Showing posts with label aaron sorkin. Show all posts
Showing posts with label aaron sorkin. Show all posts

Studio 60 on the Sunset Strip - The Complete Series (2006) Review

Studio 60 on the Sunset Strip - The Complete Series (2006)
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On the one hand, it didn't crackle the same way Sports Night or The West Wing did, and plot inconsistencies and occasional heavy handedness revealed a show that never fully trusted its truth. Still, I can't shake the feeling that Studio 60 is a link in an evolution toward a new, more complicated, more interesting television. NBC should have given it more time to find itself. Doing that would have benefitted the network, the audience, maybe even the society (that's a lot of pressure!)
Imperfections included, Studio 60 made me laugh, it made me cry, it literally made me cheer, and it did what Aaron Sorkin's work always does: celebrate the human condition (instead of tearing it down, as many shows do.) Like other Sorkin series, Studio 60 focused on people of good will doing their best to support each other and create something of value. I inevitably felt cleansed when I watched it, and I didn't clear the episodes from my DVR until the DVD was in my mailbox.
As for the DVD, I wish there had been more extras on it than the Pilot commentary, and a mini-documntary made early in the season. It would have been fascinating to hear Mr. Sorkin and his partner Tommy Schlamme have an honest discussion of the strengths and weaknesses, successes and demise of this show. What can be learned from the path Studio 60 traveled?
I hope Mr. Sorkin keeps on evolving, and keeps on writing television, plays and films (and books, too), 'cause his dialogue excites my mind, and his work fills my soul.

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What goes on behind the scenes of a nationwide late-night comedy sketch show? Aaron Sorkin, creator of The West Wing, answers that question with a must-see show within a show filled with engaging characters, ear-grabbing dialogue and a Hollywood hive of insider buzz. Matthew Perry and Bradley Whitford portray the likable hotshots brought in to revive NBS-TV's sagging flagship comedy series and Amanda Peet plays their savvy boss in episodes exploring the lives and loves of and the make-or-break creative pressures on the show's staff. Panic. Chaos. Fear. Sleep deprivation. Just make sure it's funny by Friday. Because that's when a nation tunes in to Studio 60 on the Sunset Strip.DVD Features:Audio CommentaryDocumentary


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The West Wing: The Complete Seventh Season (2005) Review

The West Wing: The Complete Seventh Season (2005)
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It wouuld be difficult for me to truly describe the wonderful shock that is The West Wing's final season. I, like so many, had given up on The West Wing when Aaron Sorkin left, wished the show cancelled during its atrocious 5th season, and, honestly, found the show an irritating fantasy during the Sorkin-helmed 4th season anyway. Something astonishing happens during "The Ticket," the season's first episode - you feel, in its incredible pacing, structure, and emotional understatement - that Aaron Sorkin has not only returned but has regained all of his abilities as a writer. That he is not at all involved with the show means that writers like Eli Attie and Deborah Cahn have finally gotten their work as writers to both revive the lightning-quick trademarks of The West Wing while also justifying the often-unswallowable plot maneuvers of its previous two seasons. It occurred to me during "Message of the Week," a nimble and thrilling episode, that campaign-trail politics had never been so accurately represented, if they'd truly ever been attempted at all. That means The West Wing had found a reason to exist again, and that sense invigorated all the stories it surrounded - the White House's "leak" story, or the regional conflict between Kazhakstan and China. And, in a winning surprise, it also revived its still extraordinary cast - Bradley Whitford especially turns the stress of campaigning into a frayed study of stress and exhaustion, and with Janeane Garofalo at his side, he finds a sparring partner of incredible energy. The two's chemistry makes the workplace seem as vital a beast as this White House ever seemed in its prime.

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The seventh season of the West Wing chronicles the transition between the administration of President Josiah 'Jed' Bartlet and the race for the new presidency between Congressman Mathew Vincente Santos of Houston, Texas and Senator Arnold Vinick of California. The season includes the live episode of "The Debate" and ends with a new administration in the West Wing.

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The West Wing: The Complete Second Season (2000) Review

