Why I Loved NBC's "The Sound of Music Live!" And Why I'm Sick Of Internet Snark

Stop trying to make this the hate-watching event of the year. I'm not having it.

I'm going to make this quick. I think it was an extremely brave move for NBC to even consider going through with this idea – as the announcer proclaimed, something like this hasn't been done in over 50 years – but not only did they go through with it, they executed it with enough panache and technical grace to actually pull it off! The Sound of Music is a very touchy property to handle. The film version is beloved by millions, many probably reference it as their favorite movie of all time, and the stage production is equally adored albeit not as widely known. Getting fans on board for a new adaptation is hard, having that adaptation feature a country superstar and the lead from HBO's True Blood in the starring roles is even harder. Personally, I found the three-hour telecast to be pretty delightful. Was it perfect? No. Were all the performances groundbreaking? No. But did NBC just dedicate an entire evening of broadcast to a wholesome, classic, family musical featuring a country singer, TV star and other genre-bending performers? You bet they did, and it made for one cozy, feel good night of television.

In what world did anyone expect to see Carrie Underwood take on the role of Maria Rainer? I bet I could count on maybe three fingers any other popular musical artists who would be brave enough to do what Ms. Underwood accomplished last night. Yes, she wasn't perfect. Her vocals far outweighed her dramatic (or lack thereof) performance. But the fact of the matter is, NBC needed a star to headline this thing and I can't think of a better moment of "stunt casting." What mattered most was her genuine enthusiasm for the project was front and center and very evident throughout the night. Who is anyone to rain on the parade of someone who was courageous enough to step into a role all the while knowing she would probably receive nothing but hate and snark? My hat is off to Ms. Underwood. 

Stephen Moyer as Captain Von Trapp was stronger in the acting department, for obvious reasons, and was rather impressive vocally as well. Though his performance was hindered a tad when forced to play the dramatic scenes across from Underwood. Filling out the cast was the flawless Audra McDonald as Mother Abbess, who commanded attention and blew minds with "Climb Every Mountain." Seriously, that was some serious television magic. Christian Borle (Smash) and Laura Benanti (Gypsy) as Max and Baroness Elsa Schraeder, respectively, brought a showbiz confidence to their roles, allowing viewers to take a breath amongst the near constant fear that something was about to go horribly wrong. This was LIVE television, after-all. But surprisingly, nothing technical really did go wrong. It was a tad dark at times, and yes, I'll agree that HD cameras and TVs certainly strip a layer of cinematic grandeur away from the product but it was still a mighty impressive feat of television production.  It was exciting, risky and bold but also warm and friendly. It was evident that a lot of love and care went into it, which I admired. Broadcast TV has felt so manufactured and distanced lately, it's great to see something that takes you back to a simpler time, when enjoying something was acceptable.

Which sadly brings me to this confession: I'm so tired of internet snark, Twitter being the main offender in this case. Look, I'm guilty of a fun hate-watch every now and again but I try to only sink to that level when it's really appropriate – or at least when I think it's appropriate. To me, why would anyone feel the need to "live snark" this special? Like I said above, it was an insanely daring move for a network to make and it was refreshing and different. What do you get out of spending three hours watching something, just to rip apart every. single. detail.? I think it's safe to assume that everyone who was tweeting up a hate-watching storm last night – often without a shred of knowledge of musical theater or television production – are the same people who continuously claim to be "bored" with broadcast networks and Hollywood for not taking risks. Well look here, THIS was a risk! And look, you're still complaining! Honestly, these people must be exhausting to know in real life. Can anyone just be happy with something anymore? My bad, positivity and happiness probably doesn't lead to any new Twitter followers. 

On the flip-side, words can't describe my elation when I woke up this morning to see the mega ratings this thing brought in for NBC. Throughout its three-hour telecast, The Sound of Music Live! averaged 18.6 million viewers and a 4.6 rating in the key demo. I'm thrilled for so many reasons, one being that (like I said) this was a big risk that actually paid off for its network. This success shows other networks that risks should be taken because – if done in the right way – could definitely pay off. The Wrap broke down the ratings utilizing previous television milestones  and it's pretty spectacular.

I really hope NBC makes this an annual tradition – and given those ratings – I feel like our chances are very good that they will. Next year, I hope everyone can take a breath, put down their phones and simply enjoy it. Enjoy it with their family, friends, or by themselves, it doesn't really matter. The Sound of Music Live! reminded me that the latest tweet, status update or email isn't as important as celebrating a time when a great story and a little music was all you needed to bring people together to celebrate one of their favorite things.

UPDATED: On January 19, 2014, NBC announced they will produce another live-action musical in December '14 in the form of Peter Pan. Yaaaassss.

MOVIE REVIEW: "The Hunger Games: Catching Fire" -- Released: November 22, 2013

The sequel to last year's wildly successful The Hunger Games is here and it's superior to its predecessor in almost every single way.

I'm of two minds when it comes to The Hunger Games, the first movie, not the series as a whole. On one hand, I enjoyed it as a faithful adaptation of Suzanne Collins' novel but as a standalone film, I don't think it was as successful as it could have been. The expansive world of the novel felt very small on screen, the production design and costuming felt cheap and the ill-advised use of shakycam by director Gary Ross simply served as a way to avoid showing things that the production couldn't afford to produce. But even though it wasn't perfect, the movie was a smash hit expanding the awareness and fan-base of the series far beyond the "young adults" that first stumbled upon it in 2008. I was cautiously optimistic leading up to the release of the sequel, Catching Fire. At this point, the series was the major cog in Lionsgate's franchise wheel and there were several trials and tribulations on its expedited road to the big screen. Namely, Gary Ross' exit from the franchise and the addition of Francis Lawrence (I Am Legend) as a new director. Would all the behind-the-scenes issues and rushed production lead to another ho-hum adaptation?

Within its first fifteen minutes, Catching Fire proves its superiority to The Hunger Games. The opening scenes have a new, strong confidence about them, making it hard to not be immediately swept off your feet – the epic first shot of Katniss (Jennifer Lawrence), lush, expansive landscapes (that were never really featured in the first film), and an immediate sense of its larger world and the story it's telling. Picking up months after the events of the previous installment, Catching Fire finds Katniss haunted and enraged over her memories of the first games and torn between the two men in her life – Peeta (Josh Hutcherson), her co-victor from District 12, and her longtime friend Gale (Liam Hemsworth) – more than ever before. President Snow (Donald Sutherland, yep, still terrifying) is still none-to-pleased with the way Katniss and Peeta outsmarted the gamemakers in the 74th annual games and is keeping an eagle-eye on Panem blaming every moment of rebellion in any district on Katniss.  He pays Katniss a visit at Victors' Village, where Katniss and Peeta now reside, and warns her that during their Victory Tour, a sort of celebrity press tour all victors take after they win, she better keep up appearances as a gracious winner who is loyal to the capitol and hopelessly in love with Peeta or else deathly consequences await.

