Tag Archives: Will Arnett

T.G.I.F. – Ten Tanked TV Shows

I just found out that The Chicago Code was cancelled, and I’m pissed. Sure, Jennifer Beals might have floated a bit more cleavage than a Police Superintendent would do in real life, but the cast (led by Jason Clarke) was pretty strong, including the amazing Delroy Lindo as the oily, corrupt Alderman. Pacing was good and stories weaved well, like any Shawn Ryan project. But I guess we needed more space on the network for celebretard reality shows.

What else is new? Seems like when TV takes a chance, the American public is hesitant to accept it. But really, how do they know? And wouldn’t a loyal core audience not be more valuable than a flighty larger one that will only move along to the next carbon copy?

So enjoy your umpteenth Kardashian expose knowing these Ten Tanked TV Shows bit the dust.

(01) – Dark Blue – Sure, s bit sullen and somber, but good action.

(02) – Human Target – A mix of cartoon and drama. Jackie Earle Haley!

(03) – The Event – Sure, not official yet, but they killed the momentum.

(04) – Lights OutFX was the one with the quick hook here.

(05) – The Cape – Ludicrous, but that was the point.

(06) – Terriers – Like I said, not Shawn Ryan’s year. Brilliant show.

(07) – The Good Guys – Campy, broad comedy in a police setting.

(08) – Rubicon – Sorry for trying to make you think, people.

(09) – The Bridge – Jumped before it had a chance.

(10) – Running Wilde – Thankfully Will Arnett is on three other shows.

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You Go, Todd Margaret!

The six-episode run of The Increasingly Poor Decisions of Todd Margaret just ended Friday night, and if you missed this brilliantly uncomfortable show you need to get your DVR primed to recapture the encore runs this week. David Cross is spectacularly cringeworthy in the lead, an inept pathological liar whose life choices are social quicksand. Frequent collaborator Will Arnett is the yang to David’s yin; he plays Brent Wilkes, a character Cross describes as “an unrepentant, crass douchebag“.

I’m hard pressed to tell you why this was one of the funniest shows I have ever seen on television without ruining the experience. Cross plays Todd Margaret, an inept temp worker who Arnett’s character misjudges; he pegs Todd as the perfect guy to launch a new energy drink (Thunder Muscle) to the Brits. Starting as a tale about a guy who gets in over his head, it quickly devolves…and then keeps getting worse. As Cross stated in an interview, The one thing that was important to everyone involved was that this project not simply be a fish-out-of-water comedy. Like, “Hey, you drive on the wrong side of the street!?” None of that.

On The Office, David Brent (or in America, Michael Scott) makes one cringe but you know there’s a sliver of common sense under the false bravado. Todd Margaretnot so much.  Compared to Todd Margaret, Tobias Fünke has his life together.

Suffice to say, if you are a fan of Cross or Arnett and can find humor in even the most uncomfortable situations, you will absolutely love this program. And a DVR alert – although the show blocks out at a half-hour, IFC runs the episodes commercial free, filling up the last ten minutes or so with promos and adverts. A great move, since getting up for the commercial would interrupt that perfectly squirming feeling you get from not getting a reprieve as things spiral downward.

“The cool thing about Todd Margaret is that, while a straight ahead comedy show, it tells a story that has a beginning and an end. Every episode starts the next morning after the previous episode so that the sense of inescapable impending doom is heightened exponentially with each subsequent show,” said David Cross.  “There’s no escape.”

 
 

*Not* fron Leeds.

 

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T.G.I.F. – Ten TV Tips

 

OK, couch potatoes – Fall Season is here

Not that I’m actually going to have time to watch all of these – some will actually be better as weekend marathons on DVD – but at least I could find ten new shows that seem to be worth checking out. And sure, the networks are still cloning cop shows and lawyer shows and even sinking one new program’s hopes immediately by casting Jerry O’Connell in it. He is the Ted McGinley of his generation…now that Jason Gedrick isn’t making pilots anymore. 