The West Wing: The Complete Second Season (2000)
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I think that in many cases, the second season of a TV show is its best season. Why is TV so often completely opposite from sophomore efforts in music and movies? From my own observations it's because in the second season of a TV show, the actors have gained a comfortable grasp on how to portray the deeper parts of their character. At the same time, the show still has the freshness of a new show, the same rich texture that won it a debut to begin with; the writers are still developing plots that don't feel stale, so the show hasn't lost that "new car smell". Of course there are exceptions: shows that run out of steam soon after they start, and shows that just seem to keep getting better even after the second season.
I don't know if The West Wing's second season is its best, but it definitely includes some of the best episodes. Great writing, great acting, great sets and music, all come together to form what has become my favorite TV show ever.
Season Two includes these episodes:
In The Shadow of Two Gunmen (Part 1)
In The Shadow of Two Gunmen (Part 2)
The Midterms
In This White House
And It's Surely To Their Credit
The Lame Duck Congress
The Portland Trip
Shibboleth
Galileo
Noël
The Leadership Breakfast
The Drop In
Bartlet's Third State of the Union
The War at Home
Ellie
Somebody's Going to Emergency, Somebody's Going to Jail
The Stackhouse Filibuster
17 People
Bad Moon Rising
The Fall's Gonna Kill You
18th and Potomac
Two Cathedrals
(You can look up an episode guide if you want a quick summary of the plots; I didn't want to spoil any surprises here.)
I doubt Warner will include the special episode "Isaac and Ishmael" in this set. This episode was written after the 9/11 attacks, and aired a week before the start of Season Three; thus, if it is included with a regular season, it will probably be the third.

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It's never politics as usual inside this Oval Office. The President and his staff have been targeted for disruption by rival politicians, soon after being targeted by would-be assassins. Yet the determined colleagues continue to serve the U.S. and its President as the administration heads through midterm elections and into a crisis that leads to allegations of criminal conduct. The West Wing's second season won the Best Drama Series Emmy and Golden Globe Awards.DVD Features:Audio CommentaryDeleted ScenesFeaturette


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The Social Network (Two-Disc Collector's Edition) (2010) Review

The Social Network (Two-Disc Collector's Edition)  (2010)
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Director David Fincher is back in fighting form! Those fearing he may have lost some of his bite with the ponderous "The Curious Case of Benjamin Button" or the disappointing returns of the criminally overlooked "Zodiac" need not worry. "The Social Network" is a caustically funny and incredibly contemporary look at the evolution of Facebook. Playing like a thriller and a blisteringly dark comedy, this terrific film may be Fincher's most sophisticated piece to date (and certainly his most riveting since the days of "Seven" and "Fight Club"). On paper, "The Social Network" might not sound exhilarating but with the perfect screenwriter (Aaron Sorkin) and the perfect cast (Jesse Eisenberg, Andrew Garfield, Justin Timberlake, and Armie Hammer)--Fincher's tale of betrayal, pride, and avarice has become one of this year's must see films.
While I'm sure that everyone knows the subject matter of "The Social Network"--very briefly, the film's plot construction is structured as two pieces of litigation are being brought against Facebook founder Mark Zuckerberg (played with intensity by Eisenberg). One lawsuit is from his former business partner and best friend--a co-founder of the original website who got systematically squeezed out. The other is by a trio of Harvard grads (Armie Hammer plays 2 of the 3, they're twins, in a starmaking performance!) who claim Zuckerberg stole the idea from them after he was hired to create an exclusive dating site. Seen through these concurrent cases, deftly edited with flashback footage, the full picture starts to unravel. From Zuckerberg's social ineptitude, but superior intellect, a social revolution was born. And the more powerful Facebook grew, the more disconnected Zuckerberg became to his only friends and compelled by the drive for domination (his ultimate sense of acceptance).
Make no mistake, while "The Social Network" is incredibly smart and literate, it is also grandly entertaining. Screenwriter Sorkin (creator of "The West Wing" and my favorite "Sports Night") has put together what, in my opinion, is the best screenplay of the year. Sorkin is known for his whip fast dialogue and it is spot-on here! The movie is corrosively witty and uncompromisingly in your face. The film is cast with thoroughly unlikable types in a battle for supremacy. Eisenberg has never been better--no doubt Zuckerberg is a tool (both before and after his success), but Eisenberg makes you understand why and (I'm startled to say) actually appreciate it. Timberlake (as oily Napster creator Sean Parker) is a fantastically appealing devil-in-disguise, but as much as you may dislike him--he was integral to Facebook going wide. Hammer, as I said, is the film's biggest surprise. And Andrew Garfield, as Zuckerberg's betrayed partner, is vivid and alive--and, dare I say, the only character to elicit actual sympathy. But again, the film is merciless--even though we know that Garfield is screwed, we also know that it was an essential part of the successful expansion of Facebook. Business ethics be darned.
"The Social Network" is grown-up entertainment that has much to say about success in the modern era. I appreciated that no one veered away from the heart of darkness in this morality piece--that's what makes everything seem so relevant. Can someone be both repugnant and admirable? If you told me earlier in the year that a film about computer geeks at a keyboard would be edge-of-your-seat entertainment, I wouldn't have believed it. But here, I go. For sheer entertainment, remarkable performances, and an incredibly sophisticated screenplay--"The Social Network" is easily one of my favorite films of the year! Easily. KGHarris, 10/10.

