Showing posts with label Talented Mr. Ripley. Show all posts
Showing posts with label Talented Mr. Ripley. Show all posts

Tuesday, January 14, 2025

20 Best TV Episodes of 2024




1. Who Dat, Life and Beth (Hulu)-The hidden gem of a show explores the relationship between a rustic outsider on the spectrum (played improbably well by Michael Cera) and urban sophisticate Amy Schumer as (for lack of a better characterization) Amy Schumer. The wedding episode exemplifies the taking-more-than-giving nature of Beth with regards to John, and the way the pair's compromises leads to its own sweet union. The wedding episode expands the world of the pair's circles, it's wild, it's funny, and it's achingly sweet.

2. Ill Somerso (Episode 3), Ripley-The show doesn’t provide much surprise if you’ve seen the 1999 film “The Talented Mr. Ripley” which is also adapted by the Patricia Highsmith novel. But in the hands of Andrew Scott, his steely exterior turns the murder of the object of his adoration (Johnny Flynn) into a complete shocker. Scott’s lightning-fast psychopathic instincts are here on full display and it’s chilling. The show is lit in a picturesque black-and-white setting while also being muted in its sound scape, which makes the experience of a drama in an episode like this more vouyeristic.

3.     High Potential-One Of Us (Midseason finale)-For a show that's never designed to be more than a serial with a snarky protagonist, it ramps up the pathos quite well between Morgan and her the daughter gives the episode real stakes. The kidnappers' dynamic as one of them becomes steadily more unhinged is a treat.

4. Sleep Hypnosis, What We Do in the Shadows (FX)-It’s more in ROFTL territory than plot movement, but how often is s Colin Robinson ever given the chance to do something this smart (hypnotizing Nandoor into talking up Colin in his native language)? And how much more random can one get than making a vampire believe he is Richard Nixon? The episode also makes great use of Guillermo in his “I’m so over this” mode.

5. Do You Get it Sports are Huge in this Town, Clone High-Frida Kahlo has a knacok as the star of "sport" of snorkeling (pointing at fish) with a hilariously on-point send-up of the VH1 style documentary on a past life of Scudsworth as a world-class snorkeler who's achilles heel was overconfidence and fast food. Anything that sheds light on Scudsworth's past is worth it in my book.

6. Krapocalypse, Krapopolis (Fox)-King Ty has to save civilization in Groundhog Day fashion. The entire day resets when a volcano kills him and he has to learn from his mistakes and bring everyone up to speed before the volcano devours them. In Krapopolis tradition, no one actually appreciates he king, and when they do, In another Krapopolis, the God who set up this hellish situation is driven by equal parts fickleness and boredom.

7. Halloween 5, Ghosts (CBS)-It’s hard not to love what the ultra-rigid Patience (Mary Holland) brings to the crew. She fits in less with the octet than any other character we've seen to date and I love those jagged edges. Namely, she scares everyone to death and bloodies up the walls. Bring on the chaos.

8. March Madness, What We Do in the Shadows (FX)-Shawnie gets obsessed with another sports phenomemenon in March Madness, and as usual, the vampires have no idea what’s going on. These are the same guys who attended a Superb Owl party. And in the B-plot, Guillermo is getting along in the corporate world when he blah blah blah Colin punches Guillermo in the face. Wow, that happens. Multiple times too. Guillermo and the crew interacting in the corporate world was an outstanding arc that bought along some of the crew’s best interactions with the non-vampire world -- especially, Nadja, who has the sharp-tongued insult catalogue for a finance bro.

9. Episode 5, Baby Reindeer (Hulu)ts-This is a show that's so hard to watch, that it's not gonna fully feel cathartic until the last episode when Martha is done away with, but this hope spot when Donny and his parents can release their demons together. What a sentimental gut punch.

10. Episode 2.2, The Tourist  (BBC ---> Netflix) Ethan obnoxiously inflicting both his aerophobia and his route to self-discovery on his seatmate is worth the price of admission for this episode alone. On top of that, this episode sets up the eventual collision course between leprechaun Norman Bates (he’s Irish and short, come on, it’s an easy target) and Helen. It also has the best dramatization of the Frog-Scorpion (the fable about the scorpion stinging the frog because it's in his nature) analogy TV has done to date.

11. A Shiksa Walks into a Temple, Nobody Wants This (Netflix)-The incompatibility between Jewish values (which discourages intermarriage, if not outright bans it in some sects) is never easy to reconcile with our modern-day conception of romance and free will. Throughout the first two episodes of the series, hunky Rabbi Noah seems to be broadcasting entirely different things between his head and heart. It's an episode where we have no idea what's happening. Why is he following her into a car on the middle of Shabbat. Even crazier, why is Sasha going along? Is this a date? It's also the start of Morgan and Sasha as sublime third and fourth wheels to this pairing.

12. Thor, Krapopolis (Fox)- It’s hard to get better than a cosmology crossover with the Norse gods. As someone who has completely skipped over the Thor franchise, my knowledge of these gods is a little thin, but the characters of Thor, Freya, Odin, and Loki came pretty ready-made with comic quirks that made the episode delightful. Besides, Scandanavian archetypes are pretty universal. Jealous Deliria was also a new shade to witness and the plot all got resolved on a nice brick joke.

