seemed so distraught and bitter than it does in this film.

Despite the powerful performances and the delicate emotional drama that has been explored throughout the film, it begins to lose focus when it catches up to the second flashback where Charles and Julia reunite on the cruise ship. For one, the relationship between Julia and Charles is never really developed. Aside from that one kiss in Venice, the two haven't seen each other until they are reunited at the party announcing her engagement. Separated again, they reunite on the ship where they are finally able to consummate their passion for one another. They're ready to run off together, even committing a grave sin by having Julia abandon her husband to be with Charles. No time is given to show that these two characters have fallen in love so much so that they're ready to forsake everything to be with one another. It does give credence to how quickly it falls apart once they can be together. This is the one relationship which drives the end of the film and it pales in comparison to everything else we have seen up to this point. Charles and Julia barely share any screen time together for their love to bloom which makes the audience less emotionally invested in this part of the film.

The other issue with the end is that the subtle anti-religious theme which is present throughout is shoved into the spotlight as Charles and Julia's relationship quickly becomes his atheism vs. her faith. Charles is overly adamant that her father would not want a priest right before he is about to die, while Julia quickly re-embraces her Catholic beliefs following the fatal illness of her father. She can't be with Charles because it would be a sin in the eyes of the Church. Catholicism has essentially doomed the relationship between the two people we should want to see together. As quickly as they fall into love, the falling out is even quicker and it rings hollow that someone who has tended to shun her religious beliefs would so rapidly use them as justification to not be with the man she supposedly loves. Maybe as a Catholic, even a lapsed one, I took a little offense that my faith was portrayed in such a bad light, that it ruins the love between family members and used as a tool for emotional terrorism. I just found the increasingly obvious anti-Catholic stance the film was taking to be disjointed from the rest of the superbly done film.

Favorite moment: The trip to Venice gives a taste of one of the most beautiful cities in the world and it is here that the inevitable love blooms between Julia and Charles. We're also introduced to the father, Lord Marchmain (Michael Gambon), whose kind and affable demeanor is a stark contrast to the mother's cold and aggressive behavior. This contrast allows the audience to understand just how poor a parent she is, without ever requiring the character to commit flagrant acts just to show she is "evil". It is also a chance for someone to vocalize for Charles the impending troubles which are just around the corner and he is offered a word a caution because it will only end badly for one, if not all, in the triangle that has developed between Charles, Sebastian and Julia. The calm before the storm highlights the joy and fun that these three have together, such as the playful fighting on the beach, before it all comes crashing down with that kiss.

Burn Notice "Bad Blood" (2008)

Burn Notice had a return to form this week. With the introduction of Michael's new wrangler, the slump that seems to be a recurring factor after the first episodes of the season is ended by inserting a new facet into the actual burn notice continuing plot. It's also a distraction from the fact that Carla has been MIA since the beginning of the season as well. If she's the carrot, then Victor (Michael Shanks) is certainly the stick as it seems Michael has been bucking at his reins a bit during his first few missions. He needs a strong hand and Victor provides that amply in his introduction to Michael over a friendly chess game in the park. Michael's threat of opening an artery in Victor's arm is calmly counter moved with a gun aimed at Michael's groin. Victor also aides in the continuation of the season two switch with having the burn notice interfere in SPI's cases as he scares away Michael's mark when he needs him to help pull a job the next day. He generally gloats over the fact that Michael can do nothing but obey him as he's trapped in a corner, all the while not realizing that Michael is still figuring out bits of information and putting one over on his new employers. Everyone has continually underestimated Michael until it was too late to do something about it. Hopefully Victor won't be another Agent Bly and be out of the picture by the next episode.

Turning matters to this week's case, Michael is contacted by the brother of an old friend who is in a bit of bind since two million dollars has gone missing from the company he's be named head accountant at. SPI looks into the case and decides the best cover for Michael should be as a money launderer. Cue Barry who has been making recurring appearances this season in about every other episode. He's well aware of how continuing relations with Michael can be bad for his own business as "the next day you do the Michael Weston thing, stuff starts exploding, and everybody's saying, 'Hey, Barry, wasn't that guy a friend of yours?' Barry's a likable addition to the SPI support team but I wish we got to see more of him. Maybe delve more into his and Michael's past history? For now, we'll settle with the amusing repartee that the two have developed with Michael always managing to win him over to his point of view. In this instance it just takes an additional two grand and the promise of no blow back.

Michael begins his new cover by trying to convince Eddie (Rob Benedict) to invest the stolen money into some condos Michael, or Jimmy Glinn, is negotiating to buy. The pressure is on however since Valentine (special guest star Method Man) is demanding to know where the elusive money is and Victor has successfully scared off Eddie from getting involved with Michael. SPI always works best under pressure and manage to turn the tables and convince Eddie that Jimmy is his only chance of laundering his money in a clinch. The case this week wasn't the most gripping except for the fact that Victor is able to hinder the well-planned operation Michael is setting up. Michael continually impresses with his smooth operator persona who can convince anyone of anything no matter how the deck is stacked against him. I'm curious to see when SPI is unable to complete their mission. Right now they're pushing a perfect batting average on their cases, aside from some messiness in their last assignment of season one. Burn Notice needs to shake up the format a little, maybe some blow back from a previous assignment, a failed mission, something to show that it's all not always wrapped up in a nice little package at the end of the hour.

Seriousness aside, we can always rely on the other two members of SPI to provide some welcome comic relief. While no Fiona/Sam pairing until the very end of the episode, we got something just as fun with Sam playing guardian over Madeline since, as usual, Michael's family and friends are in the Victor's sight lines should Michael decide not to follow protocol. I was worried it might cross into romantic territory, but it was hilarious to see Sam and Madeline hit it off so well, her providing relationship advice since Veronica kicked him out and she gets a new shopping buddy. Sam even picks up some great cooking tips from watching the Food Network with Mama Westen. Even getting Madeline to play a part in the assignment this week, she is believed to be a FBI agent conducting surveillance with Sam under the pretense of scoping out a new place for Sam to live. Proving she's just as sharp as her son, she sees through the charade and knows Sam was sent to babysit her however she is touched that Michael is so worried about her safety. Even when locked into a procedural format, the characters of the show are what make it must see viewing every week. Not a single one of them is extraneous and you always want to spend more with all and not one at the expense of another. There aren't too many casts out there with that kind of appeal but when you find one you can only hope the show is on for as long as possible.

