Narcos (Season 1 & 2)

Carlo Bernard, Chris Brancato, Doug Miro, 2015-2016

IMDB

5/5

When I think about really detailed gritty crime dramas, I think of Jean-Francois Richet's Mesrine: Killer Instinct films. Split into two films, it's a biopic of "Public Enemy 1" Jacques Mesrine. Mesrine was a French gangster responsible for several bank robberies and kidnappings in France and Canada. He managed to elude the law and even escaped from prison. Jacques Mesrine and Pablo Escobar have a lot in common. They are both solitary figures both considered to be highly dangerous & sought after to their respective countries. They were both incredibly elusive and constantly in hiding. They both managed to escape from prison. They were both considered to be "Robin Hood" figures to the common people.

But Wagner Moura's Pablo Escobar will have more of a lasting impact on the cinematic landscape than Cassel's Mesrine. This is probably because through a television series, he's really able to cultivate the Pablo character and let it build rather than try to let it build through 4-6 hours of two movies. But the similarties between the two don't stop at the leading performances. They both have an elaborate backdrop. Mesrine in urban France. Narcos in urban Colombia. Through fly over shots of Colombia, tracking shots through the streets, it creates an detail rich world that pulls you in. As dangerous as the city may be there is still something that draws you back to it.

As each episode continues in Narcos, the stakes continue to elevate as does Escobar's wealth and influence. As his empire grows, his moral concessions do as well. Almost like Breaking Bad, he's a figure in slow deteriortion. Someone that has concrete morals at the beginning turns into a comprimised villain with blurred vision. Escobar is undoubtedly an interesting figure. Someone who has unimaginable wealth and power. Yet there is a hunger for more. More of what? Well, that's what the series is all about. Legacy, respect, family. These are all important things to Pablo. In a sense the money is just secondary. It really becomes a disposable thing. We are constantly seeing stacks and stacks of money thrown around like napkins through the series. Buried underground, thrown in bags, throwns in boxes. There's so much of it they don't even know what to do with it all.

I gave Mesrine 5 stars back when I reviewed the two films. I feel the same for Narcos. It's hard to find any noticeable flaws with this series. It's just so well filmed, so well acted, so well put together. Everything from the production design to the intricate sound design - it's all top notch. It's all just top notch. Call me a sucker for gritty crime dramas, I deserve it. Cutting my teeth with Scorcese's great body of work has set a certain standard. Narcos meets and exceeds these standards.

Season 2 manages to keep raising the stakes, the only difference being that we finally get to see some pieces of Escobar's empire finally breaking down. But the mystique around him builds. There are times that, even if you are aware of the historical facts, it feels like he's never going to be caught. One of the constant thoughts I have while watching Narcos is what if Pablo had never run for that political office early on? By doing that he put the spotlight on him, a spotlight that never went away. It seems possible that if continued to lurk in the shadows of Colombian society rather than trying to become such a mainstream figure that he could have gone on growing his empire and wouldn't have to spend his life on the run.

Spectral

Nic Mathieu, 2016

IMDB

3/5

At first glance Spectral looks as if it's another one of the many 2016 Netflix original offerings that may just slip between the cracks, because of the dozens of films queued up that you feel you will never get through. But actually it was originally produced by Universal Pictures and was pulled from schedule presumably due to fears that it wouldn't perform well at the box office. Netflix stepped in and purchased the distribution rights, giving them the ability to release it in their system. Which is a nice save, because it could have been just another film that sat and collected dust and never saw the light of day. It's more than that, and worth a look if you are a fan of the sci-fi genre. If you are a fan of the sci-fi genre, it means that you are also willing to go into a movie like this with a grain of salt. Because Spectral, while pretty entertaining, definitely fits into a formulaic molding. You need to go into this knowing that you aren't getting a Blade Runner. Hell, you aren't even getting a Starship Troopers which is a better version of a Sci-Fi action movie where soldiers attempt to overcome a seemingly undefeatable enemy force. I read somewhere that it was to be marketed as a "supernatural Black Hawk Down". Which is actually a pretty accurate quick description to throw on it. Black Hawk Down had a group of soldiers attempting to rescue two lieutenants in a completely explosive landscape. The landscape is similar here, as well-trained soldiers attempt to reveal what is behind this mysterious enemy that is taking down scores of their men in the battlefield. Early speculation has them believing it's some kind of enemy cloaking device.