Yeah, I’m skeptical – and I’m not alone. Before it even aired, Outlaw was savaged by the press, despite the presence (and publicity efforts) of usual favorite Jimmy Smits; the premise was just too preposterous. And despite the always alluring Dana Delaney and Jeri Ryan, their show Body Of Proof might be its own cadaver

I’m not going to get too excited if a show starts out great, because I’ve seen some of the best shows get shot down in their infancy despite stellar writing, casting and performances. I still wince when I think about EZ Streets and Better Off Ted, and there’s a laundry list beyond those two. But before I throw my glass at the television, it’s always half-full. 

So here are Ten TV Tips for the upcoming Fall season, in random order. Remember, there’s no gambling, these suggestions are for personal enjoyment only; we do not guarantee ratings. In fact, you might not want to blink or you could miss a couple of them entirely… 

  

01) Boardwalk Empire – A prohibition-era gangster show on pay cable with Steve Buscemi and Marty Scorcese? Are you kidding me? Reason enough to buy HBO, but I’ll probably wait to watch it all in one weekend. 

02) The Event I’ll admit it, they’ve hooked me with the promos. And anytime Zeljko Ivanek is on a show – especially if he’s a little on the corrupt side – that show is worth following

03) Lone Star Con men rule. Jon Voight rules. Texas rules. I’m in. 

04) Running Wilde – Will Arnett playing an asshole. Do you really need any more information than that to tune in? 

05) Detroit 187 Michael Imperioli back as a cop after the unjustly cancelled Life On Mars. Perhaps the modern clothing and the lack of a porn stache will work this time. 

The next great epic, Boardwalk Empire

 

06) The Increasingly Poor Decisions of Todd Margaret – I’m still pissed at IFC for cancelling Jackie Woodman, but if they are putting David Cross on television I almost forgive them. 

07) Terriers – Already airing and after two episodes I’m liking it. At first I thought it would mimic The Unusuals, but it’s more Elmore Leonard-ish. 

08) No Ordinary Family I’m only thinking of watching this because I can’t picture Michael Chiklis following up The Shield with a crap series. Yes, I saw The Fantastic Four… 

09) Lights Out It’s boxing and redemption. It’s FX. It’s gonna rock

10) Shit My Dad Says – What if Captain Kirk slept with Denny Crane? Yeah, this could suck out loud, but I’ll give William Shatner a chance. 

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Award Weekend Redux

The Hurt Locker. And James Cameron was shoved into it.

Lame. Tame. And almost predictable

That’s the story of Award Weekend, where despite the stellar comedic talents of Eddie Izzard, Steve Martin and Alec Baldwin, jokes fell flatter than a pancake. Or in other words, as tired as that analogy. No, this isn’t sour grapes because I only went 6-for-10 on my predictions (more on that later) but it’s a little sad when the biggest event of the film year isn’t…well, big

First, the 82nd Annual Academy Awards 

I watched the show with my daughter; she Tweeted while I scribbled notes on the back of a nominee ballot. From her laughter, it seemed like the jokes on Twitter were funnier than the ones on the telecast. 

At the end of the show I used the power of my mind to read James Cameron‘s thoughts… “I wonder how drunk I can get for two billion dollars?” (Which at least will clear his mind of his prior thought – “Why did I dump Kathryn Bigelow to hook up with Skeletor?“) 

I start to wonder whether the Oscar crew does know who’s going to win when I see them do things like have Barbara Streisand present the Best Director Award; how ironic that she didn’t win for Yentl, yet gets to be part of the breakthrough moment. (How uncomfortable a comment would she have dared utter if Bigelow lost? And if Lee Daniels had won…would Spike Lee be pissed that he was snubbed for that sweet presenter slot?) When Streisand tried to milk the moment by stating “the time has come“, poor Daniels looked like Stephen Boyd during the climactic scene from The Oscar.