The first hour of the film is flat-out fantastic. Every scene tingles with dramatic, high-stakes politics layered within a much more engrossingly executed love triangle. Katniss and Peeta are forced to tour the districts as a happy couple, kissing and waving to the increasingly frustrated and angry districts all while the Capitol, namely President Snow, watch on sniffing out any hints of an uprising inevitably on its way. When visiting District 11, the district of Katniss' fallen friend, Rue, one of the residents whistles the iconic "Mockingjay Song" and raises his three fingers as a sign in support of Katniss and District 12. The crowd follows suit prompting the Peacekeepers to attack and execute the rebel on site. What I love about these early scenes is the insane amounts of tension and stakes the film is able to pull off – all while revealing even Katniss and Peeta are unaware of just how impactful their decision in the last games was to the districts of Panem. Katniss Everdeen is a sign of hope for the repressed districts thus morphing her into the Capitols most dangerous political target. It must be noted that Jennifer Lawrence and Josh Hutcherson both turn in improved performances here. Lawrence is at her finest when she's sticking it to President Snow and Hutcherson has an edgy, cooler confidence making Peeta more fun to be around this time. Predictably excellent are Woody Harrelson and Elizabeth Banks as Haymitch and Effie, respectively. Harrelson playing drunker yet wiser than ever before and Banks thriving in even more outlandish costumes while also getting a chance to show a deeper side to Effie.

After much chaos and confusion amongst the tour, President Snow announces a twist in the 75th Hunger Games, or the third Quarter Quell. The contestants will be reaped from the existing pool of victors. Katniss and Peeta return to the Capitol representing District 12. It's here when Catching Fire resembles the first film's structure the most. Only this time, the film has more grace and wit about itself. It flows better and moves quicker. Stanley Tucci is back as the insane, master of ceremonies Ceasar Flickerman, hosting what's now probably one of the most iconic laughs in the history of film. It's apparent Tucci's having even more of a blast this time around. New to the series is Philip Seymour Hoffman as the new head Gamemaker Plutarch Heavensbee. Hoffman is a wonderful addition and delivers his lines with a glimmer of mystique and mystery never letting the audience know exactly what game he is playing. This being a sequel, we also get to spend some more time with the other victors prior to the arena, which helps add stakes to more characters besides Katniss and Peeta. The two most anticipated by diehard fans are the two everyone will remember leaving the theatre: Sam Claflin as Finnick Odair and Jena Malone as Johanna Mason. Claflin is endearingly cocky but strong and intelligent. Mason's Johanna adds a much needed dose of comic relief while also having a few standout moments of unhinged rebellion herself.

In The Hunger Games, the "arena" felt like a section in the backwoods of North Carolina the producers had rented for a few weeks. In Catching Fire, the arena is far more complex and interesting to look at. The production moved filming to Hawaii to capture the new tropical, lush arena and it pays off big time. Lawrence stages the action in a more coherent and exciting manner than Ross was able to pull off. There's also less cutaways to the gamemaker control room, which I thought was often times laughable in the first film. A deadly fog, screaming jabberyjays, an angry group of monkeys and more also aid in increasing the stakes higher than before. Not to mention, the entire 50 minute "game sequence" was shot in IMAX and it looks pretty damn impressive. 

The one thing the film just can't quite execute is sadly one of the more integral moments – the ending. As someone who has read the books, I knew what was coming and I understand that this is the middle chapter so it's not really an ending as much as it is an ellipsis. Still, I do think they could have executed the "twist" with more panache than they did. It left me kind of miffed since everything that came before seemed to have come so effortlessly. It felt rushed and didn't have the impact I thought was necessary to leave the audience breathlessly wanting more. Not to mention, I didn't LOVE the slow, fire-burning logo to cap it off, either. A simple title-screen would have been just fine. 

Taking this all under account, perhaps Catching Fire's biggest success is that it understands that this time around, the games and the victors aren't the real story. Where the first film peaked interest with its outlandish premise, Catching Fire grasps at the deeper roots of Katniss Everdeen's story. The story of a girl who takes a stand against something she feels is wrong, not for fame or for fortune, but because she thinks it's right. Unfortunately, with her decision the fame and fortune come anyway and Panem's perception and reaction to her can change at the drop of a hat or at the whistle of four simple notes. Every revolution begins with a spark and to Katniss Everdeen, The Hunger Games have become just that, games. Early in the film, President Snow whispers to Katniss "How would you like to be in a real war?" Katniss responds quickly with a stern "no." By the end of Catching Fire, Katniss has rebellion in her eyes and an uprising to ignite and leaves the audience with a determined glare confirming President Snow will rue the day he ever challenged "the girl on fire." 

GRADE: A-

THE HUNGER GAMES: CATCHING FIRE

Directed By: Francis Lawrence

PG-13, 146 minutes

Additional Note: The Hunger Games: Mockingjay will be split into two parts. Part 1 will be released on November 21, 2014 and Part 2 on November 20, 2015. I *really* wish they weren't splitting it into two movies (the book is only 390 pages) but with this creative team, I think they just might be able to pull it off.

PARAMORE: "The Self-Titled Tour" - Anaheim, CA - 10.19.13

On Saturday night I finally got to see Paramore, one of my favorite bands, in concert at the Honda Center in Anaheim, CA. They were on their "Self-Titled Tour" in support of their 4th studio album, the self-titled Paramore, hence the name of the tour. As a fairly passionate fan, I've kept up with the trials and tribulations of the group throughout the past few years. The Farro brothers' exit and the ensuing chaos and pressure it placed upon the remaining pillars of Paramore: Hayley Williams, Taylor York and Jeremy Davis. The three handled the drama with appropriate delicacy and focused instead on the future of their music. With Paramore, it clearly showed. The album debuted at #1 on the Billboard charts and garnered near critical acclaim upon its release. The next step, their first headlining arena tour. Saturday night's show didn't fill the Honda Center to capacity, probably to be expected with it being their first full-size arena tour and all, but even though every seat wasn't filled, the passion within that room was greater than anything I've felt at most sold out concerts. The show had everything you'd expect from a massive scale production – flashing lights, huge video screens, lasers,  confetti cannons - but it also had something that I think many concerts don't – heart.

