Alcatraz Review

It shouldn’t come as a surprise after my previous post (a glorified love letter to my idols) that I would take the opportunity to review JJ Abrams’ new drama, Alcatraz. So, here it goes. A gushing list of admiration. Endless praise.  Detailing the unblemished success of a creative mind I greatly admire.

Well…not exactly.

Abrams’ knows a winner when he sees one. It was natural to choose a story with compelling characters, a mysterious island, the troubles of time travel, flashbacks, and a villain that tugs at your heartstrings. But enough about LOST.

I had faint senses that Alcatraz would resemble its predecessor, but using the same musical score (or one that is extremely close) pushes my buttons. When the plots share obvious connections, it would behoove the creators to do their best to distance them. The overt parallels nearly seem to diminish the success of LOST as if it were a formulaic show, easily copied. There was even a Jack character*. And don’t forget, Hurley aka Soto is the same loveable teddy bear. However, I admit, this is where the similarities end.

Alcatraz is not a sci-fi / fantasy thriller, even though there are aspects of the show that suit these genres, it is certainly more a new-age cop drama than anything else. I love stories that transform common knowledge into something spectacular, so the concept that the Alcatraz prisoners have actually disappeared instead of being moved is right up my alley. The opening was classic. Hooking viewers with the empty cells and stormy evening, it clearly foreshadowed the turmoil and mystery that will be central to the program. And it doesn’t hurt that the main character, a detective, is female. Who doesn’t love a woman in charge?

Two episodes in (technically three), each show introduces the prisoner who has returned, his M.O. and the inciting incident that alerts Madsen and Soto to the reappearance. In cop-drama fashion they tail their suspect through a maze of misunderstandings until finally he is apprehended. Yawn.

I am interested in the allure of the “63’s” disappearances, much less how they are wreaking havoc on downtown San Francisco. Why did they disappear and why are they returning? What does Emerson** have to do with this incident? Is Dr Beauregard ageless or just really old? Is this a government conspiracy? Who is directing them to cause mayhem once they return? How did they disappear to begin with? The potential for creativity entices me to want more. Not for the dramatic police narrative, I have already found love in Person of Interest (note- another LOST alum) for that.

I trust Abrams enough to produce a story that is groundbreaking and unique. And although so far Alcatraz may seem to be riding LOST’s coattails, I am sure something dwells within the bowels of The Rock that viewers have yet to understand. After all, Lucy, Hauser’s assistant, was a bit too knowledgeable of the inner workings of Alcatraz – and look how that went – she was there in ’63, looking as sinister and youthful as in the present day. Despite my criticism, JJ, you’ve got me hooked.  

*Jack. Could be a nickname for John. Could be the man’s name. There are literally thousands of male names. Writers, please pick something else. Please.

**Emerson Hauser is definitely a nod to Michael Emerson, the portrayer of the incomparable Ben Linus. If he comes anywhere close in character to Ben, I’ll be a happy girl.

Review of War Horse

Caution: Spoilers!

Think War Horse is another silly animal movie? Wrong. Panning shots of the English countryside set the backdrop for a colt’s birth and eases viewers into the vast world that surrounds us all as we are welcomed into life. Young Albert Narracott and his equine counterpart, Joey, train each other in the disciplines of friendship and willpower as War Horse gets off on the right hoof.

The call of “War” inevitably tears the pair apart as they must navigate through the horrors of World War 1 in parallel journeys. This type of interwoven narrative shows the gradual development of characters in addition to creating a side-by-side comparison of what Albert and Joey will overcome to be together again. As a film geared towards the younger crowd, flagrant gore is avoided with artful suggestions of the tragedy at hand but beautifully achieves the sense of dread and helplessness indicative of war.

Certainly, the most unexpected aspect of War Horse is the lives Joey touches. From British and German soldiers to French patriots, Joey proves himself a loyal, remarkable horse capable of anything he puts his mind to. My only complaint about the film is that the German’s and French speak in accented English as opposed to their native tongues. Note: the troublesome drawback of subtitles is not lost on me. One of the finer points of the journey is the passage of Mr. Narracott’s service pennant. Not only does the banner function as a means of keeping track of Joey, but it also symbolizes the courage of each of its recipients.

My favorite moment* came in the trenches. Terrified, Joey has entangled himself in the barbed wire of no-man’s land. Lacking any source of optimism, the survival of the war horse perks the hopes of soldiers on either side of the battle. Joining forces to save Joey, a German and an Englishman cut him free. This poignant scene shows the common bond of man and our compassion for others, even animals, in a time of great struggle.