While the production design doesn't feel cheap, there are elements of the story that certainly do. Spectral falls victim to some of the typical action-genre tropes. One glaring annoyance is when engineer Clyne (James Badge Dale) determines that the creatures must be made from Bose-Einstein concentrate because of their chemical properties. Well, they need to fight them with plasma cannons and it just so happens that they have everything they need to equip themselves with these weapons right in the bunker that they have hunkered down in. There are a lot of convienent things that are done with the various forms of technology they have. Because of this, at first the enemy force seems undefeatable but that quickly changes in the second half of the film when it seems like Clyne just needs to sit down and stare into space for about 30 seconds and then he can figure everything out.

Creep

Patrick Brice, 2015

IMDB

3/5

You realize after watching this film that it's not really scary per se, but just down right creepy. So the title is very suitable. Perhaps what separates the creepiness from pure horror is how realistic the film actually feels. Maybe it's the found footage style that they are working with. Maybe it's the whole responding to an ad on Craigslist story that we constantly read about in the headlines. 

There's something about the lonely guy who doesn't respect boundaries that's almost scarier than an empty eyed cold blooded killer in the woods like Jason Voorhees in Friday the 13th. Duplass brings complexity to his character. Even while you are feeling completely uncomfortable in his presence, you feel confusingly sympathetic. Instead of the film falling into predictable twists, it breaks some of the conventions of the found footage style and plays with it. They aren't afraid to experiment with the genre here, and that benefits the film greatly. You are never really sure what depths the film is going to sink to, and you are never really sure what the limits are. It's sure to surprise anyone watching. The Duplass Brothers are out there creating things in film that other people aren't creating. We are living in the peak time for young creative directors to generate stories on small budgets, and they are fortunately taking advantage of their resources. 

Print the Legend

Luis Lopez & J. Clay Tweel, 2014

Can I Stream it?

3/5

Anyone familiar with the emerging technology known as  "3D printing" has a sense of its impending impact on the world. What will we actually be able to print of use in our own homes? Footwear? Vinyl LP's? Home manufacturing material? The possibilities are quite endless, really. But right now it's in its infancy. At this point if you are an early adopter of a 3D printer, you are limited to something more along the lines of action figures or trinkets.

Print the Legend is kind of two films, really. In one sense it's an exploration into the world of 3D printing in it's early days. It focuses on the big guys with the bigger market share and the little guys desperate to get their piece of the pie in the sector. The big guys are companies Stratasys and 3D Systems. The little guys are MakerBot and FormLabs. The former have the operating capital to build cutting edge machines with a high price tag. The latter are cut from more of a hacker/engineering cloth, looking to disrupt the sector by making more reasonably-priced consumer-available machines. But the doc is also a study on the sharp minds of the tech startup world, as much of the film focuses on MakerBot CEO Bre Pettis, FormLabs creator Max Lobovsky and anarchist/controversial media figure Cody Wilson. The film effectively covers the evolution of Pettis, from ambitious genius to guy who sells his soul to the devil CEO. And everything about the film is geeky, interesting, crafty. It really provides some real excitement for what's yet to come in the world of technology.

The Battered Bastards of Baseball

Chapman Way & Maclain Way, 2014

Can I Stream It?

4/5

Documentaries are so great because they often expose the viewer to a particular subject that may have become forgotten in time. Something under-appreciated. Something that may have slipped between the cracks. Quite often its something that surely should not have, something that needs to be remembered. Something that needs to be cemented in the fabric of time forever. The King of Kong introduced us to the bitter Donkey Kong high-score world record bitter battle between Steve Wiebe and super-douche Billy Mitchell. If you haven't yet seen this doc, it's a must see. If you have, it was another great story that had you rooting for the underdog. There's certainly an underdog in the Battered Bastards, and it's the Portland Mavericks. Most sports fans have probably never heard of them. But they were a team of misfits, put together by retired-actor Bing Russell (father of Kurt Russell, star of shows Maverick & Bonanza). These are men who were forgotten by the the commercial Baseball empire. Big Baseball, if you will. They were pushed to the side. But Bing Russell opened the doors for them. He introduced open tryouts to anyone who would like a shot at the team. Expecting a handful of applicants, he was surprised to find hundreds at the door waiting for their chance to prove themselves. And much to everyone's surprise, they were good. They were scrappy. They had a chip on their shoulders. They played their hearts out. Some of them, like pitcher Jim Bouton, were even ex-MLBers who were blackballed by the league and found a new home in the independent circuit. They broke the rules of baseball etiquette, with their facial hair and questionable hygienic practices. They probably would have failed a drug test had they been given one. But they were a loyal bunch who would jump into the stands and drink a beer with their fans after a victory. Men of the people. A team a city can easily get behind, and they did. They came in droves.