For their nearly two-hour set, Paramore owned the stage. The second the billowing black curtain dropped revealing the silhouettes of Hayley, Taylor and Jeremy against the band's emblem – a symbol meant  to represent the three members of the band and the fans and family around them – the crowd roared. What's funny is that the roar didn't really stop throughout the entire show. It stayed constant. The sheer energy in the room was really something. It was the type of concert where not a single person would dare sit down. The type of concert where everyone is there because they WANT to be there. Not a show at the Hollywood Bowl that's basically just a scene to be apart of for 50% of the crowd. Everyone is there to experience a moment with other people who share a similar passion for the band.  From the first notes of "Grow Up," the opening song and the one of the central themes of Paramore, the audience was in it, together. It's a pretty weird feeling to feel connected to thousands of people at a single moment and it's pretty weird to write about it right now, but what can I say, it happened.

The show moved very quickly with a near breathless pace that left me wondering how the hell they pull this off night after night. In the early goings, one song crashed into another as they hit all the major highlights, "That's What You Get," "Decode," "Now," "crushcrushcrush," etc. "Ain't It Fun," one of highlights of Paramore, was a total showstopper – the sheer funk and soul of the song was on full display and it hit a new level when the original gospel choir, that recorded on the album, joined in on the fun. It raged on for nearly ten minutes and lit the Honda Center on fire. Another insane moment happened when Hayley had a fan come up on stage and sing the final verse of "Misery Business" with her. Suffice to say, it was awesome.

The band eventually slowed things down. Hayley addressed the crowd and blamed "the band catching up on Breaking Bad" as the reason for their 3-year absence from Anaheim. In that moment, my love grew even deeper for her, which I didn't think was possible. Of course, the crowd knew the real reason for the band's absence, but that didn't matter to them. Hayley introduced "Last Hope" with a heartfelt comment that touched upon that very reason. "We wrote this next song while inspired by that moment in life where you aren't sure where your next step is going to be, or if you can even survive it, but if you hold onto that glimmer of hope or 'spark,' you'll push through the fog and see the future that awaits." It was a raw moment that silenced the crowd and one that resonated with a lot of people, in severely different ways, I'm sure. For how loud it had been, the silence meant even more.

I had recently read an interview with the band where they detailed how their shows are different. It's not just a concert for their fans, but a time to express to their fans how much they mean to them and how they are basically one big family that support each other. I believe Hayley said most people come away surprised to see how emotional the experience is. After experiencing it for myself, I totally agree. For how big the production design was, it never felt empty or soulless. It was filled with passion and I've never quite experienced anything like it. A crowd of thousands united by a sound, a lyric, a note. I think the night meant a lot of different things to different people but it was evident that everyone leaving got what they wanted. I certainly did.

source: http://little-paramonster.tumblr.com 

Paramore's "The Self-Titled Tour" continues through the remainder of 2013, including a date at Madison Square Garden. Click HERE for tickets. 

TV REVIEW: "American Horror Story: Coven" -- Premiered: October 9, 2013

"There are no shadows, not anymore..."

FX's anthology series returns with a b-witching hour that I'm sure thrilled its fans and left the uninitiated with a serious case of whiplash. Also, Jessica Lange said "Twitter" unlike anything I've ever heard.

Let's get something out of the way, I love American Horror Story. I've loved it since its twisted, wild premiere back in October 2011. It would have to do a lot of things wrong for me to object to whatever batshit insanity Ryan Murphy and Brad Falchuk, the creators, are feeding me. I get that a lot of people don't like it, and it's certainly not for everyone, but when the show clicks, there is quite honestly, nothing like it on TV. Wednesday's premiere, Coven, the show's third season, had everything AHS fans have come to love about the series. Historically (accurate?) flashbacks, over-the-top characters with insane personalities and a hint of  emotional depth to be dealt with later, and balls-to-the-wall filmmaking that features more tricks and treats than Halloween. Suffice to say, I'm glad it's back.

Set in New Orleans in the 19th and 21st centuries, Coven begins with arguably American Horror Story's most horrifying sequence to-date. It's 1834 and Madame LaLaurie (Kathy Bates) is hosting a dinner party of sorts. Unbeknownst to her guests, in the attic of her home, LaLaurie hosts a different kind of party – a prison full of tortured slaves. Imprisoned for punishment or sadistic pleasure, she uses the blood from their wounds (and other things) as a face-mask to better preserve her youth. Oh, and did I mention she makes an actual minotaur out of one of the them? It's disgusting and disturbing and just when you think you can't take the horrific imagery any longer, the opening credits roll. Not like it matters, Coven's opening credits are just as creepy as the show itself, complete with the instantly iconic AHS theme song. The graphics change every season but the music stays the same, albeit with some slight alterations. It's grown to be such an integral part of the show, Ryan Murphy revealed the credit sequence two weeks prior to Wednesday's premiere.

From there, we flash-forward to present day where things don't get any less weird. Zoe (Taissa Farmiga) is gettin' funky with her boyfriend and just as things start to heat up, boom, the boyfriend starts convulsing, blood bleeding and bursting from his eyes and nose. And... dead. She kills him while having sex. Weird. She must be a witch. That's basically how quick things move and it's something the AHS audience has come to expect. Spare us the set-up, let's get to the goods. In lieu of further conversation with her mother detailing the history of witchcraft in their family, we're treated to a brief expositional monologue while Zoe travels, by train, to The Big Easy. The train ride immediately calls to mind Harry Potter and Farmiga's dry delivery while riffing on the history of witchcraft in her family feels very reminiscent of Twilight. The proceedings give the opening minutes of the premiere a much younger feel than the first and second season but things mature as the hour progresses. Upon arriving in New Orleans, Zoe lands at the front gate of Miss Robicheaux's Academy for Exceptional Young Ladies, a school for witches in training, and Zoe's new home.

Upon entering the mansion, Zoe meets Nan (Jamie Brewer), Queenie (Gabourey Sidibe), and Madison Montgomery (Emma Roberts). Zoe recognizes Madison from her days as a young Hollywood starlet, ya know, before becoming a witch. The three of them don't exactly but what can you expect when you force three young witches, all with different powers, to live together. The headmistress of the academy, Cordelia Foxx (Sarah Paulson [yay!]), formally welcomes Zoe and explains the origins of the school along with the some necessary mythology AHS has concocted for Coven.  Going forward, it appears the most important concept is the idea of "The Supreme" witch, a once in a generation all-powerful witch who possesses all witch-ly powers and in turn is the most feared amongst the society.

