Disc Type

"NYPD BLUE wishes to dedicate its season to the memory of the New York City police and firefighters who sacrificed their lives on September 11th, 2001. Their heroism will never be forgotten, and we extend our deepest sympathies to their families and loved ones." 

As NYPD Blue entered its ninth season, there were tragic circumstances both on the screen and in real life. On the show Andy's former partner Danny Sorenson ends up dead, and in the real world New York City experiences the devastating events of 9/11. Both are addressed as the season opens.

When you see the name Kiefer Sutherland and Jon Cassar together, you might well expect that you're going to get another helping of the popular television series 24. There Sutherland made a pretty big name for himself in the television landscape as the gritty and "get it done" cop Jack Bauer. In the director's chair for a good many of those episodes was Jon Cassar, who also shared executive producer duties on the long-running show. But you won't find the ticking-clock-modern world of Jack Bauer here. Instead you'll find a thoughtful western that actually avoids a lot of the genre-typical violence and delivers one of the better westerns I've seen in many years.

Keanu Reeves is a guy who I don’t think anyone would be crazy enough to say is a “great actor”, but instead he’s a guy who has been in some pretty great films.  For me he’s an actor I grew up with from his days doing the Bill and Ted movies and Point Break. (Seriously, how dare they attempt to remake that gem?)  Between Speed and The Matrix, those are the two movies I’ve held onto for so long as his career took a more interesting turn; that is until John Wick came along and blew my mind with all the insane coolness that was up on the screen.  Finally it seemed I was on track to getting the Keanu Reeves that I grew up watching.  I know, so what’s the point of all this?  Well, until now, none of the Reeves films that I’ve liked could I really say it was because of his performance, and Exposed is finally the film he’s needed where he can show he’s more than just a brooding action star.

In season 1, The Royals showed us that depravity and royalty went hand in hand. This time around, it’s all about anarchy in the monarchy. When we last looked in on the ruling family of Britain, King Simon was assassinated, and within seconds of his death, his opportunistic brother literally pried the royal seal off his fingers. I mean, his body wasn’t even cold yet, and there is Cyrus grave-robbing.  Liam had the opportunity to walk away from the all the pressures of being the heir apparent and be with the girl of his dreams, but chose duty and familial obligations (yeah, because that always ends well). Helena’s reputation was in ruins; however, there was light at the end of the tunnel after a powerful interview. Finally, Eleanor discovered that her older brother, like her father, was assassinated. Needless to say, their entire world turned upside down. I was excited to see what came next.

The name Quentin Tarantino carries the weight of legacy as such directors as Alfred Hitchcock, Steven Spielberg, and more recently Christopher Nolan.  I’m not saying one is better than the other, but simply by name recognition alone Tarantino is in the company of directors that when you hear that his name is attached there will be a loyal fan base flocking to the theaters to see what they have to dazzle us with.  This time around Tarantino returns to the cinema in his biggest release to date; in glorious 70mm we have The Hateful Eight

It was as if all the pieces of the puzzle were falling into place since what was being discussed here was a matter of creating something unique: a cuisine based exclusively on raw Nordic ingredients.”

That pull quote, which appears at the start of Noma: My Perfect Storm, accidentally serves as a microcosm for the film as a whole. The excitement that builds at the prospect of witnessing something special quickly gives way to a chilly, undercooked experience.

I don’t find House of Lies funny. In fairness, I don’t think it’s supposed to be funny, or it’s trying to be funny in the most cynical and unpalatable way possible. It’s a half-hour format airing on Showtime, which would normally suggest a sitcom. It’s not a sitcom, but a brash dramedy. Our main characters all have MBA’s but frequently act like teenagers on drugs. They are smart enough to analyze things brilliantly but are so corrupt that they will do the absolutely worst thing possible if it satisfies their personal interests. House of Lies should not be confused with House of Cards, which also features high-level leaders with horrendous morals. It seems to promote undiluted self-interest at all costs.

"From the chaos of the New York City streets rises a legion of visionary gangsters. Vicious killers and criminal geniuses determined to create their own version of the American Dream."

If you are looking for an actual documentary on the evolution of the mafia and famous Five Families of New York, this is absolutely a bad place to start. I'm a bit uneasy with AMC's use of the word documentary next to drama on this series. It pretty much follows the book The Last Testament Of Lucky Luciano by Martin A. Gosch and Richard Hammer.

For over 15 years the CSI franchise has been a solid stable of programming for the Eye Network. The original show blasted through all initial expectations and lasted for 15 years. CSI: Miami went on for a decade, and CSI: New York for a little over five years. Now the original has bowed out of the game, and after 30 years of seasons, the franchise's future hangs with newcomer CSI: Cyber. All dynasties eventually come to an end. Some pass quietly in the night. Others do so quite horribly. After watching the short 13 episode run of CSI: Cyber, I'm afraid it's the latter path for a once-brilliant franchise.

"A long time ago in a galaxy far far away..."

It sure does seem like it was a long time ago since Star Wars was actually very good. It doesn't matter if you thought Empire or Jedi was the last good film; few people that I've encountered mentioned the more recent trilogy in the same sacred breath as those original films. Star Wars gave us swashbuckler adventure in the spirit of the early serials. Then it was about a mythical epic story that swept a generation into its colorful universe. What George Lucas created in the late 1970's will never die. But before long it became more about the creator and less about engaging the fans. The attitude turned into "this is my franchise and I'll do whatever the heck I want to do with it."