¡We can no longer be a bunch of empty minds living in critical times refusing to recognize real lies!

Sunday, 30 September 2012






Stars: Claire Danes, Damian Lewis, Morena Baccarin, Mandy Patinkin, David Harewood, Morgan Saylor, Jackson Pace, Navid Negahban, David Marciano, Jamey Sheridan
Premiere date: September 30

Last fall, Showtime's topical drama series Homeland debuted with one of the most impressive first seasons we've seen on television in years; the TV community was definitely blindsided. Led by a pair of electric performances from Claire Danes and Damian Lewis, the white-knuckle thriller program introduced viewers to two enormously fascinating characters: Carrie Mathison (Danes), a paranoid CIA operative who's not all there psychologically, and Nicholas Brody, a POW hiding a dark past and whom Carrie suspects is in bed with terrorists. Over 12 masterfully paced and altogether riveting episodes, Homeland kept viewers enthralled with its mental cat-and-mouse games.

After a wonderfully exciting first season finale, the stakes are through the roof as season two gets ready to begin at the end of the month. Carrie's an electroconvulsive therapy case, and Brody, whose intentions are even more threatening than one might've previously thought, is holding down a powerful government position; this year, the terror is much closer to home. And we couldn't be more amped.


Stars: Terry O’Quinn, Vanessa Williams, Rachael Taylor, Dave Annable, Robert Buckley, Mercedes Masohn, Erik Palladino, Helena Mattsson, Samantha Jade Logan

Premiere date: September 30

It sure didn't take networks long to jump on the American Horror Story momentum train. By the looks of it, ABC's supernatural drama 666 Park Avenue appears to be a shameless cash-in on the FX breakout's proven formula of scary movie influences melded with gorgeous faces and a sexual undercurrent. Here, Terry O'Quinn (Lost) and Vanessa Williams (fresh off Desperate Housewives) play the overseers of a lavish high rise in Manhattan that's ravaged by all kinds of freaky occurrences once a pretty young couple (Rachael Taylor and Dave Annable) settle into their new apartment.

If 666 Park Avenue has even half the amount of cheeky insanity seen in American Horror Story, it could be yet another small-screen guilty pleasure, but keep in mind that it's on ABC, not FX. Anticipate genre elements more along the lines of PG-13 fare like The Apparition than a Greg Nicotero project.


Stars: Emily VanCamp, Madeleine Stowe, Gabriel Mann, Nick Weschler, Henry Czerny, Josh Bowman, Connor Paolo, Margarita Levieva
Premiere date: September 30

Television's most addictive non-cable show is the one that we can't stop talking about. Revenge powered through its immersive, surprisingly intense debut season with the heart of a soap opera and the spirit of the best "female vengeance" genre storytelling.

Emily VanCamp, who's aces, plays Amanda Clarke, a.k.a. Emily Thorne, a scorned gal who infiltrates Hamptons high society to administer fierce payback for her father's wrongly imprisonment. How she triggers romance, homicide, and endless backstabbing is what drives Revenge and makes it a pulpy pleasure that one need not feel guilty about.


Stars: Ginnifer Goodwin, Jennifer Morrison, Lana Parrilla, Josh Dallas, Jared S. Gilmore, Robert Carlyle 

Premiere date: September 30

Magic has come to Storybrooke — and ABC’s Once Upon a Time will conjure up even more fantastical drama as a result. This Sunday at 8/7c, last year’s highest-rated new drama returns for Season 2, picking up right where it left off, with Mary Margaret, David et all fully aware of their remarkable identities, Emma a full-on believer and both Mr. Gold and Mayor Regina Mills – aka Rumplestiltskin and the Evil Queen — champing at the bit to use the restored magic to their advantage.


About The Movie:

In 2044, Kansas looks like Detroit. Tent cities have taken hold under the highways, men are murdered for stealing a stereo, and one deceptively casual criminal overlord (Jeff Daniels) controls everything—particularly the Loopers, punctual assassins who cruise around this urban warzone in shiny sports cars, wearing their hair slicked-back like '50s French movie stars. Like all Loopers, Joe (Joseph Gordon-Levitt) has one job: at a specific time measured down to the second, he'll shoot a hooded man who appears literally out of the air. Or more literally, out of the year 2074. After all, the best way to get rid of a man is to time-travel him back three decades and blow off his head before he pisses you off. Then one day, Joe is ordered to kill the older version of himself (Bruce Willis)—consider it an assisted suicide. But the now-married, retired Joe is too smart to die easy, and so the hunt is on with Daniels' goons chasing Gordon-Levitt, who's chasing Willis, who's chasing his own deadly agenda. 

What Is Good/Bad About The Movie

First, the facts: Joseph Gordon-Levitt and Bruce Willis don't look alike. But through the magic of make-up and acting, they do. Johnson has shied away from getting specific about Gordon-Levitt's three-hour prosthetic regimen, though it's clear his nose has been hooked and his eyefolds creased, plus the young actor has trained himself to knit his eyebrows together, gravel his voice, and purse his lips like he's fighting off a smirk. Sometimes he'll tilt his head just slightly and the spell breaks. But really, who cares. The two are twined together in a dual role that isn't dependant on cheap mimicry—Willis' version of Joe has, after all, lived twice the life of his would-be assassin—but instead thinks audaciously about what it would mean to live in the same moment as your future self: A fresh slice chopped from Gordon-Levitt's ear instantly means a cauterized scar on Willis' own. A young man bent on violence and for-the-moment thrills ("This job doesn't tend to attract the most forward thinking people," notes Joe) meets the killer his selfishness created. And an old man who's finally found love would kill the immature punk who vows he'll walk away from his future bride—except if he kills him, he'll never meet her at all.

These ideas about mistakes and mentorship become even more tangible when the two cross paths with a single mother (Emily Blunt, strong) and her son (Pierce Gagnon, great) and unthinkingly risk changing more futures then their own. The film flirts with Back to the Future-style visions of time travel—photos that fade, actions that ripple forward—but also suggests that, like the gun-toting Loopers, all of whom have agreed to kill themselves in their employee contracts, there is a circular order to fate that cannot be changed. And ominiously, Willis reports from the future that there's a new super boss coming who aims to kill everyone.

What's bold about the movie isn't just its use of time travel, the mechanics of which Willis refuses to explain, huffing, "We're gonna be here all day making diagrams with straws." And its visual effects are brashly low brow—the time machine looks and acts like a cage covered in a tarp. It's that Looper is so economical and cold, giving us a ruthless hero set on an even more ruthless quest. There isn't a single good guy in the film, only varying shades of cruel. And the value of a life literally has a price: four bars of silver. (Inflation renders cash useless, a detail left confidently unexplained.) Yet from these ingredients, Johnson builds toward a shatteringly emotional climax that asks, would you sacrifice one man for yourself, yourself for the world, or the world for one man? That question forms a loop. And so does the future.

Overall Grade:

Saturday, 29 September 2012


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