Enter the current reigning supreme, and Coredelia's mother, Fiona Goode (Jessica Lange), who after a brief visit with a special doctor in Los Angeles, returns to New Orleans after hearing of a recent modern-day witch being burned at the stake. She was in L.A. seeking the latest and greatest medicine to restore her youth – to no success. You see, the one power Fiona doesn't have is the power of never-ending youth. It's obvious Cordelia and Fiona do NOT get along and there's a hint at a very rocky past between them. Another big riff they both disagree on is how Miss Robicheaux's should be run. Fiona thinks the girls shouldn't hide who they are, that they need to fight for their witch rights, while Cordelia thinks that keeping quiet and living anonymously amongst the population is the best course of action. Lange and Paulson are incredible in their first scene of the season together. Their relationship, so full of contempt and misery is the first sign of the sadness that often surrounds the characters within the American Horror Story universe. On the outside, it's a fantastic bitch fight, but when Coredlia says bluntly to Fiona, "When are you gonna die already?" it strikes a different chord with the audience, and it's kind of heartbreaking. Cordelia neglects Fiona's advances as she declares "a storm is coming..." and that these witches can't hide in the shadows as there are no shadows anymore hint at a big through-line of the season. Is anyone safe from public scrutiny and can secrets even be kept in a society that has risen to value being constantly connected at all times? Are our shadows gone, too? It should also be noted that Jessica Lange's line delivery of "Twitter" in this scene breathed new life into me. It was incredible. Iconic. 

Outside of the premiere's cold open, the other equally disturbing scene arrives when Madison and Zoe, who Madison has deemed her new best friend, attend a frat party at a nearby college campus. It's here where Zoe meets one of the frat boys, Peter (Evan Peters), and they instantly take a liking to one and other. They are given a pretty dramatic introduction where they gaze upon each other through an ice sculpture. It's a fancy frat party, okay?! It's fun seeing Taissa Farmiga and Evan Peters back on screen together since their love story was one of the biggest stories of American Horror Story's premiere season. Sadly, the swooning doesn't last long. Madison ends up getting drugged and raped by a group of frat bros, excluding Kyle, who don't take a liking to her attitude. It's horrifying to say the least. The scene is shot intensely without getting overly graphic and it doesn't need to. The idea and quick cuts alone are enough to make your stomach turn. This after all, is an American horror that is all too real for many people. Kyle walks in the group and is disgusted. He grabs his boys and they all sprint out of the house to their bus. Madison stays  on the bed, defeated. Once Zoe finds her, she slowly rises in rage. Does she think she let this happen to herself? She was defenseless after all. The thing is, now she's not defenseless, she's a witch, rising from the ashes. The two leave the house and run towards the fraternity bus careening down the street. With a flick of her wrist, Madison sends the bus tumbling, flipping down the street. It's a violent crash that all but confirms the entire bus has come to a tragic end. For the audience, it's kind of awesome. It's one of several moments where Coven plays off an extremely serious moment with a wink and maybe a bit of a laugh. Your results may vary, but I happen to love these kinds of moments. They don't always land but when they do, it's glorious. Yes, rape is an incredibly serious issue that needs to be handled with care, but allowing the victim to fight back and feel empowered is something else entirely and something I think Coven will deal with a lot this season. An exploration of feminism and what can happen when a person takes control of their own decisions and the future in front of them. 

There is a LOT of other stuff that happens throughout "Bitchcraft," the title of the premiere. More history is quite literally "dug up" in a fantastic final twist to end the hour. I won't spoil it here but let's just say, the characters of New Orleans in the 19th and 21st century might not be too far removed from each other after all. The season premiere hints at a lot of things to be explored: the attempt to gain power, the lengths you will go to attain it, and what happens when you do. Additionally, the importance of youth in our culture, the supposed "evils" of growing old, the effects of oppression throughout American history, and finally how long someone can be beat down before losing it all in rage and perhaps, dropping a house on someone? That's a lot of stuff. But what I find so fascinating about American Horror Story is how these themes slowly reveal themselves and their impact through the season while you're too busy focusing on its insanely impressive cast or its arresting images. The show puts a lot of emphasis on the slickness of its presentation, and its production value is one of the highest on television, but it all means nothing if the show isn't saying anything grander than what it's presenting. Luckily, in this case, I think the smoke and mirrors will clear and reveal that Coven has a lot to say. 

GRADE: A-

Stray observations: 

• Jessica Lange had so many epic one-liners it was impossible to keep track throughout the episode. She commands attention and the writing for Fiona is flat out fantastic. "The world isn't going to miss a bunch of assholes in Ed Hardy t-shirts" "You were being a little witch-bitch..."
• I loved Fiona's quick reference to her visit to Los Angeles. "It's tragic, the glamour's gone, they put a shopping mall on Sunset and Vine." Jessica Lange has such an amazing way of evoking rich history in her delivery. Also, props to Ryan Murphy & Brad Falchuk who penned the episode.
• I didn't mention Angela Bassett or Frances Conroy's characters here as they have a very brief introduction in the premiere. To put it simply, they are dressed in the most insane outfits and they are probably going to be bad ass.
• Based off the premiere, Coven is definitely much lighter than last year. I loved Asylum but boy was it tough to sit through at times, though I do think Coven will grow darker as the season progresses.

TV REVIEW: "Masters of Sex" -- Premiered: September 29, 2013

"This study is the scandal..."

Showtime's Masters of Sex premiered last Sunday. Sadly, its premiere was kind of overshadowed by another acclaimed cable drama series that ended its five season run on the same night. You may have heard of it. I don't know, bitch! But I'm not here to write about that. I'm here to write about this amazingly new, brave, fresh, and quite frankly, astonishing new drama series that just knocked my socks off.