Like all great stories (and many great documentaries), you need your bad guy. The bad guy in this story is Big Baseball. Embarrassed after the Mavericks not only proved to be successful on their own but even defeated actual Minor League franchises, they had to clean the egg off of their faces. And so they attempted to. But the real hero in the story is Bing Russell. He gave the everyman a chance with the most fan-friendly team ever created. You find that these players not only enjoyed their success with the Mavericks but even credit that period of their life to future successes. You can certainly credit Bing with creating an accessible team whose story is worthy of the film treatment.

House of Cards (Season 2)

Beau Willimon, 2014

Can I Stream It?

5/5

If the first season of House of Cards didn't draw you in, you are completely insatiable. If you were putting off watching it as it collects dust on your queue, stop what you are doing and go watch it right now. It's likely better than what you are watching. The writing, acting, cinematography just emanates excellence with every shot. Kevin Spacey is at his best, at a point where its so surprising to see him outdo himself so deep into his career.

The second season dives in deeper. The ante is upped. The stakes are higher. There is an increased sense of suspicion on many fronts. There are more eyes watching. More threats in play. There are more moving parts at work. If the D.C. machine is a well-oiled machine, Frank Underwood is the smart-chip on the motherboard. He paints a picture of a backroom Washington that feels so terrifiyng. Reinforces the idea that perhaps ignorance is bliss. Maybe it's better to have a low profile, be an anonymous citizen, as long as our homeland is safe. And Frank can keep it safe, as long as he gets what he wants in the process. The ghosts of Frank's past continue to collect and follow him. You can almost hear their cries in the empty wood-carved den of his Washington brownstone.

Frank Underwood has become even more powerful, while also somehow growing even more diabolical. He is perhaps one of the most chilling television anti-heroes ever, right up there with Walter White or Tony Soprano. Just give him the Emmy now. Robin Wright continues to be so cold and so completely calculating. They are the true perfect political pair, and their dynamic is almost a nod to Bill and Hillary Clinton (of course way darker), you would expect them to sleep in separate beds because sexual relations would be considered a downgrade to their relationship. Michael Kelly is possibly the most underrated actor in the series (possibly on television in general) as brain-child Doug Stamper. He's just another one of Frank's close loyal aides who will stop at nothing to maintain Frank's towering position in government. Frank will reel you in and take care of you until he doesn't need you anymore. One can only hope that you prove yourself worthy of being considered irreplaceable. House of Cards is unapologetic. Unforgiving. It's so well-written, so suspenseful. It's going to be so interesting to see where this show goes. Frank Underwood is a pure megalomaniac, and his hunger for power seems to be endless. There seems to be no limit to what his character will do to grow bigger, and it seems like the series is going to only provide great story to parallel that expansion.

House of Cards (Season 1)

Beau Willimon, 2013

Can I Stream It?

4/5

Francis Underwood (Kevin Spacey) is a sharp Congressman who is politically proficient. He is loyal to those who serve him and unrelenting to those who cross him.

Never before has a series so quickly exposed the rather deplorable behavior of a Washington politician without build-up. You don't even reach the five minute mark before Kevin Spacey's sharp-minded congressman character Francis Underwood does what he believes is a rational move in taking care of a dog that had fallen victim to a hit-and-run driver. This is clearly a deliberate move by the shows creators who want you to get an instant feel for the character, without making any attempt to humanize him beforehand. You find that this is the tip of the iceberg with Frank. Frank is just another moving part in the political machine of Washington, D.C. The city feels much like the shows characters: grim, cold and unforgiving. It comes as no surprise that money is not the active currency in our nation's capital, that it's power and influence. Frank even says while breaking down the fourth wall: "Money is the Mc-mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries." Frank is tenacious, calculating. He doesn't waste any calories. Much like the chess board sitting in his den, he's always thinking a few steps ahead.

The casting decisions on the show are remarkable. Spacey never disappoints but his role here he shows that he can bring nuance to a dark figure, although his southern accent is a bit weak at times. In Seven he showed you how far to the dark side he can go. With his Underwood character he shows you a depraved figure that is more multi-dimensional, more unpredictable. Robin Wright, who appears to be channeling Mika Brzezinski from MSNBC's Morning Joe, is another veteran actress who brings a lot of depth without playing it safe. In a way her character is more frightening at times with it's restraint. Kate Mara steps out of her sister Rooney's shadow here, and proves that she has some talent as well. Michael Kelly is another cold force, brilliantly playing Frank's strategist.

