‘Longmire’ strong in third season

longmire cast outdoors

For readers of Craig Johnson’s series of books about Wyoming Sheriff Walt Longmire, the A&E TV series version of the show was something of a challenge at first.

In the first season, two years ago, so many elements from Johnson’s quirky, gritty, mystical and funny series of crime novels seemed … “off.” Longmire and longtime friend Henry Standing Bear didn’t seem old enough (in the books they’re Vietnam veterans; in the series they’re played by middle-aged hunks Robert Taylor and Lou Diamond Phillips) for the well-worn characters they are; the ever-changing roster of deputies was pared down; the relationships were streamlined and the early books’ Philadelphia subplots were gone.

But so many things were so right. Taylor and Phillips are great, gruff and sardonic by turn; Katee Sackhoff was letter-perfect as Deputy Vic Moretti, as was Cassidy Freeman as Walt’s daughter, lawyer Cady, and Adam Bartley as “The Ferg,” a deputy holdover from the books; and Bailey Chase initially seemed written just to be antagonistic as deputy Branch Connaly but quickly grew to portray a complex character.

The entire series, in fact, grew. Creators and producers John Coveny and Hunt Baldwin quickly seemed to realize they needed to import Johnson’s storylines, at least to some degree, and even more importantly adopt the mood the author invokes in his books: The stories are set in a Wyoming that is by turns beautiful, hard, cold, hot, parched, magical and gritty.

As the third season begins, I’m glad to say that “Longmire” has maintained the successful mix that Coveny and Baldwin began refining shortly after the show got on its start.

Longmire himself, as played by Taylor, is crusty and deceptively straightforward but has a real edge to him. Henry – in jail in connection with the death of the man who killed Longmire’s wife – is struggling to survive and might become a pawn in a larger game. And the deputies are in turmoil, as always.

At the same time, “Longmire” does well with its plots of the week. most recently Walt and Vic’s crusade to bring to justice the person responsible for the death of a Russian teen whose body was found in a Wyoming creek.

Her murder involved international adoption, foster parent scam artists and Walt’s smoldering sense of outrage.

I’m still missing the absence of the Philly connection in the series and I regret the mystery of Walt’s wife’s death – a complication that’s not in the books but was probably necessary to give the series more of an over-arching mystery storyline – but almost everything else about “Longmire” the TV series works.

madchen amick longmire deena

Oh yeah, one element I’m missing this season: Madchen Amick as Dena, Henry’s girlfriend. The former “Twin Peaks” star appeared last year in a few episodes. So far this year it’s been mentioned in an aside that she stole money from Henry’s safe. Here’s hoping that means she will show up eventually and that the comment isn’t a way of writing her out of the series.

 

Groot and Rocket poster for ‘Guardians’

rocket groot poster guardians of the galaxy

If you ever find yourself wondering whether the geeks have inherited the earth – here’s proof.

Who would have thought a few years ago that a movie version of “Guardians of the Galaxy” would be forthcoming, no less a character poster featuring Rocket Raccoon and Groot would be released.

It’s a pretty amazing time we live in.

‘Orphan Black’ throws a switch and makes it work

orphan black cast

If you’re not watching “Orphan Black” … why not?

The BBC America show, in the middle of its second season, is consistently satisfying and, in most episodes, surprising.

Really surprising.

The premise: A tough young woman on the wrong of the law, Sarah (Tatiana Maslany) is shocked to see a woman step in front of a train and kill herself. Sarah is even more shocked that the woman, who she later learns is Beth, a cop, looked exactly like her.

Sarah, aided by her foster brother, Felix (Jordan Gavaris), discovers that she and Beth were clones, part of a decades-long experiment to create human life. They quickly meet other members of the Clone Club, including Alison, a high-strung soccer mom, Helena, a Russian assassin, and Cosima, a geek-girl scientist.

And all the clones – are we up to a dozen by now, several episodes into the second season? – are played by Maslany.

The show could be seen as a stunt, and does have great special effects that finds Maslany playing against herself as another clone in almost every episode.

But the stunt falls away quickly as you discover that Maslany is an amazing actress, capably of bringing each of these characters to life, and not just through accents and wigs. She inhabits these diverse personas.