Michael Sheen stars as Dr. William Masters, an ob-gyn at the Washington University in St. Louis, who is rather driven in his study of the underlying meaning and physiology of what sex means to those who experience it and the culture surrounding it. From the early goings it's evident that Masters is a brilliant, progressive man who doesn't take no for an answer. He is the master of his domain in the workplace but his relationship with his wife, Libby, suffers for it. Of course, Libby and Masters are attempting to have a child so if there was ever a time he needs to be present with his wife, it's now. What's striking is that Masters is full of life, passion, and energy in the workplace but in his moments at home with his wife, including an incredibly awkward sex scene, he transforms into a lifeless, nervous being incapable of feelings. After the aforementioned sex scene, featuring all the awkwardness of a middle school dance, Dr. Masters' wife looks up to him as he goes to return to his own bed (yes, they have seperate beds) and asks, "What do you see when you look at me?" He responds simply with "love." It's a heartbreaking moment. It appears he's genuine with his response, but in that moment, "love" is just a word and not something he feels. It's almost as if he thinks that's what he's supposed to say in that moment, so he does. Sheen is so perfectly calculated in his performance that after the pilot alone, he will hands down be in the running for an Emmy award next year. He's THAT good and something tells me we haven't even skimmed the surface of Dr. Masters or Sheen's performance.

Of course, with Dr. Masters embarking on this journey, he is in need of an assistant! Enter Virginia Johnson, a perfectly cast Lizzy Caplan, a former jazz singer turned secretary. Masters takes a special interest in her, casually observing her interactions in the hospital's administration unit as he makes his way in and out of the office. Eventually, one day he corners her into "interviewing" for the new role as his assistant. In this case, "assistant" means business partner in the industry of the ins and outs of the female orgasm and all the sexy details that go along with it. She impresses him with her witty and honest commentary throughout the interview. At one moment, Masters asks her bluntly "Why would a woman fake an orgasm." She responds "to get back to whatever else she wants to do be doing." It's fantastic scene work by both Sheen and Caplan. Their chemistry crackles with the aid of the expertly written screenplay by Michelle Ashford. I giggled, yes GIGGLED with delight while the two shared the screen. It's a serious show about very serious, scientific, and political matters but it doesn't forget to have fun along the way.

The pilot breezes by quite quickly. It's beautiful to look at and every scene is engaging. After all, these are rather normal people at the outset of an extraordinary adventure of discovery. There are many wheels in motion but at the center of it all is Masters. A terribly broken man full of sadness but also full of drive and passion for his work and his belief. It is with Virginia, or Ginny for short, that Masters first smiles in the episode. It's beaming and genuinely happy. In turn, it's horribly depressing. What's preventing him from smiling at home, with his loving wife? The final scene is also probably one of the most mind-bending cliffhangers I've seen and yet it simply comes about during a conversation between Masters and Virginia, in a dark office while Masters is completing paperwork. Basically, Masters thinks that to keep their results as accurate as possible, the two of them should have sex, for science. Virginia is caught of guard, as she should be. Masters clearly looks at the act of sex as a piece of science while Virginia, like the rest of the world, is still in the thinking that sex is an extremely intimate act performed for love, fun and everything in-between. It's a tense scene and Virginia leaves Masters' office suggesting she will need time to think about it over the weekend. Masters obliges and returns to his paperwork. Once the door is closed and Virginia is gone, he stops writing and rubs his face in what appears to be frustration. Perhaps, this has all moved far too quickly. Perhaps, he is starting to realize there might be more to sex than he thought.

GRADE: A

Stray observations:

• I didn't mention Margo Martindale above. She was fantastically funny as Masters' secretary who isn't quite ready to venture into the journey of sex with him. She reminded me how much I miss The Americans on FX. Come back, The Americans!
• I also didn't delve into the subplot of Virginia and Dr. Ethan Haas at all. A lot of juicy stuff but it was all kind of predictable. 
• Wow, there is a lot of nudity in this show. I mean I was expecting it, but just, wow.
• I am predicting an epic title credits sequence to start in Episode 2. We shall see.

TV REVIEW: "Marvel's Agents of S.H.I.E.L.D." -- Premiered: September 24, 2013

Well, it's here, whether we needed it or not.

Marvel's Agents of S.H.I.E.L.D. is hands down the most anticipated and closely guarded pilot of the new fall season. It's also hands down the pilot with the most obnoxious and ridiculously crafted title, too. I love Marvel and I love superhero movies but I was never fully onboard with this idea. Even with the auspices attached, I couldn't bring myself to believe this show was going to be any more than a rote procedural with enough references to popular things to make it interesting. Come to find out, I think that's exactly what S.H.I.E.L.D. is and is going to be.

The opening of tonight's pilot, after a weirdly written intro, which of course shamelessly uses footage from The Avengers to make it feel more appropriately epic, is supposedly set in Eastern Los Angeles. If by Eastern Los Angeles, they mean the most stark (no pun intended), and half set-dressed backlot available for use in LA then they are correct. The scene feels empty and anemic, hardly the setting you want to hit your audience, who have come to expect $250 million dollar production value, with right out of the gate. The scene introduces the us to its first "superhero," or the first person in the series who is on his way to realizing he might want to be or has the potential to be a superhero. There's an explosion and he scales a wall and it looks OK. Look, I understand that this is a TV show and there are limits, you can't knock a show too much for it's audacity and courage, but this is the pilot, the very first thing you are showing your audience, you shouldn't have any "oh, that could have looked better" moments. Leave those for the episodes that will surely come later down the line.

After the brief prologue, we cut back to S.H.I.E.L.D. business and the re-introduction of Clark Gregg's Special Agent Coulson. Of course, he died in The Avengers and his return here is no surprise, thanks to the nature of needing the star of a TV show to promote said show, and also ABC's relentless marketing campaign. Sadly, fans hoping for some incredible reasoning as to WHY he is alive and well will be disappointed, as the logistics of it all are kind of tossed in a "we'll talk about it later" basket. I happen to love Clark Gregg and Agent Coulson. He's a nerdy, average looking bad ass that I think a lot of Marvel fans relate to. Oh god, that sounded so sad. Whatever, it's true. His introduction is handled with a perfectly calculated Joss Whedon-y scene – two characters are talking and the time for a dramatic entrance arrives so Coulson steps from the shadows between them: "Sorry," he explains. "That corner was really dark and I couldn't help myself." Good stuff.