Favorite moment: Proving just how adept SPI is at manipulating all the players for the final end game, Michael's planned dive in his tussle with Eddie was comical, but the true laughs came from Sam and Fiona's capture of Valentine so he could bear witness to Eddie's confession. Bruce Campbell is a pure delight in these diverting rants, this time criticizing rap music and preferring some gangster Kenny G or Captain & Tennille. And there is nothing hotter than Fiona pointing a gun at someone while calling them sugar bloomers. Picture perfect casting has never seemed so possible.

Smallville "Descent" (2008)

Lex Luthor takes his final step into his evil destiny and it's one coupled with shoving his father out the window of the LuthorCorp building. His obsession over the Veritas secret and the mysterious Traveler has driven him to the point of no return. He faces his father who holds the final key to the lock box in Zurich which contains the identity of the Traveler as well as the ability to control it. Lex has allowed this unquenchable thirst for knowledge to push him to murder his own father. Until now, it's debatable if he's personally committed cold-blooded murder, but here there is no question. He has what he wants and he still pushes his defenseless father to his ultimate demise. Perhaps he is in shock but he shows no outward remorse about this truly horrific act and appears detached and easily capable of moving on. Lionel and Lex never had the greatest relationship, in fact it's a wonder they are even still on speaking terms after the years of manipulation and betrayal. Lex also shows a glimmer of the seething jealousy he has over the fact that Lionel was closer with Clark who he treated as more of a son than he ever did with him. No matter how hard he tries, Lex will never be able to atone for this murder and it looks as if the ultimate destiny between Clark and Lex has been sealed.

It is a shame that Michael Rosenbaum will be leaving the series as a regular after this season as he and Clark have crossed into their most interesting dynamic of the entire series. Clark now knows how despicable and far gone Lex is. He is aware that Lex is responsible for Lionel's death and there will never again be any ounce of civility between them. That smirk Lex gives Clark when he shows up at the grave is the twisting of the knife that even though Clark knows the truth he has no proof. It will be a loss that we won't get a chance to see the continuing evolution of the enmity between these two, but Rosenbaum will return for guest appearances which will be a welcome treat. It also limits overexposure as once a certain point has been passed there is very little that can done to show a fresh angle and of course all our war between the two would herald the era of the films so maybe this episode came at the right time, a few episodes before the season finale with their final confrontation, for a while at least.

It wasn't all gloom and doom as we get a treat of a Lois/Jimmy pairing investigating, of course, the mysterious circumstances surrounding Lionel's death. The naive and eager to please Jimmy is a perfect foil for the straight-shooting, bullheaded Lois and they also make a pretty effective team. Jimmy is resourceful and savvy on the technical side while Lois can be charming and also provide physical support should it be needed. It doesn't work out too well here as she gets shot trying to make a move against Lex's fembot. Since this is the first Smallville episode I'm ever reviewing, I'll point this out now. The level of physical injury and traumatic experiences these kids face on a weekly basis should either have them locked in a padded room at Belle Reve or invalids who can't get out of bed due to the numerous injuries they've sustained. But Lois will be back on her feet in no time. Smallville gives everyone the ability of instantaneous healing powers.

All in all this was an enjoyable episode which set the stage for the final story arc of the season. It's the one episode I missed this season which is why it's randomly popping up now. The next Smallville episode reviewed will most likely be the eighth season premiere. It's also the swansong of Julian Glover as Lionel Luthor who was always both an intriguing and perplexing character on the series and a welcome addition to the cast of characters. Lionel Luthor didn't gain much exposure in the comics but he was a necessary addition to explain Lex's evolution and his eventual fall from grace. Only Lex could have killed off this character and Glover will be sorely missed in the coming season as his absence was already felt in the remainder of this one.

Favorite moment: The last scene of Clark standing over Lionel's grave where he picks up a handful of dirt and sprinkles it over Lionel's final resting place. It mirrors the same action he performed over his father's grave at that funeral and serves as acknowledgment that in the end he did view Lionel as a father figure and will continue to seek justice for his murder. Lionel may not have been the best guardian to watch over Clark but it can never be said that he didn't honestly care for Kal-El to survive in order to fulfill his destiny as guardian of the planet.

The Office (UK) "Episode 5" (2002)

Comic Relief Day hits the office during which a turning point occurs in Dawn and Tim's relationship and David's behavior all season finally catches up to him. The second season continues to impress with this penultimate episode where it's heaven for David since comedy for charity permeates throughout the country. In fact everyone gets in on the fun, except for Tim, initially anyway, as he doesn't see the quiet dignity in this type of charity work as opposed to people raising funds for something that has directly affected them. The highlight of the day was clearly Neil and Rachel's disco dancing duet which was a very well rehearsed dance routine which won over the entire office and again spurred David's jealousy over Neil's popularity. It was nice to see a more relaxed atmosphere in the office after so many episodes this season with tension-filled scenes, mostly of David's doing. It's ironic that this was the most integrated he appeared with the staff all season, aside from a few inappropriate comments about testing disableds to make sure they're not swindling money and that very unique dance routine of his own. It all came crashing down on him as the writing on the wall that has been broadcasted all season finally come to pass.

Jennifer returns to the office for a report David was to put together and, of course, he blows off this requirement as he has done continually despite Neil's increasing number of warnings. He is again dressed down by Neil and given a formal reprimand, strike one as it were, while Jennifer silently sits, like the audience, and watches as David gets what has been coming to him all season. He brazenly welcomes all three warnings at once because he believes the staff will mutiny if he's fired. I'm sorry but how can he be so deluded as to think the staff will risk their jobs for his? I know he likes to think of himself as the glue that holds the office together, but talking about his job, the truly serious nature of the circumstances now facing him should break through that thick head of his. Brent has crossed out of the realm of realism as anyone else would start to fear for their job. No person could be so unaware of what's happening and still continue on with this adolescent behavior. You want to feel for him as he is losing his job, the center of his universe, but it's near impossible after how he's acted all season. I'm sorry, Mr. Brent, I realize how desolated you are but it's of your own making and only you could have prevented it.