13. The Killer Inside Me, The Caped Crusader (Amazon)-A very interesting retelling of the Harvey Dent story that leaves Harvey a bit more sympathetic. There's a lot of dramatic irony here--we know Dent is going to turn bad--that limits the possibilities of any of this, but the remorse on Harvey's part is something new.

14. Circle Sewn with Fate/Unlock thy Hidden Gate (Episode 2), Agatha All Along (Disney Plus)-The creation of the coven. I don't think Agatha All Along worked. It was too insiderish rather than what Marvel properties are at their best: Comic-book level knowledge serves as easter eggs, but otherwise the TV shows/films should be inviting to those outside the nerddom. However, this creation of the uneasy truce among former enemies and this realpolitik on Agatha's part of negotiating what these people wanted and needed. The scene of four wannabe witches and put-upon neighbor Sharon singing the Witches Road song in the round medley is also something else.

 15. Eunjangdo (Episode 10), Cobra Kai-For a show that used up all its plot threads by season 5's finale, it’s supremely impressive that the show gave us anything worth caring about in the final season. Season 6. It took us a little while to get there, though, but it found its groove by the end, and as per custom, we got an epic brawl. Though Terry and John Kreese continue their annoying habit of being part of the plot, they’re at least displaced from center stage to make way for fresh blood. With the fall of Kwon, the show left a gaping question mark of a cliffhanger.

16. Ice Day, Krapopolis (Fox)- it's a rare episode in which King Ty succeeds with a love interest and there are multiple late stage twists. It's not the most monumnetal episode, but it's sweet.

17. Lovebird (Episode 5), Resident Alien-Harry and Heather (Edi Patterson) fall in love and have an interspecies romp in the middle of a helluva awkward dinner party with Asta and D'Arcy, hard to get more riotously funny than that in this show that plays comedy straight.

18. Pilot, Interior Chinatown (Hulu)-The show had a distinct culturally specific noir feel to it at the start. Unfortunately, it became too much of a procedural with the preposterousness of the Josh Schwartz series Chuck (ordinary Joe Shmoe is useful to crime fighting), but it started out really strong. Jimmy O. Yang’s subdued voiceover drips with a sad semi-noirish pathos and there’s an outlandish tone is the show transitions between the mundane and a gnarly fight scene.

19. Episode 1.7, KAOS (Netflix)-The lengths of Zues's amorality and power lust are shown in their fullest extent here in the pool party frying. It's a penultimate episode that raised the urgency of the stakes

20 He Sees Dead People, Ghosts (CBS)-Jay’s sister Bella has turned a wheel from her penchant of bad boys and has shacked up with adorkable pushover Eric. Personally, I’m still rooting for her to work out the beyond-the-dead logistics and get with Trevor, but this will have to do for now. The episode takes a sublime twist when it’s discovered that Eric can’t really see dead people.
Eric’s pushover tendencies is a great source of comic humor and it drives the plot brilliantly as he is encouraged to throw himself down the stairs to sell his loss of ghost connection.

Thursday, February 27, 2014

Philip Seymour Hoffman passes away

I called my sister (who could be categorized as an ordinary moviegoer) the night Philip Seymour Hoffman passed away and she scratched her head when I delivered the news. "The guy from the Hunger Games?" she asked after IMDBing him. "Oh no, what's gonna happen to the sequel?" Because there are members of my immediate family (the main readership of this blog) who think of Hoffman primarily as the guy from The Hunger Games, I feel compelled to raise awareness for this late great star.

Was I a fan of Philip Seymour Hoffman? Let's just say I was a fan of great films around the turn of the century like "25th Hour", "Almost Famous", "Cold Mountain"*, "Big Lebowski" and "Talented Mr. Ripley." In other words, it was impossible not to be a fan of Philip Seymour Hoffman if you started becoming serious about watching films in that era because he had a great supporting role in practically every underrated film in those years. I'm not even counting "Magnolia" or "Boogie Nights."

If you might have missed Philip Seymour Hoffman in those years, it's because a lot of those movies weren't as famous now as they were back then. One might think Hoffman had a crystal ball predicting what would be a classic years later. Considering his talent and his heavy interest in the theater (his estate went to a foundation that would award promising playwrights with grants), it seems likely that Hoffman had a great talent for discernment.

Although he had the lead in small films like "Owning Mahowny", Hoffman had a sort of breaking out in 2005's Capote. While the film only grossed $28 million domestically, (which while admittedly better than Owning Mahowny's $1.1 million) it earned a Best Picture Oscar nomination and it gave Philip Seymour Hoffman the ultimate accolade for a leading man: a Best Actor Academy Award.

At that point, Hoffman could have gotten some meaty leading man parts** and been spared the indignity of only having my sister remember her as "The Hunger Games guy" eight years later. He could have also just stuck with his bread and butter and been a subtle character actor.