In last night’s episode, the show introduced another close: Tony, a transgender, testosterone-injecting tough guy, and yes, Maslany played him with scraggly beard and mullet.

Maslany is wonderful but there’s not a false note in the cast. Gavaris is amazing as Felix and the producers have long since discovered that Felix plus any other character is magic. His scenes with Beth’s partner on the force, Art (Kevin Hanchard), or Alison are some of the best on TV right now.

There’s a sense of urgency and dread in current episodes, as Cosima works to discover a cure for the genetic defect that’s killing her and the other clones. There’s intrigue at the corporation that created the clones and don’t forget the horrible religious cult that covets the clones.

It might seem like a lot to catch up on, but it’s still possible. And “Orphan Black” is more than worth the effort.

So cool: ‘Calvin’ creator comes back – briefly

bill watterson pearls before swine

How cool is this?

Artist Stephan Pastis, like other comic strip artists, sometimes makes reference to Bill Watterson’s much-loved and long-gone strip “Calvin and Hobbes.”

Pastis and the notoriously private Watterson struck up an email friendship recently and that led to Watterson actually drawing a couple of days worth of Pastis’ strip, “Pearls Before Swine.”

One of those days’ strips is above.

Here’s Pastis’ blog explaining how it happened.

Nice: New ‘Dawn of the Planet of the Apes’ poster

new dawn of the planet of the apes poster

It’s a familiar refrain from fans, and it’s one I can sympathize with:

Too many modern-day movie posters are photoshopped nightmares, without a hint of art like the classic posters for “Star Wars,” “Raiders of the Lost Ark” and other movies with memorable one-sheets.

So it’s fun to see a nicely composed, dramatic and artfully done poster like the one here for “Dawn of the Planet of the Apes.”

It makes me want to see it, that’s for sure.

Classic shlock: ‘Incredibly Strange Creatures’

incredibly strange creatures lobbycard

I’ve written about the 1964 low-budget classic, “The Incredibly Strange Creatures who Stopped Living and Became Mixed-Up Zombies” before, notably my memories of seeing it at a drive-in with an older relative.

I didn’t touch on the movie all that much, though.

Ray Dennis Steckler directed and stars – under his pseudonym Cash Flagg – and I guess you could argue he’s a forerunner to the director/stars we’re familiar with from today. His performance isn’t horrible but he’s undercut by the low, low-budget of his own movie.

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The movie follows a group of friends who visit a carnival and stumble upon bad guys who hypnotize, disfigure and enslave people, turning them into, in effect, zombie slaves.

The movie has the telltale leisurely pace of a low-budget flick. For what seems like forever, characters wander around, gazing at stuff, talking about nothing. There seem to be endless scenes of arty dance numbers, totally out of place at a nightclub. Watching one of these movies makes you appreciate how a well-written, well-edited movie … well, moves.

Considering the movie was touted as “the first monster musical,” I know what Steckler was going for. But sheesh. I lost track of how many musical numbers were included.

incredibly strange creatures dance number

A dancing girls sequence seems to have been shot in a community theater, and the producers were intent on getting their money’s worth because the scene goes on and on .. and then is followed by another musical sequence. Cue up “Let’s All Go to the Lobby!”

Likewise, scenes of a nightclub comic are so bad they almost seem like a modern-day parody.

Not to mention the interpretive dance/dream sequence.

After a quick break to hypnotize a victim … it’s another musical performance!

Endless shots of carnival rides.

The cheapness of the movie’s production really stands out when you see how many sets look cheaper than your standard 1960s sitcom living room – and that’s the most lavish sets here. The fortune-teller set, which consists of a few drapes and blackout curtains, isn’t as bad as the plywood airplane cockpit in “Plan Nine,” but it’s pretty bad.

Something has to be said about the hairstyles of the three leads. They are, respectively, a receding combover, a towering pompadour and a huge and baffling head of helmet hair.

When the “Incredibly Strange Creatures” finally break loose with about 15 minutes left in the movie … it’s time for another musical sequence. Steckler really knew how to build suspense!