On a lighter note, Keith, dressed as Ali G no less, reveals to Dawn that Tim used to be interested in her, that is before he found someone better, the lovely, bubbly Rachel. Dawn has to have suspected that possibility prior to her conversation with Keith, but it's not real until you get confirmation from a third party. Armed with that knowledge, she pushes for the kiss when Tim pays a quid for her Comic Relief Day antic and while it was brief, it certainly epitomized the spark that has existed between them since the first episode of the series. Right before they are about to go for a deeper kiss, they both pull away and are clearly embarrassed about the passion just about to surface. It certainly puts Tim on edge as later he is uncomfortable around Rachel and tries to focus on his work. Hopefully this impromptu smooch will be the catalyst that will ignite a new relationship between the two as they both clearly want to be with one another and while they may be happy with their current partners, they belong together and maybe now they will realize it. One more episode left to the season to see if Dawn and Tim finally get together and David can find a way of saving his job.

Favorite moment: Certainly the biggest splash was the Dawn/Tim kiss however the biggest laugh came from that other kiss. Of course, the one I'm talking about was between Tim and . . . Gareth! Crossing a line that the Jim/Dwight relationship in the U.S. version would never dare approach, although he did joke about it once, Tim began to feel up Gareth as foreplay to his kiss for a quid and then left him alone before planting one right on the lips. It certainly lit up Dawn's face, she even had to wipe away a tear (from laughter or jealousy?) and was the comedic highpoint before all the serious story lines began to climax.

The Searchers (1956) ****

An epic saga of obsession and revenge, John Ford's The Searchers has been hailed one of the greatest westerns in cinema history. While the mantle of "best western" will never be definitive, I can safely say it's my candidate for that contested title. The plot is relatively simple: Ethan Edwards (John Wayne) returns home to his brother's family only for tragedy to strike. Everyone is slaughtered and he sets out, along with Martin Pawley (Jeffrey Hunter, Star Trek's Captain Christopher Pike), a one-eighth Cherokee orphan rescued by Ethan and raised by his brother and sister-in-law, to rescue his youngest niece from the Comanche raiding party. As the years pass and Ethan and Martin forge a slowly deepening bond, it becomes more and more apparent that Debbie (Lana and Natalie Wood, young and older respectively) may not still be alive, or if she is, then has become so connected with the Comanche that Ethan would rather kill her than bring her home as he originally set out to do. The film is a powerful exploration of hate and racism and ultimately shows that the bonds of familial love can overcome any prejudice, no matter how deeply rooted in a person's soul.

John Wayne excels in the role of Ethan Edwards, a loner who never settled down and whose closest ties lies with his brother's family. He is a hardened man who hates all Native Americans with a passion, most likely due to the fact that his own mother was killed by Comanche. He even looks down upon Martin, a boy he saved and brought home, as being less than human despite the fact he grew up with his nieces and nephew and refers to him as "Uncle Ethan". The manner in which Ethan dotes upon the children when he first returns home shows he practically considers them like his own. He holds a particularly special place in his heart for Martha (Dorothy Jordan), his brother's wife, who it is hinted that the two may have cared for one another more than simply as in-laws. His demeanor changes as soon as he sees Martin, and he clearly does not hold the same affection for him as he does for the other children. The tranquil family scenes serve to highlight the truly harrowing nature of the Comanche attack that occurs the next day and provides an understanding for the seething rage which drives Ethan's quest as the years pass and hope becomes bleaker that Debbie will be found.

The deaths of Martha and Lucy (Pippa Scott) and the manner in which they are killed have a profound effect on Ethan and only serve to strengthen his resolve to continue the search for Debbie even after the rest of the search party return home. The violence is rarely shown and the terrifying state in which Martha and Lucy are killed is never discussed and the audience is told all they need to know through Ethan's reactions. This is a man where the hate has built up to staggering proportions over the years and there are several instances where his professional and detached behavior give way to bouts of irrational anger and violent action. He can be friendly and glib one minute but his attitude can change in a flash. Wayne's portrayal elevates this seemingly detestable man into someone the audience can understand and hope for and it is mostly done with no dialogue and shots of Wayne's reactions. Ethan Edwards was considered by Wayne to be the best character he ever played, even naming one of his sons Ethan. It is certainly one of the most emotionally invested portrayals even seen on the screen and it's a constant reminder than he is not playing the gallant and honorable hero riding in to save the day. Ethan Edwards is a man to be watched and feared as he could easily turn against someone at a moment's notice.

There are lighter moments and they usually come at the expense of Martin who makes the unlikeliest sidekick for a man who detests Native Americans. Martin sticks by Ethan's side because he is the best person to track down the Comanche holding Debbie, who he considers to be his sister. Ethan tolerates Martin being with him because it would be next to impossible to tangle with the Comanche alone should he catch up with them. Despite the lack of affection and camaraderie between the two, the time spent between them slowly starts to thaw the tension and Ethan can even act more casual around Martin as opposed to when he first saw him again at the family dinner. The fact of the matter is with everyone else dead and Debbie with the Comanche, Martin is the closest thing to kin that Ethan has. When he offers him the opportunity to run cattle with Jorgensen (John Qualen), it could be construed that he simply doesn't want Martin around anymore. He berates him for his lack of assets and the fact that he's not kin to Debbie or him or any of the ones who were killed. Before Martin goes to sleep he starts to say something before he's cut off. Later Martin rejoins Ethan and they're back to working together as before, no hostility or resentment apparent. It's possible he wanted Martin to stay behind and out of danger since he's made it clear he will never give up the search.