One of my main concerns is how this pilot works for someone who isn't knowledgable about anything related to the Marvel universe. For instance, I spoke with my Mom on the phone this morning and she mentioned the show. So yes, ABC has done their job making people AWARE that this thing exists, but I can't imagine her understanding any of this nonsense if she decided to tune in. Yeah, they try and explain stuff. S.H.I.E.L.D.'s mission is to survey the population for superheroes, supervillains, and monsters and decide if they are a threat to humanity or if they could use them for the greater good. I'm sure eventually someone corrupt will invade S.H.I.E.L.D. and want to use them for evil but I'll give them a few episodes before those shenanigans begin. "We're the line between the world and the much weirder world," Coulson explains. When you boil it down, it's actually pretty simple, but I imagine the non-initiated to be a tad confused by the end of the hour. I'm sure this question is one of the biggest things plaguing ABC and Marvel and I'm positive it has been brought up in many an executive meeting. If Agents of S.H.I.E.L.D. is too broad, it will turn off the Marvel-obsessed fanboy contingent and if it's too detailed it will turn away the majority of the wide-audience and become a cult-"hit" with 4 million weekly viewers by February.

Most of tonight's premiere is exposition and scene-setting and character introduction. Sadly, mostly everyone fades into the surroundings a little too much. Outside of Coulson, the S.H.I.E.L.D. crew is just your generic group of nerdy, BUT ATTRACTIVE, misfits who talk in exposition A LOT. They have accents and are basically just story engines at this point. We do get to learn a bit more about a hacker (Chloe Bennet) who joins the agency in the pilot and is the only one to assert some spunk and sass into the proceedings. I'm sure we will get to know more about them as things develop but for now I wasn't particularly invested in any of their stories or who they are outside of S.H.I.E.L.D.

After tonight's premiere, I'm mixed on where I end up with my overall opinion. I didn't really like the show I just watched. It was kind boring and kind of forced but there were also a few moments that ignited a little bit of a spark. A spark that leads me to think the show might find a way to be more than your average procedural with popular references. Within the Marvel universe, the possiblities are pretty endless and the show can have a lot of fun blowing some minds with clever correlations between S.H.I.E.L.D. and the expansive Marvel timeline. For our sake, I hope it does! I hope they find a way to make it work and have it be more exciting than the pilot was. But based on these initial 45 minutes, it looks like all this fanfare might just become a bridge to close the gap between the release of the next Marvel blockbuster. I mean, you did see that 2-minute trailer for Thor: The Dark World in one of the ad breaks, right?

GRADE: C  (for #CoulsonLives and ya know, being average.)

Stray observations:

• Typing out Marvel's Agents of S.H.I.E.L.D. is a level of torture I never thought existed. Seriously, the worst.
• I think the show is going to do HUGE business in the ratings tomorrow morning. Like, probably one of the biggest premieres in recent history. I also think that the situation will be very different in a few months. This could easily be the next Revolution.
• Can you name another show that is premiering on ABC this fall? Nope? Me neither.
• How weird was it when the ABC promo guy said "You don't want to miss the end of every episode!" Umm, okay? I'll miss the first half then?

How "The Killing" Returned From Being Cancelled And Blew My (Our) Minds

The addition of Peter Sarsgaard and a gripping, emotionally-devastating central mystery has revived the series in a way no one expected, including me.

I remember when I first watched the pilot for The Killing. It was a dreary, dark Monday afternoon, one day after the show premiered. I hit play as the rain hit the windows of my apartment relentlessly and I was mesmerized. The pilot oozed with fantastic performances, a shocking mystery, and beautiful cinematography that captured rainy Seattle at its darkest and emptiest moments. The season followed the mystery of "Who Killed Rosie Larson?," which also happened to be the tagline on the key art for the show's first season. The early episodes were insanely strong but as the season progressed, a shift in public and critical opinion quickly leaned towards frustration. Red herrings were frequent and the show spent a good amount of time following dead end trails that ended up being just a bunch of filler. Then, the season finale came and instead of solving the season's mystery the show left the audience with a cliffhanger that didn't only NOT solve the case but opened up a whole other can of worms with a twist that left us pondering the motives behind one the main characters. Fans were livid and an epic backlash was ignited, mainly on Twitter, because that's where backlashes happen these days. Loyal viewers vowed never to return to the show and expressed deep disgust for show creator, Veena Sud, who appeared to have permanently placed herself on some sort of showrunner blacklist. Surprisingly, I wasn't upset. I thought the first season was strong albeit not perfect, but I wasn't against spending more time in the world of the Rose Larson mystery like most were.

Season 2 came and the backlash showed its strength. Ratings dropped and general interest in the show had decreased significantly but I held onto the hope that the writers knew what they were doing. Season 2 had its moments and I found the ending to be generally satisfying but by the end of the season it was clear The Killing would need a massive overhaul to climb out of the hole it had gotten itself in. On July 27, 2012, AMC announced it would not be renewing the show for a third season. It was a move that came as quite a shock to some but was completely expected by others. I however, was pretty upset. The show was still averaging a healthy-ish number in the ratings and the cancelation felt more decided upon the public and critical backlash as opposed to the fact the show was no longer benefiting the network financially. The show that supposedly "lied to their audience" was gone for good. There was some mild discussion over AMC's decision but then everyone kind of moved on.

In January, out of nowhere, AMC announced the show would be returning for a third season. In a complicated, Hollywood deal, Fox Television Studios and Netflix worked with AMC to help lower the cost to produce the show and aided in making the return a possibility. Also returning was show creator, Veena Sud who released a statement that the third season would be a much improved The Killing and she promised to close the case by the finale. People shrugged their shoulders.

The series returned from the dead on June 2, 2013. The advertising was heavy on the fact that the season would focus on a brand new case, a move surely made to help restore goodwill towards viewers who had turned their backs on the series long ago. Mireille Enos and Joel Kinnaman returned as Sarah Linden and Stephen Holder respectively, and in an interesting casting move, Peter Sarsgaard signed on for season-long arc in what everyone assumed would be the "big bad" of the season.

After the two-hour premiere, I was kind of miffed. Was that just The Killing?! The new season bursted out of the gate, not with the limping self-pity most expected, but with an electric new storyline and a renewed energy that was sorely missing from the show's second season. The central plot focused on a serial killer picking off street kids one at a time, and Ray Seward (Sarsgaard), a man Linden put away sometime for the murder of his wife, who's now on death-row.