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Mo’Nique gave an awesome performance and deservedly took home the award (why are people still shocked that stand-up comics can be great dramatic actors?) and I appreciate that she wore a blue dress and flower in her hair to match Hattie McDaniel. But when the speeches started flowing about following in Hattie’s footsteps and how after so many years it was time, I so wanted to slip her a note to remind her that Halle Berry already cashed that chip several years ago

How ironic that Chris Pine had to introduce a groundbreaking science fiction film, when Star Trek wasn’t even nominated after the category was expanded to ten movies? 

After watching the music from Crazy Heart win so many awards, I realize just how much better it would if Steven Bruton was still around. 

Did Robert Downey Jr. actually pronounce the word specificity? Proof positive that his rehab problems are behind him. Finally a moment of humor as he and Tina Fey exchanged writer/actor barbs, but he won by calling writers “sickly little mole people” (a line, of course,  that has Tina Fey’s hand print all over it). 

Nice John Hughes tribute until Judd Nelson creeped me out visually with his almost-Downey look. Molly Ringwald would have scared me worse, but she was brought out previously, and slower. 

Not to kick a dog when it’s down, but how does a move that is about eighty percent animated win for Best Cinematography? Just sayin’. 

Ever want to run to see a movie two seconds into the trailer? Must, must, must go see Logorama ASAP. And how funny was Nicolas Schmerkin‘s acceptance speech thanking his “three thousand unofficial sponsors” and saying “no logos were harmed in the making of this film”? Then closes with a knockout punch: “It took, like, six years to make this sixteen minutes, so I hope to come back here with a long feature film, in about…thirty-six years.”  So a Frenchman with a thick accent not only has better comic timing than our hosts – but better writers, too? 

And why was Kanye West dressed up like a fat drunk woman in a bad Snuggie when he interrupted poor Roger Ross Wilson‘s acceptance speech for Best Documentary Short? (Yes, I know it wasn’t Kanye, but to mention the real name of that boorish cow would only extend her Warholian fifteen minutes. I’m hoping that the Japanese fishermen from The Cove watched the exchange, mistook her for a dolphin, and fileted the bitch backstage.) 

Better hosts would have jumped on that horribly rude moment and ridden it like a pony for the rest of the night. Billy Crystal would, and I know that Ricky Gervais would have had a field day. Are you telling me no one in that stable of writers could come up with a smack-down? Maybe they should have been tweeting for help

Ben Stiller needs to be involved in every awards show. And while James Cameron seemed to be grimacing like Stiller somehow didn’t have the Na’Vi language down perfectly, he should at least have appreciated Stiller’s close: “After I announce the winner I will stand as far away as possible so I don’t demean their moment of triumph“. (Seriously – how could Avatar not be nominated for Best Makeup? Hollywood really hates someone.) 

Star Trek won more Oscars than Avatar last night. Ouch

Was it me, or did the ceremony at the Governor’s Ball featuring Lauren Bacall and Roger Corman look like waaaay more fun that the main ceremony? The jokes were funnier and the tributes more sincere. 

Robin Williams, check. Testicle joke, check

Rude moment number two – The Costume Bitch starting off her acceptance speech by saying “I already have two of these” and then somehow getting more derogatory from there. Last. Nomination. Ever. 

My first thought upon seeing Taylor Lautner and Kristen Stewart come out to introduce the tribute to horror films: “Bite each other and die“. No montage is ever going to be perfect, but there were many startling omissions and a few (Edward Scissorhands??) that were head-shakingly out of place. Not to mention that the promo for Happy Town that aired during the commercial break looked scarier than anything in that clip reel. 

Sound Editing – any time we get to see more of The Dark Knight is OK by me. Tell me again how that movie did not even get nominated for Best Picture

In Memorium: I love James Taylor, but this is a tribute that deserves silence or a best a subtle orchestral score. Especially when you sing lyrics like “some are dead and some are living” as the montage of clips slides by. (What does James know that we don’t?) 