Even when given the opportunity to settle down with Laurie (Vera Miles), who he's been going steady with since he was three, Martin considers it imperative that he continue on with Ethan. He's worried what Ethan will do to her once he does find her since she has spent so much time with the Comanche. When Martin and Ethan do come across a piece of the war party than raided the Edwards' home, the white captives are in shock and nonsensical and it's a thoroughly distressing sight for Ethan as he can imagine Debbie in a similar state. Once Debbie is found, she claims that the Comanche are her people now and that Ethan and Martin should go before they are killed as Scar (Henry Brandon) has recognized them and knows what they have come for. Ethan is ready to kill Debbie without a second thought, but Martin places himself in the line of fire. Had this been all those years before, right after Debbie was taken, it's quite possible Ethan would have shot through Martin. Truth of the matter is the two have forged a bond which is later reinforced when Ethan bequeaths all his assets to Martin, a formal recognition of kinship. It's this bond with Martin that ultimately reminds him of his love for Debbie so he cannot bring himself to kill her when he has the chance. In one of cinema's most classic images, he returns her home and watches everyone else enter the Jorgensen household before he turns back out to the desert, where he belongs, with the door closing behind him.

Favorite moment: The raid on the Edwards' home is a tension-filled sequence and one of the most frightening which is considerable since no violence is actually shown. Upon realization that the running off of cattle was a distraction, everyone sets back home before the Comanche can strike. The distraught look on Ethan's face conveys the horror he feels about the safety of his brother and his family. Martha and Aaron (Walter Coy) figure out early on what is about to happen and they communicate silently so as not to upset the children. Debbie is sent to hide and we see a shadow cast over her by Scar before the film cuts to the next day. An effective use of suspense and foreshadow makes for one of the most effective sequences in the film and sets up Scar as a cold-hearted villain who Ethan and Martin must follow to the ends of the earth, to rescue Debbie and avenge their family.

The Office "Business School" (2007)

Life returns to what passes for normal at Dunder-Mifflin following Phyllis and Bob Vance's nuptials including Michael being asked to be a guest speaker in Ryan's business class and Pam having her first art exhibition. Of course most of the office is more concerned with the bat that has been set loose and is raining poop from above. Everyone had priceless reactions to the bat being released from the sub ceiling from Stanley's immediate evacuation, Angela dropping to the floor and praying for mercy and Kevin's mad dash away from all the excitement. The best aspect of this hilarious subplot however was the Creed/Dwight alliance which gives a chance for one of the great secondary characters to get some extra face time. He immediately accepts Dwight's proposal for an alliance, Jim must be sad he didn't ask him again, and doubly so when he mentions the use of sudden violence. He even has tools in his desk to make a wooden stake out of a mop handle. Creed plays the creepy old man vibe brilliantly especially with his assertion that animals can feel no pain and wishing Mary Beth good luck when she is trapped with the bat. It's always great when the background characters get their chance in the spotlight: the previous episode featured Phyllis and Creed was an absolute show stealer here. Here's hoping we get to see more of some of the others in the remaining episodes of the season.

Dwight stepped up seeing as how the number two man, Jim, was having some problems of his own and took on the duty of catching the flying rodent before it could do more harm. His Schrute hunting tactics of Elmer's glue in a cardboard box and trapping it in a bag around Meredith's head are brilliant comedic gems. Although the biggest laughs come from his belief that Jim has been bitten and is slowly transforming into a vampire. With Karen providing some able assistance, Jim has become allergic to garlic which is white hot to the touch, prone to massive headaches from the glare of Angela's cross and wants to go home and lay down in the dark since it's too sunny in the office. Dwight shows real concern for Jim and wished him well on his battle to combat his new evil persona. In an earlier season I think he might have actually tried to stake Jim, which is what I thought he was going to use the stake for when he turned to Creed for help, but here all he can do is worry about the state of Jim's soul, a further example of their new dynamic.

Continuing with the anger he felt at the end of the previous episode when Pam went home with Roy, Jim doesn't say one word to her throughout the day and has Karen help with his weekly Dwight prank. Pam, on the other hand, seems only slightly happier now that she is back with Roy and seems dedicated to trying to make it work this second time around. Roy, on the other hand seems to have lost his game somewhat now that he has Pam back in his life. His sentiments regarding Pam do not seem as genuine and he looks like he's trying a bit too hard to be nice to her which gives the impression that he doesn't really mean what he says. Pam is clearly upset that no one from the office came to her show, and Roy decides to bask in this turn of events as it shows he really cares being the only one there. His claim of Pam's art being the prettiest art of all the art is another hollow sentiment, immediately followed by his inquiry as to whether Pam will be coming over to his place after the show. Roy was more believable in his pursuit of Pam this season but now it seems he is falling back into his old habits.

I am quite surprised no one from the office would come to Pam's show. I mean, I realize that they're all not bosom buddies but the fact that no one could find the time to stop by is sad considering how much Pam does around the office. To be fair Oscar did stop by with his boyfriend, Gil (Tom W. Chick) in an attempt to see more culture. I think Gil was a jerk for his comments about Pam's art and Oscar's statement that courage and honestly are not Pam's strong points is a hurtful revelation but one not made in malice. He just had the unfortunate luck of having Pam overhear his thoughts although he was more understanding and did tell Gil that these were only a first try. It worries me that Jim could not be bothered to swing by the exhibition since he knows how much Pam wants to be an artist and how big of a step this was for her. Granted we never see her actually invite Jim, but in such a small office word had to have gotten around to him and I'm pretty sure since she had a flyer, she posted it somewhere it could be seen. Maybe he's still reeling from Pam and Roy's reunion, but come on Halpert, you're still her best friend and should have been there to support her.

Of course, we cannot forget that other major event of the evening, Michael's presentation to Ryan's class about the management of Dunder-Mifflin. Ryan was a jerk here, he sandbagged Michael by not telling him the nature of his introduction and that he was presenting Michael as an example of poor business leadership. Grow up, Ryan. He has repeatedly stated that he doesn't want to be considered a part of the Dunder-Mifflin family and that he's looking to get out. His behavior here was uncalled for as he didn't have to drag Michael into his presentation and only did it for the chance of a better grade. Michael took such pride in the fact that Ryan wanted him to speak to his class and was genuinely hurt when he discovered the true nature about Ryan's feelings regarding the company. There were some hilarious moments before the shit hit the fan however, such as him ripping out the pages of a student's pricey textbook or his candy bar slogan business terminology (hitting that guy in the head with the candy bar was probably the biggest laugh of the episode).