The show felt alive again. Enos and Kinnaman returned strong as ever. Seriously, the bond these two characters have is incredible to watch and the scenes of them sparring back and forth are some of the most enjoyable on television. They feel so lived in, nothing artificial. In the premiere, we are introduced to young Bex Taylor-Klaus as a smart, brave, yet terrified homeless kid, Bullet. Her closest street friend disappears in the first episode which drives the action going forward. Taylor-Klaus is a revelation. She plays Bullet with a fierce cockiness that walks a fine line between endearing and annoying. As the case deepens, Bullet and Holder form a special bond, a bond that Bullet fights at first but succumbs to eventually because deep down she know she needs him. Her only true friend has disappeared and the girl she has a crush on, and would do anything for, has fallen in "love" with another homeless kid with selfish ambitions that Bullet sees right through. She's alone, and so is Holder. The pair's relationship, and the performances by Kinnaman and Taylor-Klaus are magnetic. Seriously.

In the previous two seasons, characters were added to distract and stall time from the central mystery. In season three, Holder and Linden are surrounded by a strong cast of suspects and supporting players that all add to the story and don't detract from it. The gritty underworld of Seattle is explored in fascinating realism. It's a subject many choose to ignore or admit exists but the show handles the subject with grace and panache while simultaneously revealing just how desperate of a situation it is for these kids.  One scene set in a homeless shelter focuses on the nightly "bed lottery," which assigns available beds for the night to those in need. Those leftover are told sorry and excused back to the streets. Rather heartbreaking, right?

While the serial killer of street kids was the central focus this season, the side mystery was that of Ray Seward. Arguably, my favorite television character to come along in quite sometime. Ray enters death-row on account of the murder of his wife, a case Linden had a rather large hand in. Opposed to the lethal injection, Seward demands to be hung for his actions, making life difficult for his future executioners. Ray is a fascinating character played masterfully by Peter Sarsgaard. Throughout the season, you're never quite certain if this is a bad man guilty of his actions or an innocent man who is so defeated over how his life has turned out that he doesn't have the energy to fight it. His scenes, and Sarsgaard's performance, are filled with a darkly-grim wit that, despite the seriousness and misery of his situation, made for some wickedly entertaining moments.

This past Sunday, the penultimate episode of the season, "Six Minutes" aired. It was penned by Veena Sud and was one of the best episodes of television I've ever seen. SPOILERS AHEAD. Throughout the season, Linden uncovers a shift in evidence and realizes Ray Seward isn't the guilty man everyone thought he was. The claustrophobic episode focuses on Linden's last ditch effort to save Ray from his inevitable fate. To add tension to proceedings, the episode begins with an eerie fake out of the execution. After the executioners raise the  test dummy from gallows they pronounce, "twelve hours, the clock starts now..." It takes what easily could have become a meandering mess and provides the urgency the episode needs to feel real. Set entirely within the confines of the prison, "Six Minutes" was a showcase for the power of Sarsgaard and Eno's performances this season. Ray reminisces with fascinating stories of his past and Linden laughs and cries along with him as they both try to cope with what his future holds.

As the hour nears its conclusion, Ray's son who is now under adopted care has come to see him. The son is nervous and very confused of the entire situation and Ray is hesitant to see him at all. Linden talks to him and says he needs to have a proper goodbye to his son, for both of them to move on. When Ray decides this is the best decision, he nervously fidgets with his clothes, making sure his shirt is properly tucked in and is as presentable as possible. Then, the unthinkable happens – his time is up and the guards come to collect Ray just as his son is standing outside to see him. It's devastating  As he is whisked away, Linden screams repeatedly "look outside your windows, Ray!" As the prison guards drag Ray down the hall towards the noose, he resists, not out of protest but of genuine fear, they pause in front of a window where Linden is standing outside with his son. His son gives him a gentle wave that calms him, and gives him the strength to go on. It was incredibly moving and was the moment the episode cemented its place in my list of TV's  all-time greatest. In the end, Ray was hanged but not before spitting out this gem – the executioner calls for his last words, Ray responds: "Salisbury steak's not steak; it's ground beef. Now, let's get this show on the road, Warden." Genius. It made me smile, a lot. Seriously, Sarsgaard's performance was magnificent and in a better world he would be walking away with an Emmy this fall for supporting actor.

Tonight, The Killing airs its two-hour season finale and I really hope that it isn't its last. This season the show has delivered on all the promises it made back in April 2011. A complex, intriguing central mystery, supporting characters that actually support, don't detract, from the story and the continuing story of two fucked up detectives, who are still afraid to admit that they need each other as they navigate the endless despair in their personal and professional lives. It's not a happy show. It can make you feel pretty awful but as opposed to the first two seasons, where the misery seemed to be thrown in just because, this season it means more. The world has gone mad and these characters, specifically Linden and Holder, seek desperately for any possible way to do some good for society and the people who surround them. They stumble, they lose their way but in the end they are two people fighting against a justice and social system gone horribly awry It's these types of moments that give the world of the The Killing light. Even in its darkest times, even when the rain refuses to stop, there is hope.


The two-hour season finale of The Killing airs tonight at 9/8c on AMC.

MOVIE REVIEW: "Pacific Rim" -- Released: July 12, 2013

OH. MY. GOD. You know those people who don't see "the point" in seeing movies in theaters? Well, if you do, please take them to see Pacific Rim in IMAX 3D before it ends its run in a few weeks. Never has a film captured the "big screen" experience like this one. For two-full hours, it punches you in the face with an insane, awe-inspiring, jaw-dropping experiment in pulse-pounding action and I couldn't help but smile from ear-to-ear throughout the entire thing.

With Pacific Rim, Guillermo Del Toro (Pan's Labyrinth, Hellboy) has entered the world of the bona-fide blockbuster. Luckily, even with the additional budget at his disposal, his intricate attention to detail remains intact and is a constant reminder that amidst the relentless action, this is indeed a Del Toro production. The film glistens with special f/x glamour, not just during its epic robot on monster battles, but also adding incredible detail to the film's near-future, apocalyptic scenery.

Rim kicks off in a surprisingly whip-lash fashion. Foregoing a prolonged first act, it rips right into the meat of the piece. It's very evident Del Toro knows exactly what the audience came for and he refuses to pander to anyone's pre-concieved expectations. Look, it's the near future and an inter-dimensional shift in the Pacific ocean's floor has caused giant godzilla-like monsters (Kaijus) to be released from their depths waging war on Earth. In turn, our military force has commissioned the creation of giant robots (Jaegers) to fight them off and restore peace to our land. To operate these Jaegers, two pilots are paired together and "drift" into each other's minds to work together and operate these highly technical machines. That's basically it.

