Television

The Hour (BBC)

by James McNally on January 29, 2012 · 0 comments

in DVD,Television

The Hour
Editor’s Note: The Hour will be released on DVD and Blu-ray in the US and Canada on February 7 by BBC America. You can help Toronto Screen Shots by buying from Amazon.ca or Amazon.com.

For my Canadian readers, I must begin by saying that obvi­ously this is not the CBC chat show with George Strombolopoulos. Instead, The Hour is a BBC series about the making of a tele­vi­sion news­magazine pro­gram in the 1950s. This prom­ises the art dir­ec­tion of Mad Men with the back­stage man­euv­ering and larger polit­ical intrigues of some­thing like Good Night and Good Luck. Starring a cast of British actors who will be largely unknown to North American audi­ences (Romola Garai, Dominic West, Ben Whishaw), the six hour-long epis­odes of this first season (or “series” as the English more accur­ately describe it) set up the cre­ation of a new pro­gram to deliver the news to the British public in the early days of television.

It’s 1956 and TV news is still being delivered like the news­reels shown in the cinema. Young BBC reporter Freddie Lyon (Ben Whishaw) and his best friend/crush Bel Lyons (Romola Garai), already bored of the way they’re presenting the news, apply for pos­i­tions on a new pro­gram, “The Hour.” But there is also a dark con­spiracy brewing, and by the end of the first episode, two people are dead, one of whom was a friend of Freddie’s. While he invest­ig­ates the murders, Bel is coping with her new pos­i­tion as pro­ducer as well as flirting with the hand­some anchorman Hector Madden (Dominic West). Whishaw has just the right amount of cyn­icism to play the underdog, and based on the first hour, I’m hopeful that the con­spiracy stuff will win out over soap opera melo­drama and romantic entanglements.

The series has been a suc­cess on British tele­vi­sion and has already been renewed for another six-episode series.

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Community: The Complete Second Season
Editor’s Note: Community: The Complete Second Season was released on DVD in the US and Canada on September 6 by Sony Pictures Television. You can help Toronto Screen Shots by buying from Amazon.ca or Amazon.com.

A few months ago, after much nag­ging by friends, I began watching Community on Netflix Canada. Since I have just fin­ished the first season, I was glad to know that the second season of this uncom­monly smart sitcom was coming to DVD just in time. The title is a ref­er­ence to “com­munity col­lege,” that second-class cit­izen of higher edu­ca­tion. In the first season, we were intro­duced to a ragtag group of char­ac­ters who meet at a Spanish study ses­sion and who quickly learn to put the “com­munity” into com­munity college.

The hook in the first season is that we’re fol­lowing Jeff Winger (Joel McHale), a former lawyer who has been dis­barred after it’s dis­covered that he faked his degree. He’s come to Greendale Community College in order to take the fastest (and easiest, he thinks) route back to a well-paying legal career. But we quickly learn that it’s the other char­ac­ters who are much more inter­esting. This is truly an ensemble cast, and there are no weak links at all. But for that reason, the show does take a few epis­odes to really start firing on all cyl­in­ders, as the audi­ence comes to know each character’s quirks. I’ve not yet watched the second season, but have been told that it’s better than the first, and that would be no sur­prise. With so many strong char­ac­ters, there are nearly end­less pos­sib­il­ities for funny storylines.

All I know is that I’m very much looking for­ward to sit­ting down with Jeff, Britta, Pierce, Abed, Troy, Annie, Shirley and Señor Chang as soon as pos­sible. In fact, if I can watch all of these today, I’ll be all caught up for the third season, which premi­eres tomorrow night on NBC.