Hardcore business practices don't mix with Michael Scott's management style but he is clear about one thing: it's people that drive the business, not theories or flow charts or the Herfindahl-Hirschman Index. Sure, these are important aspects and shouldn't be ignored, but it all boils down to what we already know: Ryan is not a people person. He can't relate to others and comes off as acting superior. That's why he hasn't made a single sale and it shows that however dysfunctional Dunder-Mifflin may be, the people there do make the business. By all accounts they probably should have gone out of business by now, but as was seen in "Traveling Salesmen" their customer service and personal touch are their winning qualities and may not have them rolling in profits but will keep them afloat for some time to come. Ryan's banishment to the annex with Kelly was a suitable punishment for his betrayal. If he doesn't want to be a member of the family, then he should sit with the other outcasts, Michael's nemesis Toby and chatty Kelly. Although I think he should be there alone it's great to see him squirm as Kelly gets so excited they'll be sitting together.

Favorite moment: Proving that while his management style may not be the most profitable but certainly the most personal, Michael is the only one, aside from Oscar's disastrous visit, to see Pam at her art exhibition. His awe and love for Pam's art was genuine and touching and gave Pam the valediction she has wanted to hear all night. I love Michael in these moments as it shows the true heart of his character. He cares for his employees and doesn't just want them to like him for the sake of appearing popular. His heartfelt statement to Pam was possibly the sweetest I have ever seen him be to someone and never once felt forced or fake. Always avoiding doing it in the past, Pam gives him a huge hug before the Chunky is his pocket causes an inevitable awkward moment. Steve Carell certainly deserved the Emmy nod that year and although I haven't seen Ricky Gervais in Extras, which was the winner, it would have to be an awesome performance to rob Carell of it.

"That is our building, and we sell paper. . . I am so proud of you."

The Office "Phyllis' Wedding" (2007)

The day has finally arrived, it's time for the wedding of Pam and Roy. I'm sorry, I mean Phyllis and Robert (Bob) Vance. Being an office affair, nothing that involves Michael Scott is sure to go over well and there are a few bumps in the road, mostly of his doing. It's funny because watching this episode, I couldn't help thinking of "Diwali" and the stark contrast of his behavior there and here. He is excited for both affairs although he sees himself playing a greater role in the wedding. He forces himself into every wedding picture and is looking for redemption for his actions in the last wedding he was in: his mother and Jeff's where he wet his pants, threw the ring and claimed he hated them. It's understandable he wants to be the center of attention as always but he also wants to do right by Phyllis. He considers his role of employer of the bride means that he is technically paying for the wedding and he is co-giving her away since he is pushing her father's wheelchair down the aisle. Once he is upstaged by having her father decide to will himself to walk on his own halfway there, he becomes increasingly more desperate to make a significant and meaningful contribution to the wedding. His choices, prematurely introducing the new couple and embarking on a planned forty minute toast, only serve to anger Bob and Phyllis and get himself kicked out of the reception. He continues to hang around outside and his apology to Phyllis was genuine. He wanted to make her day special and wanted to do something special for her. Ironically the crazy old man he bonds with turns out to be the missing demented uncle and Phyllis leaves Michael with a kiss before her honeymoon.

Like I said this episode reminded me a lot of "Diwali", another event he was invited to by one his employees. For the most part he was a hit at that celebration. Aside from some otherwise awkward remarks to Kelly's parents, he was having a blast dancing and generally not causing a nuisance. It all ended badly with that ill-timed proposal and departed embarrassed and with his tail between his legs. Then we got that tag scene where his Diwali song received a uproarious round of applause. Now look at the wedding, he makes one blunder after another until he is booted from the reception at the hands of Bob Vance. Then he ends on a high note with an appreciative Phyllis thanking Michael for finding Uncle Al (George Ives). Then there's the tag where we see his unwelcome insertion into another wedding moment which should be a happy one for the new couple. The two are almost polar opposites right down to the end where he is left alone and futilely tries to kiss Pam. Here at the wedding he has Uncle Al keeping him company and receives a thank-you kiss from Phyllis. I don't think it was intentional but the complementary episodes are a treat for people who pay a little too much attention, like me.

But this wasn't just the Michael Scott show, we got some great bits from all the other characters. Creed placing his own card on someone else's gift is perfectly suited to his character. Dwight and Angela had two good couple moments where he tells her she looks beautiful and she responds with don't linger. The end where they dance outside the building was a sweet image, along with Pam and Roy dancing outside the reception hall upstairs. Kelly of course decides to wear white, which you should never do as it draws attention away from the bride, and tells Pam she should tell people she is pregnant to steal Phyllis's thunder after she stole Pam's wedding ideas. Even Jim cannot pass up the opportunity to flame Dwight's concern about wedding crashers which leads to Uncle Al's expulsion from the ceremony. Side note: I felt strangely connected to Dwight when he told his story about sitting in the wrong theater for an hour when he ended up seeing Wedding Crashers instead of Grizzly Man. One night I was supposed to go to a late show of X2 after work with my sister. After about a half hour and the movie still hadn't started, I figured we might be in the wrong theater. Call it fatigue, laziness or just stubbornness but I refused to get up and see. After another half hour we realized we were in the theater for The Matrix Reloaded. Looks like I Schruted that one.

The Wedding Crashers patrol prank was another good prank from Jim, along with the more hilarious and brilliant Pavlov dog experiment in the cold open. I think it's a continuing sign of Dwight and Jim's new found bond that these pranks take on a tamer and more light-hearted feel as opposed to last season where he moved Dwight's desk into the bathroom, his supplies into the vending machine or all the way back to the first season when he taped him into a box during their alliance. The cold, adversarial relationship between the two is gone and I like that they've replaced it with civil camaraderie with Jim still putting a few over on Dwight along the way.

