In the US: Tuesdays, 10/9c, USA In the UK: Wednesdays, Netflix
The biggest problem with Shooter – USA’s adaptation of the 2007 movie of the same name, in which a retired marine (Ryan Phillipe) is falsely accused of an assassination and must find the true culprits to clear his name – is that it’s educational. Yes, educational.
I say problem because you’ll end up knowing an awful lot about guns after each episode. At some point in each hour, you’ll get an awful info dump from Phillipe about some new weapon or other (“the pistol grip on that shotgun reduces your control and may cause you to spray shot into her gut”) that’s both impressive and yet simultaneously a bit upsetting – like a neighbour who can tell you in forensic detail exactly what you did every single moment of the day in chronological order. Even when you thought you were alone. And were at work.
But like that neighbour who might otherwise be quiet, keep to himself and always mow his lawn, if you can overlook the one problem, you might get on well. Shooter, like its antecedent, is actually a pretty fine thriller.
While the first episode was more or less identical to the first 20 minutes or so of the movie, providing almost no surprises whatsoever, episode two was an intriguing “what if he’d turned right instead of left?” embellishment to the movie that still ended up at more or less the same point by the end, but which fed in a whole new bunch of parameters, allies, enemies and situations that made the whole thing just a little bit more realistic and expansive than the movie. It also made Phillipe’s wife (Shantel VanSanten from The Messengersand The Flash) a little more interesting and gave Cynthia Addai-Robinson something to do other than glower.
Episode three in turn is the beginning of Phillipe’s hunt for the bad guys and their hunt for him, and it dials the tension up several notches with some smart moves on everyone’s parts. It also added to the show’s already pleasantly conservative tone, giving us all manner of ‘brothers and sisters in arms’ moments that should make you swell with patriotism, even if you aren’t American.
Where the show falls down a bit, oddly enough, is its action scenes – or at least its fight scenes. Never has a marine been so incompetent at fighting. In a day and age when pretty much every action show has an ex-military advisor on hand, Phillipe appears to be at almost yellow-belt status in dealing with the enemy, barely able to muster a competent o-soto-goshi, let alone give us any proper marine corps martial arts.
If you like a decent thriller, with reasonably sensible plotting, a decent cast and decent characters, then Shooter‘s a good show to watch. If you love guns, you may even love it*. It’s just a shame nothing about Phillipe really says ‘top marine sniper’, particularly his fighting.
Barrometer rating: 2 Would it be better with a female lead? If it was Gina Carano, sure TMINE’s prediction: Will certainly last a season
*Although for all I know, it might be making it all up, in which case you won’t
It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them. There’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever.
Thanks to the Thanksgiving holidays in the US last week, lots of programmes were taking a slight breather and few new ones decided to stick their heads above the parapets. That means it’s been a quiet week for TMINE, with only Search Party (US: TBS) to deal with in the ‘new’ category and the regulars reduced to just Chance, DIrk Gently’s Holistic Detective Agency, The Flash, The Great Indoors, Lucifer, People of Earth, Supergirl, Timeless and Travelers – I’ll be dealing with them after the jump.
On the plus side, though, that did mean I could not only play catch-up with an Internet TV box-setted into our laps a little while ago, I could also watch a couple of movies.
Goliath (Amazon) ‘A legal thriller by David E Kelley! Whoopdy doo,’ I thought. Like most people, I immediately think of the likes of Ally McBeal, Boston Legal and Harry’s Lawwhen I hear Kelley’s name; unlike most people, I also think of his reasonably poor efforts with Wonder Woman, thedismal The Crazy Onesand the putrid Wedding Bells.
However, Kelley hasn’t always been king of fluffy backlash legal dramas. Back in the day, he created The Practice, a supposed antidote to the cutesy view of legal work perpetrated by LA Law; on said show, the story editor was one Jonathan Shapiro, a former Rhodes Scholar and professor of law.
Together, they’re responsible for Goliath, a legal drama that stars Billy Bob Thornton as a former top lawyer who’s fallen on hard times. Then Nina Arianda (Hannibal) turns up needing Thornton’s help with a case involving the supposed suicide of an engineer who worked for a major arms manufacturer. Before you know it, Thornton’s David is taking on the Goliath that is his old legal firm, which includes ex-best friend William Hurt, ex-wife Maria Bello (Prime Suspect) and newby lawyer Olivia Thirby (Dredd 3D), and the might of the US defence industry.