Community: The Complete Second Season comes on four DVD discs and con­tains all 24 epis­odes. Special fea­tures include:

  • Commentary on every episode
  • “Creating Wonderland”
  • Abed’s Uncontrollable Christmas: Original Storyboard Animatic and In-Process Animatic
  • Season Two Cast Evaluations
  • DJ Steve Porter Remixes Season One
  • The Paintball Finale: From Script to Screen
  • Outtakes
  • Deleted Scenes

Episode guide for the entire series from Wikipedia

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Futurestates

Last year, I was very excited by the first “season” of FUTURESTATES, a series of shorts com­mis­sioned by the Independent Television Service (ITVS) to explore the fol­lowing ques­tion: ” What will become of America in five, 25, or even 50 years?” There was some very strong work in the first group of films, including Play (David Kaplan and Eric Zimmerman), Silver Sling (Tze Chun) and Plastic Bag (Ramin Bahrami).

Of the ten new films slated for the second season, six will premiere at this year’s SXSW Film Festival. And I can share that there are some even more powerful films in this batch. I was excited to see that Barry Jenkins, who dir­ected the unique Medicine for Melancholy (review) would be con­trib­uting a film, and his Remigration poignantly explores the themes of race, class, and urban renewal that he touched upon in his earlier fea­ture. Another dir­ector who uncovers some fas­cin­ating issues sur­rounding race is A. Sayeeda Clarke, whose White shows us a society in the grip of cli­mate change where black people are forced to trade their genetic advantage in order to take care of their fam­ilies. I also loved Kimi Takesue’s That Which Once Was which fea­tures a healing rela­tion­ship between an 8-year-old Caribbean boy and an Inuit ice sculptor, both dis­placed and trau­mat­ized by the chan­ging climate.

In addi­tion to high­lighting important issues con­fronting our planet, the best of these films are able to cap­ture beau­tiful images and intro­duce us to mem­or­able char­ac­ters facing issues our chil­dren and grand­chil­dren may yet face. And best of all, FUTURESTATES epis­odes are all avail­able (or soon will be) to watch in their entirety online, free of charge. Not only has the series proven edu­ca­tional on the envir­on­mental front, but I’ve actu­ally dis­covered some new film­makers, the rest of whose work I now want to discover.

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God in America

God in America (Directors: David Belton and Sarah Colt): America has always rep­res­ented a place where almost any­thing is pos­sible, where people can start over and from where new ideas, philo­sophies and move­ments emerge. This six-part series from PBS explores the ways in which reli­gious faith has flour­ished in the United States, even as it has been shaped by other powerful forces.

Beginning with the Spanish con­quista­dors’ con­tact with the Pueblo Indians of the American Southwest, it was clear that European mani­fest­a­tions of faith and reli­gious prac­tice could not con­tinue unchanged. When the Catholic priests began “con­verting” the Pueblos, they were under the impres­sion that the nat­ives had embraced Christianity’s exclusive mes­sage, and rejected their own pan­the­istic reli­gious ideas. This was not the case, and when the Spanish began ban­ning native reli­gious prac­tices and pun­ishing trans­gressors, it didn’t take long before the Pueblos res­isted. When 2,000 war­riors des­cended upon the Spanish in 1680, slaughtering half of the Catholic priests, the Europeans fled New Mexico. Their Old World reli­gion would not be able to sur­vive unchanged in the New World.

This is a fact that the Puritans who landed on the East Coast in 1630 were counting on. Escaping reli­gious per­se­cu­tion in Europe, they saw them­selves as God’s Chosen People and this new land as the Promised Land. The fact that there were already people living in it seemed to bother them as little as it did the Israelites before them. Fleeing a Europe they felt was mor­ally cor­rupt, they were eager to start over and create a new society, based on the bib­lical prin­ciples prom­ised by the Reformation but com­prom­ised by cen­turies of existing polit­ical and reli­gious struggles. But the non-conformist prin­ciple that was behind the Reformation quickly came into con­flict with the need for a dis­cip­lined and united com­munity trying to sur­vive in a hos­tile envir­on­ment. And it didn’t take long for new strains of belief to break out and for the ori­ginal com­munity to become as rigid and cal­ci­fied as the European Catholic hier­archy they had left behind.