Instead, he did a little bit of everything. He carried films as the lead or co-lead in "Doubt" (my personal favorite), "Before the Devil Knows You're Dead", "Synecdoche New York" and "The Master." He lent his weight behind smaller indie films like "Pirate Radio," "A Late Quartet," and "The Savages." He stole scenes in supporting roles like "Ides of March," "Moneyball," and "Charlie Wilson's War." He even played a classic action villain in "Mission Impossible 3," he had a comic cameo in  "Invention of Lying," and he dove into a fantasy franchise with the "Hunger Games."

In short, Hoffman knew no boundaries when choosing films and his filmography is astounding. A highly experimental piece that Roger Ebert named the best film of the year (Synecdoche), Sidney Lumet's most acclaimed film in years (Devil) and a quiet anti-hero sports film inspired stylistically by "All the President's Men" that got nominated for Best Picture (Moneyball). He might be remembered as the quintessential character actor, but because his film choices were so smart, he was one of the most bankable stars in Hollywood in my book. Was there a film role he couldn't take on? Was there a better indication that a film would be something special than seeing his name in the opening credits?

I haven't even said much about his acting, but it's probably just to let it speak for itself






*To be fair, "Cold Mountain" is largely remembered as a failed Weinstein Oscar vehicle more than an underrated film but its a great historical epic in my opinion

** I know you're thinking of that Arrested Development reference. Shut up

Tuesday, February 13, 2007

If you had to bet money on the 6th nominee....

If you had to bet money on what the 6th nominee was of each Oscar race over the last few years, who would you chose. My picks below:

6th Nominees:

2006:

Picture: Dreamgirls

Director: Bill Condon, Dreamgirls

Actor: Sasha Baron Cohen, Borat

Actress: Maggie Gyllenhall, Sherrybaby

S. Actor: Brad Pitt, Babel

S. Actress: Emily Blunt, Devil Wears Prada

O. Screenplay: Zach Helm, Stranger than Fiction

A. Screenplay: Paul Haggis & William Broyles Jr, Flags of Our Fathers

2005:

Picture: Walk the Line

Director: Fernando Meirelles, Constant Gardener

Actor: Russell Crowe, Cinderella Man

Actress: Zhang Zhiyi, Memoirs of a Giesha

S. Actor: Don Cheadle, Crash

S. Actress: Scarlett Johannson, Match Point

O. Screenplay: Thomas Bezucha, The Family Stone

A. Screenplay: Deborah Moggach, Pride and Prejudice

2004:

Picture: Hotel Rwanda

Director: Marc Forrester, Finding Neverland

Actor: Liam Niesson, Kinsey

Actress: Uma Thurman, Kill Bill Vol. 2

S. Actor: Peter Sargasaard, Kinsey

S. Actress: Meryl Streep, Manchurian Candidate

O. Screenplay: Taylor Hackford & James L. White, Ray

A. Screenplay: Patrick Marber, Closer

2003:

Picture: Cold Mountain

Director: Anthony Minghellia, Cold Mountain

Actor: Russell Crowe, Master and Commander

Actress: Jennifer Connelly, House of Sand and Fog

S. Actor: Albert Finney, Big Fish

S. Actress: Scarlett Johannson, Lost in Translation

O. Screenplay: John Logan, The Last Samurai

A. Screenplay: Patrick O’Brien & Peter Weir, Master and Commander

2002:

Picture: Far From Heaven

Director: Alexander Payne, About Schmidt

Actor: Richard Gere, Chicago

Actress: Maggie Gyllenhall, The Seceretary

Supp. Actor: Dennis Quaid, Far From Heaven

Supp. Actress: Edie Falco, Sunshine State

O. Screenplay: David Benioff, 25th Hour

A. Screenplay: Chris Hampton and Robert Schenkman, The Quiet American

2001:

Picture: Black Hawk Down

Director: Todd Fields, In the Bedroom

Actor: Gene Hackman, Royal Tannenbaums

Actress: Naiomi Watts, Mullholland Drive

Supp. Actor: Jude Law, A.I.

Supp. Actress: Gwenyth Paltrow, Royal Tannenbaums

O. Screenplay: David Lynch, Mullholland Drive

A. Screenplay. Ken Nolan, Black Hawk Down

2000:

Picture: Almost Famous

Director: Joel and Ethan Coen, Oh Brother Where Art Thou

Actor: Michael Douglas, Wonderboys

Actress: Michelle Yeoh, Crouching Tiger, Hidden Dragon

Supp. Actor: Gary Oldman, The Contender

Supp. Actress: Catherine Zeta-Jones, Traffic

O. Screenplay: Rod Lurie, The Contender

A. Screenplay: David Self, 13 Days

1999:

Picture: Talented Mr. Ripley

Director: Anthony Minghellia, Talented Mr. Ripley

Actor: Matt Damon, Talented Mr. Ripley

Actress: Reese Whitherspoon, Election

Supp. Actor: Al Pacino, The Insider

Supp. Actress: Cameron Diaz, Being John Malkovitch

O. Screenplay: Woody Allen, Sweet and Lowdown

A. Screenplay: John Roach and Mark Sweeney, The Straight Story