For a real treat, seek out the “Mystery Science Theater 3000” version of the movie from 1997. It’s available through Hulu online and Mike Nelson and the robots’ version of “Incredibly Strange Creatures” is just as funny as you’d think it would be.

Aww! Spidey just wants to play with the Avengers

Mauricio-Abril-Spidey-avengers

Love this.

Artist Mauricio Abril imagines just how much Spider-Man wants to play with his colleagues the Avengers.

Alas, Marvel sold the rights to Sony and Spidey is in his own playground.

Maybe someday.

In the meantime, check out Abril’s wonderful art.

 

Too sinful for the MPAA: Eva Green ‘Sin City’ poster

sin-city-a-dame-to-kill-for-poster

Well, well.

There’s nothing like a little controversy to raise awareness of your movie.

So today the Motion Picture Association of America – the conglomeration of studios and production companies that oversee the ratings process for movies – apparently turned thumbs down on the character poster for Eva Green in “Sin City: A Dame to Kill For.”

The MPAA’s objections, according to Deadline.com?

“For nudity — curve of under breast and dark nipple/areola circle visible through sheer gown.”

You can almost hear the nervous stammering and imagine the sweaty palms of some guy in the MPAA office as the whole matter was adjudicated and that verdict was being prepared for release.

Anyway, the movie version of Frank Miller’s comic comes out on Aug. 22.

Hopefully this whole ugly mess will be behind us by then.

Right.

‘Mad Men’ sets up the final pitch with ‘Waterloo’

mad men waterloo don peggy

Don Draper is one of the biggest mysteries, as well as one of the most anti-heroic anti-heroes, on TV.
Through six and a half seasons of “Mad Men” on AMC, we’ve rooted for Don (as payed by Jon Hamm) even though we probably wouldn’t want to work with him and we certainly wouldn’t want to be married to him.

The temperamental artist, serial philanderer and distant father has been undergoing a transformation in the seventh season, however. After hitting rock bottom – rejected by his latest lover, despised or pitied by coworkers, left behind by his latest wife, who’s off in California to pursue her dreams – Don seems to be trying to remake himself.

He offers to do the right thing by Megan. He hands off a successful pitch to Peggy, who had, probably rightfully so, grown tired of the behavior of her mentor. He turns down offers from women who fling themselves at him (well, mostly; does the threesome that included Megan count?). He even inspires loyalty from Roger Sterling, who – in this week’s final episode of the year, before the final seven episodes of the series play out next year – rallies after a season of restlessness and experimentation to save not only Don but the partners in the agency.

It’s difficult to tell where “Mad Men” creator Matthew Weiner is going with the series, but then it always is. While we might have had a sense of forbidding about Lane Pryce a couple of seasons ago, this past season or two Weiner has been stringing us along with foreboding balconies and Sharon Tate hints. Who would have thought we would reach the final episode before the last seven episodes only to find that Don has mostly righted himself?

“Waterloo” was satisfying in the way that good “Mad Men” episodes are. Almost every character gets his or her moment, from Pete’s goofy comparison of Don to a thoroughbred to Peggy’s version of Don’s classic pitches to clients to Roger’s newfound steel – and his punchlines – to young Sally’s continuing voyage through teenagerhood.

mad men waterloo bert cooper

I still don’t think the series knows what to do anymore with Don’s estranged wife, Betty. And old Bert Cooper was never more alive, ironically, than at the end of “Waterloo,” a moment that let vintage song-and-dance man Barry Morse shine.

What do we want to see in the final seven episodes, coming in 2015?

A clear path for Sally. Will she rebel or follow her mother into conservative stuffiness?

A bright future for Peggy as the queen of Madison Avenue.

Roles that feel comfortable for Roger and Joan. Maybe even together.

Maybe a successful comic strip for Lou Avery. Anything to get him out of the ad business.

Enough success to choke schemers and graspers – even enjoyable ones – like Pete and Harry.

And maybe redemption for Don following a lifetime of deception and deceit and self-loathing.

Tune in next year.

‘X-Men: Days of Future Past’ crosses the streams

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I’m not sure there is a stranger big-screen superhero franchise than the “X-Men” movies.