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Studio: Sony Pictures Home EntRelease Date: 01/11/2011Run time: 120 minutes

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The Social Network (Two-Disc Collector's Edition) (2010) Review

The Social Network (Two-Disc Collector's Edition) (2010)
Average Reviews:

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Director David Fincher is back in fighting form! Those fearing he may have lost some of his bite with the ponderous "The Curious Case of Benjamin Button" or the disappointing returns of the criminally overlooked "Zodiac" need not worry. "The Social Network" is a caustically funny and incredibly contemporary look at the evolution of Facebook. Playing like a thriller and a blisteringly dark comedy, this terrific film may be Fincher's most sophisticated piece to date (and certainly his most riveting since the days of "Seven" and "Fight Club"). On paper, "The Social Network" might not sound exhilarating but with the perfect screenwriter (Aaron Sorkin) and the perfect cast (Jesse Eisenberg, Andrew Garfield, Justin Timberlake, and Armie Hammer)--Fincher's tale of betrayal, pride, and avarice has become one of this year's must see films.
While I'm sure that everyone knows the subject matter of "The Social Network"--very briefly, the film's plot construction is structured as two pieces of litigation are being brought against Facebook founder Mark Zuckerberg (played with intensity by Eisenberg). One lawsuit is from his former business partner and best friend--a co-founder of the original website who got systematically squeezed out. The other is by a trio of Harvard grads (Armie Hammer plays 2 of the 3, they're twins, in a starmaking performance!) who claim Zuckerberg stole the idea from them after he was hired to create an exclusive dating site. Seen through these concurrent cases, deftly edited with flashback footage, the full picture starts to unravel. From Zuckerberg's social ineptitude, but superior intellect, a social revolution was born. And the more powerful Facebook grew, the more disconnected Zuckerberg became to his only friends and compelled by the drive for domination (his ultimate sense of acceptance).
Make no mistake, while "The Social Network" is incredibly smart and literate, it is also grandly entertaining. Screenwriter Sorkin (creator of "The West Wing" and my favorite "Sports Night") has put together what, in my opinion, is the best screenplay of the year. Sorkin is known for his whip fast dialogue and it is spot-on here! The movie is corrosively witty and uncompromisingly in your face. The film is cast with thoroughly unlikable types in a battle for supremacy. Eisenberg has never been better--no doubt Zuckerberg is a tool (both before and after his success), but Eisenberg makes you understand why and (I'm startled to say) actually appreciate it. Timberlake (as oily Napster creator Sean Parker) is a fantastically appealing devil-in-disguise, but as much as you may dislike him--he was integral to Facebook going wide. Hammer, as I said, is the film's biggest surprise. And Andrew Garfield, as Zuckerberg's betrayed partner, is vivid and alive--and, dare I say, the only character to elicit actual sympathy. But again, the film is merciless--even though we know that Garfield is screwed, we also know that it was an essential part of the successful expansion of Facebook. Business ethics be darned.
"The Social Network" is grown-up entertainment that has much to say about success in the modern era. I appreciated that no one veered away from the heart of darkness in this morality piece--that's what makes everything seem so relevant. Can someone be both repugnant and admirable? If you told me earlier in the year that a film about computer geeks at a keyboard would be edge-of-your-seat entertainment, I wouldn't have believed it. But here, I go. For sheer entertainment, remarkable performances, and an incredibly sophisticated screenplay--"The Social Network" is easily one of my favorite films of the year! Easily. KGHarris, 10/10.

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A STORY ABOUT THE FOUNDERS OF THE SOCIAL-NETWORKING WEBSITE, FACEBOOK.

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A Few Good Men (Special Edition) (1992) Review