From the start of Albert and Joey’s reunion, I became a human faucet. The boys have matured into men. This notion only emphasizes the heartwarming call from Albert, in what should have been Joey’s final moments. The ending scenes of the film mirror the opening brilliantly and bring a well plotted and developed story to a close.

The simple fact that I saw this movie with my parents and pre-teen brother vouches for the movie’s accessibility across generations. After all, War Horse is timeless. The bond between human and pet tends to transcends into a connection akin to family. And after all Joey and Albert experienced together and apart, it’s no wonder there wasn’t a dry eye in the theatre during the credits. Verdict: A.

*Yes, I loved the scene between the soldiers as it dealt with Joey. My true favorite moment was when Colin (the Englishman) says to Peter (the German) “You speak good English.” To which Peter replies, “No, I speak English well.” As a beloved, nerdy scientist often proclaims, BAZINGA!

Review of Hunger Games

Suzanne Collins has produced a high quality, well executed series based on speculative-modern gladiatorial games featuring who else, but children. As a child of the Harry Potter phenomena, I grew to expect series’ to instantly capture my attention and draw me into their whimsical worlds. But that was not so.  A handful of disappointing first installments left me jaded as I took on Collins’ story. I was proven wrong as I hungered to read page-after-page and ultimately book-after-book.

Focusing on the titular first book for this review, I found myself most intrigued by her style of writing. I’m a first-person-hater to begin with, but she convinced me that this unreliable and slightly narcissistic style can be written well and furthermore, enjoyable. I cherished the intimate understanding of Katniss Everdeen this point of view provided and it certainly helped to piecing together the sadistic world of Panem. From the reaping to the final play of the games, Collins succeeded in bringing Katniss’ emotions to life.

The flow from one chapter to another was impeccable; her cliffhangers are well placed and create a burning desire to read more. On the other hand, I would have enjoyed the exposition and resolution chapters of the story to be more than summary or an instant drop-off. Accordingly, the pacing of the novel left a sense of incompleteness as some seemingly important moments were all but glazed over. I don’t mind the passage of time cutting to the chase, but not over the chase (I’ll admit this applies more aptly to the sequels, but does show itself in this first book). The overall plot is generally predictable, at least for a seasoned reader, but that doesn’t detract from the pleasure it brings to each passing page.

An achievement of note from Hunger Games is displayed in Collins' array of quirky characters. They reflect the bizarre circus The Capitol encourages while also demonstrating the struggles of the surrounding districts. Peeta, the boy with the bread, as she calls him, was one I quickly related to and found positively charming (it helped that he sparked most of the unexpected plot turns and reminds me of my own main character). His way with words was not lost on this writer. There are other characters, Gale and Prim, who one would assume deserved more page time by virtue of their relationship to Katniss, but were as fleeting and underdeveloped as shooting stars. And yet, Rue, a girl who crosses into Katniss’ world for a brief part of the games, drew me close to tears upon her exit.

The games themselves were brilliantly described, not only bringing the arena to life, but allowing the reader to feel the fear and paranoia of all the tributes. Not neglecting a single aspect of horror, Collins does not shy away from grotesque killings or descriptions of injuries. This does benefit the frankly deranged concept, but it also rises the reading age to above her intended target audience. Furthermore, while I understand a lovelorn Katniss caught between two suitors propelled the plot, it drew nearer to a cliché with every question about her feelings she left ignored. I can let it slide given her base of readers, but it was an aggrivating point worth mentioning. The spectacle of the games brings to light the absurdity of this world in an approachable manner that young readers can comprehend. Especially noteworthy is in the final play of the game. At this turning point, Collins’ creates a benchmark for young readers to understand that individual identity should always come out the victor.  

Although a bit brainless, Katniss engages the reader throughout her heart wrenching journey as Collins’ capitalizes on delivering a story that holds nothing back.  

Review of Once Upon a Time

No, this isn’t the beginning of a story. It would be a bit cliché don’t you think? I promise I’ll refrain from commenting on the lack of creativity in the title (oops, just did) during my review of ABC’s new fantasy drama based on its writing merit.

To start, I must mention that given the intense promotion of this television show and the constant reminder of its successful assembly of writers from LOST, I was disappointed in the premiere. Once Upon a Time (here on referred to as OUT) lacked the same hook of its predecessor and the pilot episode seemed too focused on instant character development where it should have centered on setting up the plot to lure viewers in for subsequent episodes.