Just in the first episode, the series sets up the paradox at the heart of America. If everyone is free to do his or her thing, how do you develop a coherent society? America provided the answer by devel­oping its own myth­o­logy. That shared myth is what binds Americans together now, not the Puritan Christianity that united the first set­tlers. It’s no sur­prise that the earliest reli­gious con­flicts, between the inter­i­ority of faith and belief, and the com­munal insti­tu­tions of reli­gion and politics, are still at the heart of American society today.

I am very much looking for­ward to watching the entire series, and even based on the first episode, can recom­mend this to anyone (not just Americans!) inter­ested in the way our per­sonal beliefs and values affect our com­munities and our society.

You can watch the whole series online or order the DVDs from the excel­lent web­site that PBS has cre­ated for the series. It also con­tains a wealth of back­ground inform­a­tion and sup­porting material, including some fas­cin­ating his­tor­ical documents.

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The Trip

by James McNally on September 12, 2010

in Film Festivals,Television,TIFF

The Trip

The Trip (Director: Michael Winterbottom): Hastily edited down from its ori­ginal form as a six-episode tele­vi­sion series made for the BBC, Michael Winterbottom’s latest col­lab­or­a­tion with Coogan and Brydon is a great show­case for their impro­visa­tional talent, but the plot feels tacked on and is ulti­mately unnecessary.

Last at TIFF together in 2005 with Tristram Shandy: A Cock and Bull Story, the trio clearly love working together. Winterbottom admitted that essen­tially all of the dia­logue was impro­vised. He had been looking for a way to work together with friends Coogan and Brydon and came up with the idea of them having a series of lunches together. So he cast Coogan as “Steve Coogan,” a slightly out­sized ver­sion of him­self who receives a magazine assign­ment to con­duct a culinary tour of the north of England, writing about his res­taurant exper­i­ences as he goes. When his American girl­friend sud­denly returns to the US for work and their rela­tion­ship goes on hiatus, he turns to Brydon to accom­pany him. Rob Brydon, whose career has never reached the starry heights of Coogan’s, has a cosy domestic life with his wife and new baby, and seems con­tent with his status as a mid-level celebrity. Coogan, who exper­i­enced early fame as TV chat host Alan Partridge, has been chasing the high of that suc­cess ever since. So as we get lovely shots of the coun­tryside, and the pair are acco­mod­ated in swanky inns, Coogan paces the moors trying to find a cell­phone signal so he can call his absent girl­friend or one of his agents. Brydon, mean­while, uses the hotel phone to crack wise and talk dirty with his beloved wife.

These bits are amusing, but Coogan and Brydon have been playing these ver­sions of them­selves as far back as 2002’s TV movie Cruise of the Gods, so it kind of gets tire­some quickly. Yes, yes, Coogan is more famous and lives a jet-set life. Brydon has everyman charm. The real enjoy­ment of The Trip is watching the two play off of each other during their con­ver­sa­tions. Their attempts to one-up each other are hys­ter­ical, espe­cially when it comes to doing impres­sions of everyone from Michael Caine to Woody Allen. And the subtle dynamics between them per­fectly cap­ture the uncer­tain­ties of male friend­ships, from the fear of being seen as a gay couple to under­es­tim­ating the value of each other’s friend­ship. Almost every moment between them is hil­arious, which in the end shows how strong their bond is, even when they’re uncom­fort­able sharing their feel­ings about each other.

All of which makes the plot even more super­fluous. Numerous shots of gourmet food and kit­chens and cooking add prac­tic­ally nothing to the film. The beau­tiful scenery of Yorkshire and the Lake District, while giving the film visual appeal on the big screen, con­tribute very little to the essence of the film. The ending, which con­sists of nothing more than cut­ting between Brydon’s domestic bliss and Coogan’s posh but empty life­style, was melo­drama piled on thick. There really was no need to attempt to make this any­thing other than the superb buddy comedy at its heart. The rest feels arti­fi­cially tacked on and is ulti­mately distracting.

Here is the Q&A with dir­ector Michael Winterbottom and stars Steve Coogan and Rob Brydon from after the screening.

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Duration: 17:31

7/10(7/10)

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