Mostly, this is a show that owes a lot more to Shapiro than Kelley tonally, being about legal clevery dickery and shady big name clients in the same way that Suits was when it started. Shapiro’s legal knowledge really shines here and Goliath goes through all manner of things you’ve probably never seen in a legal drama before (“complex cases”, using the rules of contempt to get evidence admitted, etc). It’s also quite dark, with bodies being found in car boots, witnesses being run over, police abuse and more.
But Kelley’s name isn’t on the sign simply to drum up trade. There’s a definite air of Kelleyisms to Goliath around the edges, ranging from some actual jokes through the daft names the lawyers at Hurt’s firm call each other (“The Mole”, “The Mouse”), Hurt’s facial scarring and his use of a clicker to communicate when he wants to be annoying, Thornton almost representing the forces of the un-PC against the PC tyranny of the Goliath-like enemy (Thirby has a stammer and uses the American Disability Discrimination Act to counter Thornton’s tricks; Bello is gay and has a girlfriend who also works at her law firm), to some distinctly dodgy attitudes towards women and some ethical issues to be considered, such as revenge porn and whether lawyers should break privilege to report wrongdoing by their clients. Arianda’s practice even feels a lot like the one in Harry’s Law.
Goliath is still a lot better than I was expecting, probably being the second-best original Amazon drama after The Man In The High Castle that I’ve seen. It’s also a lot tenser – I’m six episodes through the eight episode run and each episode has managed to ratchet up the claustrophobia as Thornton’s got closer to the truth and increasing danger. I’ll probably watch the final two episodes tomorrow, in fact.
But it’s still got enough Kelley daftness, is slow-moving enough and fails to make you care enough for the characters that I can’t really recommend it. If you like John Grisham-style legal dramas, though, this is certainly worth a look-in.
Frequency (200) Since the TV adaptation is currently airing on The CW/Netflix and I’d never seen the original, I thought I’d give it a whirl just to compare and contrast, especially since it’s currently free on Amazon Prime. At its heart, like the TV series, Frequency is about a father and his grown-up child cop managing to communicate by radio over several decades and using information about the future to change the past – again, to prevent the father’s imminent death and to subsequently stop the change in history that is the mother being murdered by a nurse-hating serial killer.
Starring a whole bunch of people now famous from other TV shows (Jim Caviezel, Shawn Doyle, Elizabeth Mitchell, Andre Braugher, Noah Emmerich), it’s pretty much the same as the first season of Frequency so far, but with a few interesting changes, such as the dad (Dennis Quaid here) being a fireman not a cop and there being a 30-year time difference, not a 20-year difference. It’s a lovely idea and the film has an emotional depth that a lot of sci-fi movies lack, but I think I actually prefer the TV version, since the longer running time gives that a chance to explore a whole bunch of issues that the movie has to leave to montage moments at best, and the gender-swap to a daughter evens out the original’s not inconsiderable sidelining of women.
Still, given it was set in 1999 (nearly 20 years ago now, guys), it’s almost like watching time travel anyway, with its reference to Yahoo! as a good stock option.
Finding Dory (2016) The tear-jerking Pixar delight, Finding Nemo, saw a widower father searching the world for his partially disabled son, following the latter’s kidnapping. The twist? They were fish.
Here, in this sequel, their mentally challenged best friend Dory (Ellen Degeneres) comes to the fore as she remembers she had a family back in the day and despite her inability to form short-term memories, goes looking for her mother and father, Nemo and co in tow.
For about the first 10 minutes, this feels like a retread of the original but after that, Finding Dory sets its own path, introducing all-new characters and species that live in or near the marine park that Dory thinks her parents might be living in. It’s a lovely piece of work again, with some top moments of comedy and joy, but it never quite hits the emotional highs (or lows) of the original and the final act starts to descend into the silly. Admittedly, it is a movie about talking fish so silly is relative, I guess.
Something both parents and kids can enjoy, but not quite an absolute classic.