A Few Good Men (Special Edition) (1992)
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How much critical thought can the military allow its rank and file? Certainly most orders must be followed unquestioningly; otherwise ultimately the entire Armed Services would collapse. But where do you draw the line? Does it matter how well soldiers know not only their military but also their civic duties? Does it matter whether trials against members of the military are handled by way of court-martials, or before a country's ordinary courts?
I first saw "A Few Good Men" as an in-flight movie, and after the first couple of scenes I thought that for once they'd really picked the right kind of flick: A bit cliched (yet another idle, unengaged lawyer being dragged into vigorously pursuing a case against his will), but good actors, a good director and a promising storyline.
Then the movie cut from the introductory scenes in Washington, D.C. to Guantanamo Bay, Cuba, and Jack Nicholson (Colonel Nathan Jessup) inquired: "Who the f**k is PFC William T. Santiago?"
And suddenly I was all eyes and ears.
Director Rob Reiner and Nicholson's costars describe on the movie's DVD how from the first time Nicholson spoke this (his very first) line in rehearsal he had everybody's attention; and the overall bar for a good performance immediately rose to new heights. Based on my own reaction, I believe them sight unseen. Or actually, not really "unseen," as the result of Nicholson's influence is there for everybody to watch: Never mind that he doesn't actually have all that much screen time, his intensity as an actor and the personality of his character, Colonel Jessup, dominate this movie more than anything else; far beyond the now-famous final showdown with Tom Cruise's Lieutenant Kaffee. Nobody could have brought more power to the role of Jessup than Nicholson, no other actor made him a more complex figure, and nobody delivered his final monologue so as to force you to think about the issues he (and this film) addresses; and that despite all the movie's cliches: The reluctant lawyer turning out a courtroom genius (as lead counsel in a murder trial, barely a year out of law school and without *any* prior trial experience, no less), the son fighting to rid himself of a deceased superstar-father's overbearing shadow, and the "redneck" background of the victim's superior officer Lieutenant Kendrick (Kiefer Sutherland, who nevertheless milks the role for all it's worth).
Screenwriter Aaron Sorkin, who adapted his own play, reportedly based the story's premise - the attempted cover-up of a death resulting from an illegal pseudo-disciplinary action - on a real-life case that his sister, a lawyer, had come across in the JAG Corps. (Although even if I take his assertion at face value that assigning the matter to a junior lawyer without trial experience was part of the cover-up, I still don't believe the real case continued the way it does here. But be that as it may.) Worse, the victim is a marine serving at "Gitmo," the U.S. Naval Base at Guantanamo Bay, where *any* kind of tension assumes an entirely different dimension than in virtually any other location. In come Lt. Daniel Kaffee (Tom Cruise) and co-counsels Lt. Sam Weinberg (Kevin Pollack) and Lt.Cmdr. JoAnne Galloway (Demi Moore), assigned to defend the two marines held responsible for Santiago's death; L.Cpl. Harold Dawson (Wolfgang Bodison) and PFC Louden Downey (James Marshall), who claim to have acted on Kendrick's orders to subject Santiago to a "code red," an act of humiliating peer-punishment, after Santiago had gone outside the chain of command to rat on a fellow marine (none other than Dawson), attempting to obtain a transfer out of "Gitmo." But while Kendrick sternly denies having given any such order and prosecuting attorney Captain Ross (Kevin Bacon) is ready to have the defendants' entire company swear that Kendrick actually ordered them to leave Santiago alone, Kaffee and Co. believe their clients' story - which ultimately leads them to Jessup himself, as it is unthinkable that the event should have occurred without his knowledge or even specific direction.
By the time of this movie's production, Tom Cruise had made the part of the shallow youngster suddenly propelled into manhood one of his trademark characters (see, e.g., "The Color of Money," "Top Gun" and "Rain Man"); nevertheless, his considerable skill (mostly) elevates Kaffee's part above cardboard level. Demi Moore gives one of her strongest-ever performances as Commander Galloway, who would love to be lead counsel herself in accordance with her rank's entitlements, but overcomes her disappointment to push Kaffee to a top-notch performance instead. Kevin Pollack's, Kevin Bacon's and J.T. Walsh's (Jessup's deputy Lt.Col. Markinson's) performances are straight-laced enough to easily be overlooked, but they're fine throughout and absolutely crucial foils for Kaffee, Galloway and Jessup; and so, vis-a-vis Dawson, is James Marshall's shy, scared Downey, who is clearly in way over his head. The movie's greatest surprise, however, is Wolfgang Bodison, who, although otherwise involved with the production, had never acted before being drafted by Rob Reiner solely on the basis of his physical appearance, which matched Dawson's better than any established actor's; and who gives a stunning performance as the young Lance Corporal who will rather be convicted of murder than take an unhonorable plea bargain, yet comes to understand his actions' full complexity upon hearing the jury's verdict.
"Unit - corps - God - country" is the code of honor according to which, Dawson tells Kaffee, the marines at "Gitmo" live their lives; and Colonel Jessup declares that under his command orders are followed "or people die," and words like "honor," "code" and "loyalty" to him are the backbone of a life spent defending freedom. Proud words for sure: But for the "code red," but for the trespass over that invisible line between a legal and an immoral, illegal order they might well be justified. That line, however, exists, and is drawn even in a non-public court-martial. I'd like to believe that insofar at least, this movie gets it completely right.
Also recommended:
Basic
Rules of Engagement
The Firm
The Border
Guantanamo: 'Honor Bound to Defend Freedom'
The Caine Mutiny (Collector's Edition)

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FEW GOOD MEN - SPECIAL EDITION - DVD Movie

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