Late in the show I’m wondering whether Alec Baldwin is offstage yelling at his daughter’s voicemail, because it sure seemed like Steve Martin was soloing for almost an hour. 

Unfortunately for the producers, one of the highlights of the evening was shown during the commercial break. 

I finally aligned with the world of Twitter when I let out an audible “WTF?” when Dancing With No Stars came out to misinterpret the Best Score nominees. According to daughter Eli, that was the white-hot Tweet of the moment. (For the record, the biggest score in Oscar history was Adrien Brody bending Halle Berry over for a deep dive smooch at the 2003 ceremony.) 

More proof the writers don’t know a good joke, nor did audience: When El Secreto de sus Ojos won for Best Foreign Film, the producer opened with this gem: “”I want to thank the Academy for not considering Na’Vi a foreign language“. Dead silence. Come on, people! 

I get it, Sean Penn. You’re a rebel. Yawn

Best Actor and Best Actress gimmick: hate, hate, hate the one-on-one tributes to the nominees. Besides the fact that the show is already dreadfully long and the back story for each nominee has been rehashed a thousand times, what does the fact that this actor is a humanitarian or this actress is a good mother have to do with their performance? Or are you finally admitting, Hollywood, that it is about politics and favoritism rather than the best performance of the year? At least it produced a couple of good lines, thanks to Stanley Tucci and Tim Robbins (“It is Ted, isn’t it?“). 

No big shock on the four major acting awards. Jeff Bridges (has it really been almost forty years since his nomination for The Last Picture Show?) proved once again that The Dude abides. Sandra Bullock disappointed me by not getting all Sally Field on us and Christoph Waltz finally made an acceptance speech I could understand (his prior speeches sounded more like ideas for future Quentin Tarantino movies). 

I was surprised that Hollywood was able to ignore a movie that has already grossed two and a half billion dollars (and still selling) in favor of a movie that struggled to get financing, distribution and promotion and tackled a controversial subject. But I couldn’t be happier for director Kathryn Bigelow and writer Mark Boal

Spirits? Many were served.

The less said about Friday’s 25th Annual Independent Spirit Awards, the better. Maybe it was the decision to move the event from a beach tent to…well, a tent in a parking lot. Maybe the booze started flowing earlier. But when Eddie Izzard bombs so badly that he has to start improvising with props and free-stlying in the audience to wake up the seated corpses, that’s a sad day for what used to be the most lively and raucous awards of them all. 

Then again, Izzard refused to let his “God is Dead” joke die, insisting on reviving it every time he came back on stage if for nothing else than to punish the audience. There were very few funny moments, but thankfully Will Arnett and Ed Helms saved the day when presenting the John Cassavetes Award, as did Ben Stiller’s speech and the clip reel of Roger Ebert viciously panning movies. (I was thrilled to see that Ebert was present for the event, as was the crowd that gave him an extended standing ovation.) 

Sorry, but Laura Dern being one of the original fourteen people present when the Independent Spirit Awards was founded makes me feel really old. If it was Bruce Dern, maybe I’d feel better. 

As for the winners, it was a big night for Precious. I’m sorry…I meant to say Precious Based On The Novel Push By Sapphire©®™ 

(Someone should tell the producers that every movie is based on something, which is why we have Original and Adapted screenplay nominations, but I guess that wasn’t good enough for the author. Or would that have screwed up the tie-in to Oprah’s Book Club?) 

Lynn Shelton wins for Humpday. Yes


And I was thrilled that Anvil won for Best Documentary, and anyone who has seen that movie – a real, live Spinal Tap – had to be moved when stunned band member Steve “Lips” Kudlow came back onstage and hugged the filmmaker, thanking him for changing his life. I still cannot believe that Anvil was not even nominated for the Best Documentary Oscar. 

And now it starts all over again! 

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