I wish I could hope for PB & J's new relationship as well. In keeping with their new hot and cold dynamic, this week saw Jim begin to realize that maybe Pam shared some of the feelings he has been trying so hard to bury in his new relationship with Karen. He hypothetically states that if Pam was interested in getting together before trying to determine if he really is speaking hypothetically. I feel bad for Karen because he pretty much admits that if Pam gives him a come hither look that he would drop her faster than a bad habit. I like Karen even if in the past few episodes she has been portrayed in a slightly more annoying, less fun light. Of course once Pam sneaks out of the reception with Roy, who has been trying all season to win back Pam, he immediately gets angry and states that he is happy with Karen and that is certainly not a hypothetical. This love rhombus (not mine, but I like the term) is finally coming to a head with Pam breaking down out of loneliness and depression over Jim's new relationship and heading back to Roy who she knows is not good for her. It surprises me how much in denial the two of them can be about their feelings and if it's obvious they're both still interested why they don't just get together since they care more for one another than they do for Karen and Roy. I'm sure Pam leaving with Roy with only fan the fire that is Jim's feelings of rejection and we have a bit more to go before our star-crossed lovers get together.

Favorite moment: We finally get to see Scrantonicity in action after we learned about their existence in the great "Casino Night" last season. Playing at their third wedding, which is the first that's not a member of their band's, Kevin steals the show with his rendition of Sting's
"Roxanne". The best however is Karen singing and dancing right along up on stage as Jim waves his cell phone as if it's a lighter. There's certainly a spark between the two but it's saddened by the realization it's simply not meant to be.

The Office (UK) "Episode 4" (2002)

Things continue to progress at Wernham Hogg with Tim and Rachel getting closer, Dawn's agony over their happiness becomes more apparent and David continues his spiral into the lower depths of human behavior. This season certainly has a higher audience interest in the characters except I think a little too much time is being spent on David Brent. There was a greater balance in season one of featuring all the regulars. David may have received a little more attention than the others but now in season two the ensemble element has been diminished and it has become all David Brent all the time. This wouldn't be as bad if the character hadn't become so unsympathetic. He had his moments in the previous season but here he continues to dig himself deeper and deeper into pathetic and desperate behavior. He was inappropriate but still amusing, now he has degenerated into a hostile and bitter individual. The character's not any fun and like the employees of Werham Hogg, the audience rolls their eyes when he comes onto the scene. It is a testament to Ricky Gervais's bold style that he can imbue the character with such detestable qualities with no hint of compassionate worthy behavior. Another actor might want to make the role a little more fun and cheery to be popular with the audience, but Brent could be an actual person and some people are simply deplorable.

Neil drives this behavior as now more than ever he seems to have it out for David. He tolerated him, much like it seemed Jennifer did last season, for the first half of the season, but now Neil becomes aggressive and critical and is quick to call David out on his behavior. Neil is warranted in his critiques but it appears that he is acting this way just to bust his chops. He yells at him in front of everyone and dresses him down publicly which is something he took offense with when David did it in "Episode 2". He does it again with Gareth in the room after he finds out that Brenda (Julie Fernandez) has not received her wages for the month. It's almost as if he couldn't wait to lecture him about something else and he is clearly posturing himself so David knows who is in charge. He can't be totally to blame as David has been asking for it all season and ignores each warning and wastes every new chance he has been given, but Neil as a manager should try to be a little more impartial.

Not everything is gloomy in the office however as Tim and Rachel seem to be getting on very well and are getting pretty intimate right in the bullpen in front of the others. I'm glad Tim is happy but this behavior seems a bit inappropriate for him. He does get defensive when Simon (Matthew Holness) makes a jibe about he has gone off Dawn. He clearly doesn't want Rachel to be aware of his past attraction and I think even he doesn't want to admit it publicly and his immediate change in demeanor is a clear example of that. It is heartbreaking to see Dawn agonize over their relationship. She is taking his involvement a lot harder than he took hers with Lee. She is constantly glancing over at him and is in pain when she sees him with Rachel.

Dawn isn't the only one distressed over this new office romance as Gareth cannot believe that Rachel would choose the Fisher-Price looking Tim over him. He's certainly in denial about the evidence he has already seen that the two of them were getting involved and still holds out hope for getting with Rachel anyway. His reaction to the two of them making out in the office is hilarious and a complete contrast to the uncomfortable outbursts of David. Gareth comes off as silly and grandiose compared to David's cold attitude. He may not find a soul mate with Rachel but he certainly gets along well with Simon who has a similar personality to his own. It's good to see that everyone has someone they can turn to in the office no matter their personality.

That is true for everyone except David Brent who discovers that his employees have been calling him "Bluto" or "Mr. Toad" behind his back. He makes another one of his patented speeches trying to distill he is their friend which only serves, again, to make them like him even less. No wonder he forces the training consultants to go out with him after his disastrous speech because in reality he has no one else. Please David, we beg you, you need to clean up your act. Neil has it out for you and your employees certainly don't have your back.

Favorite moment: Once David finds out his nicknames are mostly derived from his portly frame, he tries to get the office to target someone else. His nomination is Keith who he points out is larger than him plus he wears glasses. Keith, without saying a word, just stands there and chews his gum. It's a hilarious sight and cements Keith as one of those players who should get more screen time and limit the Brent over exposure.

In Plain Sight "Stan by Me" (2008)

The first part of the two episode finale finds Brandi's troubles reaching an all-time high, as Mary is kidnapped by Spanky's (Mark Boone Junior, Detective Flass in Batman Begins) men who think she is Brandi. Stan, Marshall and Dershowitz all mobilize to find her while Special Agent Robert O'Conner (Will McCormack) digs into Shannon family history in an effort to link Mary and Brandi with the drug dealers. After seeing Mary in complete control and having every situation well in hand all season, it was an effective switch to have her kidnapped and unsure about how to best escape. Her resourcefulness comes to rescue as she remembers she has her spare gun in her ankle holster and is able to unscrew the hook her hands are tied to. She also inflicts considerable harm on the her abductors and Marshall calls it when he bets Mary broke the nose of one of them. Mary McCormack's acting was first rate in this episode, as she continues to convey a considerable array of emotions just using her facial expressions. From her outright confusion when Jinx berates her at the theater, to her steely determination to unscrew the hook by turning her entire body and to the subtle fear that she is about to be raped and killed while still maintaining her usual bravado and great sense of humor.