I’m not counting the new series of “Spider-Man” movies, which Sony is apparently trying to expand into an entire universe by basing movies on villains and second-string characters. You think the general public hadn’t heard of Iron Man before 2008? Try basing an entire movie on Black Cat or Venom.

And I’m also not talking about the “Fantastic Four” reboot, which seems alarmingly intent in removing everything “fantastic” from the story, characters and situations of Marvel’s First Family.

Heck, I’m not even talking about “Ghost Rider,” which is inherently weird.

It’s just that, since 2000, the “X-Men” movies have followed an oddball path. Director Bryan Singer made two good movies – I’d even say that the first sequel, “X-Men United,” was a great superhero movie – then left the series for the unfortunate “Superman Returns.” Some “Wolverine” spin-offs ensued which gave us charismatic Hugh Jackman and little more. Matthew Vaughn’s “X-Men: First Class” was a terrific return to form, showing the origins of Professor X and Magneto and Mystique and featuring a charismatic cast in a tale of the swinging 60s and the sudden appearance of mutants in the world.

So I wasn’t quite sure what to expect with Singer’s return in “X-Men: Days of Future Past.” He brings back nearly every character and actor from the earlier films, either through starring roles, cameos or flashbacks. He introduces others, most notably Peter Maximoff, the mutant known as Quicksilver. (Quicksilver is the only character so far appearing in both the mainstream Marvel Cinematic Universe and these offshoots, making appearances here and in the tag at the end of “Captain America: The Winter Soldier” and in next year’s “Avengers: Age of Ultron.” He’s by a different actor in the MCU films.)

The story, loosely based on a classic tale from the comics, opens in a future time when a war between mutants and Sentinels – mutant-hunting robots created by Bolivar Trask (Peter Dinklage) – has ravaged much of the globe. A few X-Men, including Professor X (Patrick Stewart), Magneto (Ian McKellan) and Wolverine (Jackman) come together with a plan to change history: If they can stop young Mystique (Jennifer Lawrence) from killing Trask back in 1973 – thus speeding up the Sentinels program – they can stop the war.

To stop Mystique, they task Kitty Pryde (Ellen Page) with sending Wolverine’s mind back into his 1973-era body. There, he must find young Charles Xavier (James McAvoy) and young Eric Lehnsherr (Michael Fassbender) at a time they are decidedly not filling their fated roles as Professor X and Magneto and persuade them to help.

X-Men-Days-of-Future-Past-magneto

The plot is reminiscent of how the older Spock sent Kirk on a mission to win over young Spock and become a team and at least offers a better explanation for why a simple sit-down between key players couldn’t have resolved matters much more easily.

The movie does a pretty good job in immersing its story and characters in 1973, with period-appropriate clothing and jokes about “all three” TV channels – and PBS – and events and figures from the day, including a healthy supporting role for Richard Nixon.

The movie is relatively light on the “future” sequences, where Storm (Halle Berry) joins some younger mutants in fighting off the Sentinels until Wolverine’s consciousness can complete its mission.

The light-hearted tone of “First Class” is mostly gone. There are moments of humor – most of them involving Wolverine – but the tone is one of urgency and distance, with Charles, Erik and Raven all blaming each other for the estranged relationships among them.

The movie’s got big battles and impressive special effects, but what stuck with me after seeing the movie is the ending, that’s full of warmth and hope and could certainly lead to more stories featuring the “classic X-Men” cast. But I have the feeling the future of the franchise rests with the younger actors.
On that count, we’re left with a much murkier picture of the future.

Random observations:

I was somewhat surprised by how much Wolverine seems like a spectator in this movie. The storyline really focuses on young Charles, Erik and Raven.

One thing the movie does not have: Any sense of an explanation as to how the storyline follows the tag at the end of “The Wolverine,” which had Xavier and Magneto meeting Logan at an airport with an urgent mission … that they apparently wait a few decades to dispatch him on.

The movie has some fun cameos from familiar faces and a post-credits scene that is mystifying but apparently points toward a sequel Singer has announced based on the “Apocalypse” storyline from the comics. Who will fill out the ranks of the mutants remains to be seen.