R2’s Day: On Reviews

From nearly day one here on the ‘bot, we’ve reviewed stuff.  I mean stuff.  Lots of stuff- T.V. Shows, Movies, Video Games,  Board Games, Fan Films, Books, Toys…  we’ve watched/played/read things so that you, our loyal readers,  could make informed decisions or, in some cases,  incite discussion.


It’s not easy.



Alcatraz: "The Ames Brothers & Sonny Burnett" (Season 1, Episodes 8 and 9)

Two episodes back-to-back this week. It’s kind of hard to take, and I suppose I could blame the Daytona 500 for preempting it last week, but that’s hardly fair. This sick, boring excuse for a show earns its nauseating qualities the old fashioned way—it doesn’t give a ****.


Alcatraz: "Paxton Petty" (Season 1, Episode 6)

Another round with the show that has more mysteries than you can shake a stick at, but nary a solution in sight. If you read last week’s review, you know the show finally took a step up. This week? A slight step back. We’ve returned to the criminal of the week motif, but it’s nowhere near as bad as the worst examples of that pattern.


Alcatraz: "Guy Hastings" (Season 1, Episode 5)

So here’s the deal—this episode did not leave me cynical about the worth of human existence. It’s ridiculous and improbable, yes. But it didn’t fill me with disgust. They finally broke their pattern, and the results were downright tolerable. We learned more this episode than we’ve learned in all the previous four combined.


Alcatraz: "Cal Sweeney" (Season 1, Episode 4)

So much like our criminals of the week, Alcatraz now has an established MO. We start with a criminal perpetrating his particular criminal shtick in lurid detail. Then we go to the credits. Then we proceed with a most unholy trinity of crisscross story structure: (1) criminal goes about his spree, (2) Madsen and Soto track him, and (3) we see criminal’s flashback story at Alcatraz. Spice with obligatory sadism and end with the arrest, followed by a final minute hinting at some deep mystery. The narrative spine, such as it is, seems to be the general grumpiness of Sam Neil.


EPISODE REVIEW: Alcatraz (Season 1, Episodes 1 and 2)

J.J. Abrams fans, I’m sorry—forget Lost. The invincible hordes of the crime procedural continue their advance across genre and time alike, building toward that glorious day when the entire Fall schedule will be a Maoist paradise of CSI conformity. And you will bloody well like it you reactionary literatis since there won’t be anything else to watch. [We just won’t televise any of Ron Moore’s desperate attempts at a procedural, because even soulless network hacks are still pissed about the last season of Battlestar Galactica.]


Why are some bad endings good, while other bad endings are bad?

Republibot 3.0's picture

The other day, one of my blogerly aquaintences asked me why I was so worried about the Lost finale before the fact. He said that a show is more than its ending, and even if it sucked, why would that make me feel like an idiot for all the enjoyment it gave me over the previous six years?


Episode Review: LOST : The End (Season 6, Finale)

sysadmin 2.0's picture

As we draw this story to a close, I'm of extremely mixed feelings. I'm sad that a great show is ending. I'm happy that a source of carpal tunnel syndrome is ending ( I mean, have you ever tried to have a recap and review up on a website twenty minutes after watching it? Ouch!) I have realized that like in life, LOST has illustrated that although I've wanted answers throughout this show, finding the answers means that The End is near. And so it is.



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