The love for the Mary character by the audience is best exemplified in the men in her life, with the obvious exception of Raph. All three are determined to find her before it's too late and manage to put all their differences and hostilities aside in an effort to locate her. Even after they are all booted off the case by the FBI, they head back over to the Marshal's office to continue the case. It was great to see even Stan join in the frantic search as everyone pulls together to search for our favorite Marshal. Their desperation and concern in Mary's well-being drives the search for Mary and makes it seem like her life is really in danger despite the fact that she is the lead and probably will end up safe. It's difficult to do in a television series to place main characters in believable peril but here they succeed admirably with the combination of worry from the guys and the fear from Mary. In fact all the characters give great performances with Marshall's stiff upper lip a truly heartbreaking moment when he realizes what has happened.

Jinx and Brandi are not a part of that praise I spoke about regarding the characters. I was starting to like Jinx and then they had her disappear for a few episodes. Now she's back and apparently crazy again as she goes completely nuts when she sees Mary at her audition. I was completely with Mary during her little rant, what the hell was she talking about? She sees Mary in the theater and just completely flips out claiming Mary is there to ruin her big chance because she wants to see her fail. How is that possible Jinx if she didn't even know what you were doing there? She just walked in to see what was going on and you lost it and probably may have blown the audition as well. There was no call for those harsh statements she made to Mary about how she wants her family to fail so she can gloat. This is a woman who has taken you in, invested in your career and you throw it all back in her face in public. Jinx is a freeloader and it seems all the progress she has made to change her ways was lost in a few minutes in this episode.

And Brandi, oh God, just when I thought she couldn't get any worse, she continues to be so selfish and completely self-absorbed. Her sister is missing and has the FBI and the Albuquerque PD inquiring about her whereabouts and she won't give up any information because she's afraid she'll get into trouble. She just sits and watches the time to Spanky's deadline approach and pass while O'Conner interrogates her. Even though he said no cops, if he's holding her she should have said something as time got down to the wire. Brandi has no redeeming qualities and Jinx is only bearable when she is berating Brandi about her behavior. These characters need to go, I'm sorry. I understand the need for comic relief but these characters are just groan worthy and rarely get any laughs. I'm sure the producers wanted to show the way Mary is by displaying how screwed up her family is, but come on here both of them have sunk to new lows and need to be removed from the series. Family drama can be done well, hi Burn Notice, but here you only try to understand why Mary still enables these freeloading losers.

It looks like Mary's troubles are not over as O'Conner is looking to dig deeper into this whole drug business and is even questioning how Mary could have gotten into the Marshal's service with her family history of crime. It looks like even she has a record which has a few items on it. Spanky is also still at large and I'm sure will return sometime in the future to cause more trouble. For now Mary's future as a Marshal is in question and it looks like Brandi is still going to be causing trouble for her a bit longer. I think this show is great, with mostly funny and interesting characters and a superb balance between comedy and drama. We just need to eliminate a few unneeded accessories, like the family members, and I'm sure this show could reach even greater heights.

Favorite moment: Stan and Marshall were excellent in this episode with both getting great moments to stick it to Special Agent O'Conner. Marshall knocks the file with the Shannon criminal records out of his hand after being ordered off the case and Stan locks O'Conner in a room at the Marshal's office when he is intent on questioning Mary so soon after her rescue. They're great comedic moments but also continue to highlight how much they care for Mary and want to look out for her. Wouldn't you do the same for Mary Shannon?

Law & Order: Criminal Intent "Neighborhood Watch" (2008)

Detective Logan's penultimate case is one that everyone would rather just be swept under the carpet, one perfectly suited for him. A recently paroled sex offender is being hounded by the local neighborhood watch until his body is found, sans head, dumped mob-style in the river. Everyone from the neighbors, local police and the DA's office are happy to see one more sleazebag sent to the morgue. Personally I found some of the civil servants' attitudes a little appalling. Private citizens aren't privy to all the details, and once the gossip mill starts, forget about setting the record straight. All they know is that Kyle Jones (Darrin James Malone) was tried and convicted for rape of an underage girl. The police and the DA's office however know the full details and that if anything Nancy Williams (Wegryn Gross) was only experiencing buyers' remorse afterwards and her overbearing family and a ruthless ADA coached and directed her into claiming rape. That these government employees can be so ruthless in the pursuit and harassment of a boy who arguably committed no crime, was extorted into a guilty plea and then when he tries to put his life back together faces opposition on all sides is a tragic set of circumstances and only serves to fuel Logan's pursuit of justice.

It appears the late Teri Bauer will be Logan's final nemesis as ADA Terri Driver (Leslie Hope) shows no regret in the role she played in the events leading up to Kyle's murder. She goes from applauding publicly the gruesome demise of a deviate sex pervert to claiming credit for punishing the perpetrators of the vigilante justice. She'll be returning to face off against Logan in the next, and his final, episode and it can only be assumed that the hostility built up here will be paid off in the Team B finale of the season. I think it's a wise move to place these two episodes back to back as the momentum is maintained leading into the grand finale for Detective Logan. It would have been more interesting to build up the Driver character over more than just these two episodes so the tension could reach the breaking point at the time of the finale. It's possible that it wasn't known until most of the episodes were already in the can that Noth would be leaving and made this course of action unlikely. Although since the loss of a regular ADA character two seasons ago, it would have been a fresh change of pace to have an ADA in a recurring role that is at odds with Major Case. Maybe the producers will keep that in mind for a future season, but for now we'll see if Logan's second departure has him punching out someone again. If he does, my money is on Driver.

Turns out that Kyle was only killed so that Ricky (David Call) could be famous for killing a sex deviate in the name of justice. He even tries to claim that he is the avenging serial killer the papers have been writing about in order to boost his reputation. It all boils down to the fact he was looking for notoriety and to impress a girl he's always had a crush on. He's wondered most of his life what it would feel like to kill someone, the thrill of the murder. He ends up admitting he didn't feel anything and that he hated it for all the work he had to do to clean up the evidence of the crime. He wouldn't even do it again if he had the chance. Kyle was killed, not really even in the name of justice, only as an experiment to see if there is a rush in taking a life. It's horrifying to think someone would commit such a grievous act just out of curiosity.