One of show's best attributes is it's ability to get you hooked on these very questionable characters, even early on. You get behind them, you root for them at times. Perhaps it shows you your own dark side, and reinforces the fact that we are still the same creatures. Saying that these characters are morally bankrupt is probably an understatement. Like the saying goes: "if you want a friend in Washington, get a dog". In a matter of minutes a loyal friend becomes a political tool that may be used for leverage.  The show constantly surprises you. It shows you characters that will now be in your brain forever. You would think that these characters would be morally subdued, being in such high profile positions. But they sink lower and lower. It will be fascinating to see how far it continues to go.

Marc Maron: Thinky Pain

Lance Bangs, 2013

Netflix

4/5

Marc Maron performs in front of a small crowd in an intimate setting in this made for Netflix special. Any fan of Marc Maron's very popular WTF Podcast or his recent Television series on FX is familiar with his personality. He is an open book. He is experienced but he has work to do. He is reflective but neurotic. Intelligent. While he is admittedly not a religious person, he certainly channels some of the neurotic Jewish comedic chords in the same vein as Woody Allen, Richard Lewis, or Mel Brooks. Maron is not a set-up to punchline guy. He is proud of his lack of preparation. He comfortably sits on the bar-stool and throws the unnecessary notebook to the floor. He is taking it moment to moment, reading the crowd. He knows that it can go either way, and that's fine with him. Brilliant deconstructionism. Breaking down his method as he shows chicken scratches on hotel stationary. His act at times comes off as more of a cathartic therapy session. It becomes an outlet to confess some childhood fears. They are all going to get through it together. He doesn't hesitate to let you in. Some frustrating elements of his relationship with a much younger female. Possible damage to the body from past drug use. Psychologically damaging moments in childhood sports. Frustration about having to deal with alpha males in childhood and in adult life. The hypochondria created from having a doctor for a father. The food guilt with being a fat kid from with an anorexic mother. And while it all comes from real place, it's all funny. The highlight of the special is when he pinpoints a childhood moment on a baseball field. He confesses that his life would have gone in a completely different direction had he caught a baseball. And while there is clear trauma and a bit of tragedy associated with the story, it's relatable and the vulnerability makes it pure. You get a clear sense that he's done a lot of the hard work, and while some of it was done on a stage, most of it was done inside himself. The honesty of the evolution is inspiring. He's come a long way and he wants to talk about it, or perhaps talk THROUGH it. It's thinky pain, and it's real.

Orange Is the New Black (Season 1)

Jenji Kohan, 2013


4/5

Netflix continues to release original programming, which will ultimately prove to be a solid competitor to premium cable channels like HBO and Showtime. This series is as good as any series that would be appear on those networks. This series is a dramedy based on the memoir of Piper Kerman. It's the story of Piper (Taylor Schilling), who is sentenced to Litchfield women's prison in Upstate New York. Sort of like a comedy version of HBO's Oz. It examines themes of homosexual romance, jealousy, loyalty, betrayal, reflection and ingenuity while incarcerated. The series is directed by Jenji Kohan, who has a long resume of past television credits that include Mad About You, Sex and the City, Weeds and the Girlmore Girls.

Taylor Schilling is perfectly cast as Piper. Piper is about to enter prison to service a 15 month sentence for her involvement with her ex-girlfriend's drug ring. Now engaged to new love Larry Bloom (Jason Biggs), she's pulled back into her past despite the fact she's tried to move on from the period of her life when she was involved in a lesbian romance with Alex Vause (Laura Prepon). Piper has a well defined emotional range. She initially feels like a bad stroke of luck put her where she is. She brings her outside self in, seeking acceptance and trying to make friends quickly - perhaps too quickly. It certainly takes time to become jaded like the others. With a prison filled with rough & tough women, her vulnerability sticks out like a sore thumb.

Fans of The Wire will be delighted to see Pablo Schreiber (who played Nicky Sobotka in Season 2), who plays a prison guard in Orange. He's one of the few guards, most of which are drunk with their power. They verbally abuse the inmates on a regular basis, causing you to wonder when they are going to get their comeuppance. It's also refreshing to see Jason Biggs and Natasha Lyonne far away from the god awful American Pie series. One of the most positively distinctive features of the series is the larger than life personalities that the cast provides. They all have a story, and the creator cleverly peppers in back-story to paint the picture.

There are plenty of laughs and most, if not all of them hit. There's clearly a talented writing staff behind the series, and the casting director deserves some serious praise because there really doesn't appear to be one miscast character in the entire series. Netflix already renewed it for Season 2, which is good news. With House of Cards and Arrested Development in their belt, they are clearly going to become a big player in the television world.