Beyond that, Del Toro keeps the plot machinations light. We're introduced to Raleigh (Charlie Hunnam), a mourning pilot who lost his brother in a past Kaiju vs. Jaeger battle. After his loss, Raleigh "retires" from the Jaeger missions and begins work at Pacific Rim's equivalent to a power plant. It isn't long before the Kaiju's attacks increase in frequency and intensity and Raleigh, known as one of the best fighters around, is asked to return to the force. After some initial hesitation, he's paired with Mako (Rinko Kikuchi), a newcomer to piloting Jaeger's, and who he feels a strong connection. The hierarchy of the force lies under the supervision of the commanding officer, Stacker (Idris Elba). Stacker is badass because Idris Elba is badass.

Charlie Hunnam & Rinko Kikuchi in Pacific Rim
Photo Courtesy:  Warner Bros. Pictures

This all might sound rather heavy and unnecessarily complicated for a monster movie, but Del Toro lets it all unfold quickly and without too much self-seriousness taking precedent.  The stakes are real, but he isn't afraid to find light bits of comedy throughout. Charlie Day, in particular, executes his usual Charlie Day-ness in an entertaining turn as a scientist who gets a little too close to a Kaiju. Whenever the film starts  to get a little too worn down in its "serious moments," Day pops back up and reminds us to laugh.

Movies don't get more "fanboy-ish" than this but Pacific Rim owns it in every sense of the phrase. It's one of the few times while seeing a film in IMAX that I felt the format's tagline of "an experience" actually meant something. Pacific Rim WAS an experience. The film surrounds you in its dark, murky, neon-hued world of monsters and robots, battling for the destruction or protection of Earth, crashing amongst the waves of the Pacific. It's an epic, epic movie that wears a geeky heart on its sleeve. While sitting in the theater, I felt like a young kid again, in awe of the magic I was seeing on the screen. Days after seeing the movie, I was still reenacting the action-figure "type" movements the pilots would execute while in battle. If that doesn't take you back to your childhood adventures, I'm not sure what will.

GRADE: A-

PACIFIC RIM
Directed By: Guillermo Del Toro 
PG-13, 132 minutes

MOVIE REVIEW: "The Way, Way Back" -- Released: July 5, 2013

The Perks of Being a Wallflower was one of my favorite films – if not my favorite – of 2012. A lot of people would be shocked to hear that and I think a good few would agree with me. I was in awe of the film's sense of time and place, its raw performances, and completely honest story of a young kid who wasn't sure who he ought to be in the world, until he found a group of friends who accepted him for what he was, a "wallflower," with a lot to offer. I found The Way, Way Back to be similar in a lot of ways to Perks, but for me, its story and characters weren't executed as gracefully or as honestly as the former. Still, it's an extremely refreshing summer film in a time where one is hard-pressed to find a movie playing sans a superhero or robot.

The film begins with Duncan (Liam James) sitting in "the way way back" of one of those old-school station wagons where you face backwards at the cars behind you. His mom (Toni Collette) is passed out in the front seat and her new boyfriend, Trent (Steve Carell), is passing the time by making uncomfortable small talk with a visibly annoyed Duncan. Trent asks Duncan to rank himself on a scale of one-to-10 in regards to his looks, personality, basically his whole "package." Duncan responds, after some annoyed hesitation,  with "a six," Trent scoffs and labels him "a three." It's brutal, uncomfortable, and kind of hilarious. This short scene encapsulates who Duncan is and who he's surrounded by – an awkward kid in his awkward stage with not a friend in site. Sadly, this scene is probably the most surprising of the entire film. 

The car ride ends at Trent's beach house where the new "family" plans to spend the summer. Pam (Collette) is visibly a little nervous over her leap of faith in spending the summer with her boyfriend and Duncan is practically miserable over the whole situation. As they settle in, Nat Faxon and Jim Rashs' screenplay settles into checking things off its pre-determined list of clichéd story elements.

Duncan mopes about the first few days, has a few embarrassing moments, gets kind-of upset at some things and when it all becomes too much to take, he escapes Trent's beach house and happens upon the local town's water park, Water Wizz. The water park is run by Owen (Sam Rockwell), a screwball general manager who cares more about retelling the "grand" history behind the park – it was built in 1983 and not a single thing has changed since – then actually carrying out manager-like duties. Owen takes a liking to young Duncan and it's rather easy to tell where it all goes from here – Duncan discovers himself amongst the friendships he builds in the fantastical world of Water Wizz. Here he learns who he is, where he belongs, and what kind of person he wants to be.

The scenes at Water Wizz sizzle with summer fun all led by Rockwell who turns in an award-worthy performance here. He lights the screen on fire with his wacky, over-the-top, and earnest portrayal of Owen. He's so good that the rest of the film suffers when he isn't on screen. Duncan looks up to Owen as the father figure he never quite had and Owen relishes the opportunity to take Duncan under his wing. These scenes also feature a colorful array of wonderful cameos including Faxon and Rash, with Rash being particularly hilarious in his usual brand of quirky comedy, additionally the always great Maya Rudolph gets in on the fun as Owen's love interest. It's here where the film's simplistic intentions work to the film's advantage and not against it.

Outside Water Wizz, the plot gets a tad bogged down in the machinations of everyone else's stories as it's obvious the writers really only care about getting back to the fun waiting at the water park. We're treated to some adult side-stories with ho-hum results that I won't really get into here. There is one scene featuring some fantastic domestic drama played out over a game of "Candy Land." It's the second time this summer I've seen great conflict arise from a children's board game. The first being scenes in The Kings of Summer, featuring angrier than normal games of "Monopoly."

Towards the end of the film, Owen and Duncan are standing on top of one of Water Wizz's tallest water slides and Owen tells of the great world of opportunities and adventure awaiting Duncan. In that moment, you can see a shade of regret in Owen's eyes. Maybe he was meant for more in life than owning a few acres of land with some water slides? Maybe Owen isn't as happy as he seems, maybe this simplistic life isn't everything he wanted. Then again, maybe it is.

This scene stuck with me the most as the credits rolled as I believe it spoke to what The Way, Way Back's central objective was – to remind its audience how hopeless and lonely childhood is/was, and how when you grow up, those problems don't just magically disappear. Happiness isn't something that just happens but it comes from what you make of yourself and who you surround yourself with. For Duncan, it took a summer spent working at a water park and meeting an unlikely friend who shed some light on this important lesson before it was too late.

GRADE: B

ADDITIONAL THOUGHT: Allison Janney was hilariously over-the-top throughout the entire movie and it was amazing.


THE WAY, WAY BACK
Directed By: Nat Faxon & Jim Rash
PG-13, 103 minutes