The ending is a bit rushed with Leopold and Loeb quickly giving up the goods which has become standard practice for the villains on this show. Although the ending does come with a bit of gloom which is certainly different from the all loose ends tied up approach as we've seen during the rest of the season. Driver continues to twist the knife by claiming credit in another press conference and it's confirmed that Sergeant Whelan (Scott Sowers) played a prominent role in Kyle's death. It's also sad to see that Wheeler and Logan are just starting to snap as a team again, although there isn't all that much chemistry to speak of but there are moments, right before Noth's departure. There are two little bookend scenes that were a treat. At the beginning when Wheeler questions his use of the word "piqued" and he admits it's his word for the day and his obvious disappointment when she is unable to go out for a drink with him because her
fiancé, Colin (real-life husband Jonathan Cake) is taking her out. Here's hoping Logan goes out in a blaze of glory, and not battered and beaten as he appears at the end here.

Favorite moment: Captain Ross was in fine form tonight as he slyly suggests how Logan and Wheeler can search the suspects' van without being able to obtain a warrant, but the best is the final scene with Logan. Unable to take Wheeler out for a drink, Logan and Ross share one in the empty squad room watching Driver's press conference. Providing Logan with some comforting support: "This job. It's either tragic or stupid, mostly stupid." as Logan mourns the senseless death of Kyle, it was nice to see these two stubborn, bull-headed alpha males, who have always been rather at odds, share a quiet moment when the dust has settled.

Network (1976) ***½

Over thirty years later and the state of television as presented in Network seems more plausible today than it did when the film first premiered. It possibly could seem preachy today since the arguments are not new ones: television is exploitative, full of money-grubbing executives would would sell their souls for a greater audience share. The fact of the matter is at the time the film was made, the overall statement regarding the nature of television was quite prophetic and revolutionary. At a time when America had grown disillusioned with the government due to the Nixon administration scandals and the end of the Vietnam War and social revolution in everyone's backyard, television entertainment increasingly took on a riskier and more provocative aura. Network is the ultimate realization of trash TV, where the dignified evening news program begins to pander to the lowest common denominator with informative and serious news briefs replaced with fortune telling, gossip and the mad rantings of a man slowly but surely losing his grasp with reality.

The UBS executives are more than willing to exploit Howard Beale's (a captivating Peter Finch, who received a posthumous Oscar nomination) mental illness for the gain of the company. The news division is overseen by Max Schumacher (William Holden), a craggy, but noble member of the old guard who, with Beale, started off in the business under Edward R. Murrow, the epitome of broadcasting elegance and excellence. Where they end their careers could not be further from that dignified beginning, as acceptable on-air behavior is determined by what will best titillate the audience. UBS is being overrun by the new owners, CCA, with Frank "Hatchetman" Hackett (Robert Duvall) leading the charge for departments to generate the profits mandated by management and to that effect ending the news division as an independent department. Needless to say that Max is incensed as such gross censorship and infringement and allows Howard to rant on the air about how life is bullshit. The chain of events is then set in motion that much like the film, echoes the prophetic nature of Howard and Max's drunken conversation in the bar. Allowing Howard to kill himself on the air would generate a massive viewing audience. As it turns out Howard's on-air demise would be the event of the season, kicking off the new series "The Mao-Tse Tung Hour" with the biggest crossover ever seen.

The film's most resonant aspect comes in the form of Diane Christensen (Faye Dunaway) who has become so corrupted and consumed by the television generation that she is utterly incapable of experiencing any real feelings and constantly views her life as a character on a show acting out numerous plot possibilities. Even when having sex all she can think about is her time slot difficulties in the new fall season. She has her entire affair with Max mapped out in the form of one of her series and knows exactly how it will end. The audience will never accept the husband leaving his family for the cold-hearted corporate sell-out. It's interesting as I've always sort of imagined how my life might play out as if it was a series. There's a certain level of comforting detachment that comes from inserting oneself into a show. You're the main character, nothing truly bad will ever happen to the star of the show. The viewers would never stand for it. It's understanding how people can become so enamored with television and film and envy the lives of people who don't exist and might not be found in the real world. Entertainment is a seductress, the promise of something better than your own dreary existence and if you come across something you don't like, you simply change the channel.

Television elevates viewership into a cult following, where someone like Beale, who is clearly disturbed and in need of serious help, can have people hanging onto his every word. Even when he is demanding that people turn off their sets, that it is corrupting their minds and poisoning their souls, that television represents the single greatest evil in the world, they still tune into The Howard Beale Show for the next episode. They cheer and applaud despite the fact that they're not even listening to the message he tries so hard to convey. People are more than willing to listen to a mad prophet advocating radical social change, but once he is manipulated by Arthur Jensen (Ned Beatty) to espouse about a universal corporate philosophy which leads to the death of the individual, viewership falls fast and far. You turn to TV to brighten your day, not as a reminder about how empty and meaningless existence is. Of course, once the ratings drop and The Howard Beale Show becomes ratings poison and since CEO Jensen demands it remain on the schedule, Hackett and Christensen turn to the only recourse that remains open to them: they plot the murder of the mad prophet of the airways. The detachment that comes with television has left them devoid of any morals or guilty consciences. They coldly plot the extinguishing of a life as effortlessly as what to order for lunch. Their only concern lies with how soon it can be done to limit his detrimental affect on ratings. With the murder of Howard Beale lies the demise of social conscience and moral compunctions. Why tangle with those when there's a comedy on at this very minute?

Favorite moment: The famous "I'm mad as hell, and I'm not going to take this anymore!" speech has crossed into pop culture lexicon and its influence can be felt in film and movies to this very day. My personal favorite is the rant in the series premiere of Studio 60 on the Sunset Strip. Aside from highlighting Beale's control over a willing public, it's also the turning point where Howard changes from a man venting in a public forum to a delusional man who is hearing voices in the dark as he tries to sleep. It's also the last of formal news broadcast where Howard was making editorial commentary. The show becomes pure trash entertainment sealing the fates of all involved.