With that said, there is plenty about OUT I found intriguing. The parallel worlds are entertaining in two fashions: 1- the fantasy world acts as a traditional escape from reality, 2- the real world hosts playful Easter eggs that hint at their relationship to the fairytale (my personal favorite is the mayor’s apple trees). Suggestive moments where the citizens remember their fantastical past provides depth to both the story and its characters. Generally speaking, fantasy protagonists are adolescent boys (which I suppose they achieved with Henry) so it’s refreshing to have a nearly grown Emma Swan* as the main character and eventual Storybrooke savior. The age twist of Emma’s parents essentially being her peers could also provide comic relief or a dramatic upheaval in the future, but it is likely the focus will continue to shine on Henry for the time-being. As far as characters go, the cast is varied enough to satisfy the many point-of-views and backstories people (read: I) often crave.

The first half of the season will largely be exposition, and the two episodes that started this journey certainly informed viewers of the necessary basics. It wasn’t until the third episode that OUT started to remove itself from expected fairytale drivel into a reinvented, modern take on these classic stories. The Evil Queen or Mayor was more or less one dimensional. Even the removal of her father’s heart didn’t quite sink in giving his short cameo. In episode three however, she took on a compassionate side that expanded her character, giving her room to become a unique villain. Undoubtedly the best part of this episode was the unconventional story of Snow White and her Prince Charming. For one, they actually gave him a name: James. And secondly Snow was not the detestable and gullible girl from childhood stories; she was an independent, thieving miscreant with class.

Although the dialogue is predictable and the stories have been done before, there is a good deal of fresh spin (specifically the characters) on these tropes to create the longevity OUT deserves. This is certainly a tale that cannot be told over a season, and much like LOST it requires numerous installments to properly communicate the intricate narrative. I cannot comment much further since the program has barely stepped into the spotlight, but from this juncture I can say that Storybrooke holds a great moderntale in store for faithful viewers.         

* I felt I had to comment on the last name Swan. Sure, it has a nice symbolism of purity (if only people really knew the ferocity of swans, ha) but it has become overused. Elizabeth Swan, Bella Swan…now Emma Swan? Come on, writers, any other last name would do.

The Fantastic Planet Earth

I write fiction. That’s my bread and butter. Ever since I was young I told stories. Such wild exaggerations of the truth that it became obvious to my parents I had a knack for storytelling. My dad even encouraged me to become a writer or else I would get in trouble for all my fibs.  And after I discovered the attraction of fantasy stories, I was hooked. I think it goes without saying speculative, science-fiction and fantasy writers are drawn to the ability to create new and incredible worlds. At least that’s why I write. Beyond the roster of new people one can birth, the pure escapism of constructing the details of a civilization and its surrounding environment is addictive. For the longest time I felt the universe’s greatest sights were locked inside the brains of writers. Then I saw Planet Earth.

Land and water have been filmed countless times before. But Planet Earth separates their series into segments that honor each habitat with the detail-oriented attention they deserve. In each venue, predator and prey shine harmoniously, neither ever stealing the spotlight as the array of animals transitions gracefully with the changing arenas.  The mysticism of a solitary snow leopard or the raw power of the migrating wildebeest, the focal creatures in each installment show the delicate balance every corner of our world supports.

From the great plains through forests and into the mountains, these locations can be found nearly everywhere and yet, despite their obvious differences, they encapsulate the likeness of unlike locations. There exists a circle of life (as my favorite, nature-oriented childhood film would say) that is demonstrated in this program as an essential cog in the cohesive functioning of our planet. This becomes clear in the desserts episode which proves that even in an arid, unrelenting environment, life can thrive. Planet Earth reminds viewers, there is always more we can learn and the wonders in shallow seas and worlds of ice reinforce the need to question ones surroundings and explore. A meager three percent of the water on Earth is freshwater, and its titular show brilliant depicts the amazing home this precious recourse provides to an ever-growing populace.

Many of Planet Earth’s locations can be visited, and some play the role as home for our human brethren, but there are a few locations that remain out of reach. Delving into caves and deep water, these exclusive shots invite viewers to witness the least explored depths of our planet and the intricate formations that house spectacular creatures. The sheer awesome expanse of these subterranean habitats stirs a primal need for answers, and Planet Earth delivers. Ultimately, the most intriguing installment of Planet Earth is the jungle. Few people have ever seen the elusive animals captured on film for this episode, never mind taking the time to study its unparalleled foliage. The dancing bird of paradise becomes an instant salesman for the series, seducing viewers and mates alike.

Planet Earth enlists sweeping aerial views and time-lapse photography used to show the grand scale of diversity and transformation our world performs day-to-day in breathtaking fashion. These majestic views pair beautifully with the entrancing tone of Sigourney Weaver’s voice who narrates the series with elegance. Discovery and the BBC orchestrated a fantastical perspective on planet Earth never before attempted by wildlife filmmakers. Their five year journey produces proof that sometimes storybooks are not the only place where fantasy lives.