Tonight was premiere night and I was actually looking forward to this new comedy on NBC. Jean Smart and Dennis Farina are very funny veterans and two talented newcomers seemed to be primed for success. Unfortunately, there were only moments of clever dialogue interwoven in tired old re-hashed stories with predictable outcomes. All in all, the first two episodes, which were both aired tonight, didn't leave me wanting more. I'll give it a few more shows, however I see this being canceled by the middle of the second season if not sooner unless serious revamps occur.
Reviews
4 Reviews
Scrubs
(2001–2010)
"St. Elsewhere" meets "Ally McBeal"
24 September 2002
After watching and re-watching the first season of this new NBC comedy I must say, "Funny stuff." The best part about this show (if they stay true to form and don't try to socio-politicize in the future) is that the show is much like "Seinfeld" and "Friends" in that there isn't any social or political preaching or lecturing involved.
The ensemble cast is a harmonic delight of laughs. Complimenting each other perfectly while delivering witty dialogue, this combination of "St. Elsewhere" (surgery vs. medicine, residents vs. interns) and "Ally McBeal" (what is going through the character's head and the wild, sometimes irrational visions created in their imagination) hits the mark perfectly.
I will say that although this is an ensemble cast there is one extremely funny character in the person of John C. McGinley. Very funny in his other works but he has finally hit his stride with his portrayal of the bitter, self-loathing narcissist Dr. Perry Cox.
"Scrubs" is a future classic along the lines of "Friends" but hitting its full stride a season earlier. I remember watching the first season of "Friends" and declaring a hit by episode two. Many of those around me had never heard of "Friends" by mid-season yet it came on very strong and by season two was a powerhouse show on NBC (pushing "Seinfeld" out of the top seat). I felt after the first episode that "Scrubs" would be the new hit for NBC and just in time to replace "Friends" as they are ending their most successful run.
I'm no genius or fortune-teller, nor can I say that I am the only person who has picked hits in the past. I can say, however, that people who had no interest, didn't like or understand "Friends" when I first turned them onto that reacted the same way with "Scrubs". Now they can hardly wait for "Scrubs" night and catch all the "Friends" reruns they can.
I just hope that a sustained audience can vault this show into the stratosphere for many future viewings. I'm not a doctor, I'm not a surgeon. but the imperfections in each of theses characters I can identify with from the bad hair to the people who make our workdays annoying. That's why this show is successful, people can identify with the characters.
My advice if you haven't seen "Scrubs" before is to watch at least three to four episodes to fully understand what is going on and the humor that it is using. Don't give up after one show and you will be pleasantly entertained each and every episode.
The ensemble cast is a harmonic delight of laughs. Complimenting each other perfectly while delivering witty dialogue, this combination of "St. Elsewhere" (surgery vs. medicine, residents vs. interns) and "Ally McBeal" (what is going through the character's head and the wild, sometimes irrational visions created in their imagination) hits the mark perfectly.
I will say that although this is an ensemble cast there is one extremely funny character in the person of John C. McGinley. Very funny in his other works but he has finally hit his stride with his portrayal of the bitter, self-loathing narcissist Dr. Perry Cox.
"Scrubs" is a future classic along the lines of "Friends" but hitting its full stride a season earlier. I remember watching the first season of "Friends" and declaring a hit by episode two. Many of those around me had never heard of "Friends" by mid-season yet it came on very strong and by season two was a powerhouse show on NBC (pushing "Seinfeld" out of the top seat). I felt after the first episode that "Scrubs" would be the new hit for NBC and just in time to replace "Friends" as they are ending their most successful run.
I'm no genius or fortune-teller, nor can I say that I am the only person who has picked hits in the past. I can say, however, that people who had no interest, didn't like or understand "Friends" when I first turned them onto that reacted the same way with "Scrubs". Now they can hardly wait for "Scrubs" night and catch all the "Friends" reruns they can.
I just hope that a sustained audience can vault this show into the stratosphere for many future viewings. I'm not a doctor, I'm not a surgeon. but the imperfections in each of theses characters I can identify with from the bad hair to the people who make our workdays annoying. That's why this show is successful, people can identify with the characters.
My advice if you haven't seen "Scrubs" before is to watch at least three to four episodes to fully understand what is going on and the humor that it is using. Don't give up after one show and you will be pleasantly entertained each and every episode.
Dillinger
(1973)
Goes against most conventions of good movie making...
18 July 2002
Proof why Hollywood conventions are in place. Stale dialogue, underdeveloped and flat characters and a disjointed storyline are only part of the problems with this gangster classic wannabe. An attempt to be daring and different but this appears to be a slap-together attempt at recreating the magic of Arthur Penn 's Bonnie and Clyde (1967) and George Roy Hill 's Butch Cassidy and the Sundance Kid (1969)- truly innovative filmmakers and films - but falling well below the bar. Problems with storylines being self-explanatory result in the need for a voiceover to explain problem sections. The editing appears again to be an attempt to duplicate the previous classics but is occasionally disjointed and cause more problems for me technically. Unnecessary shots are thrown in to justify the filming of them but would have better served the viewer by sitting on the cutting room floor. Stills, black & white montages and period music are thrown in from time to time in attempts to either be different or to cover up for scenes that can't transition well or to replace scenes that just didn't work at all and again are reminiscent of Butch Cassidy and the Sundance Kid (1969).
Overly dramatic pauses between sentences, random shots of surrounding scenery that wasn't needed for storytelling plus over-the-top acting of bit players and supporting actors was reminiscent of the backyard camcorder directors of the late 1980's - I was left wondering who was in charge of this film during production and during post-production. The playing of music in most two shots and close-ups and then suddenly stopping in wide shots overly emphasized a weak musical score. No sound editing was drastically apparent as the bulk of the film was gunshots, doors, footsteps and dialogue (a style used in the late 60's through the mid-70's by new directors) but lacking background noise causing it to seem artificial - particularly the tire squeaks on dirt roads. In my honest opinion the biggest problem of all is there are no 'likeable' characters for the audience to route for nor were we lead to see as the protagonists of the story. Neither the gangsters nor the lawmen were characters I wanted to see win and neither were focused on as the 'hero'- a necessity for any story to work for me. We know from Penn's and Hill's movies who the 'heroes' are. Even though they are criminals, we like them and want to see them get away. I could care less who was on the screen in this film. I got the impression that John Milius was trying to give off a non-historically accurate reenactment documentary of the events surrounding John Dillenger's life from June 1933 to July 1934 (his death).
To be fair, there are some moments of good solid storytelling, which are moments that shine forth brightly from the dark and dismal canister in which this film sits. John Milius gets better thankfully in future films where he doesn't seem to try to 'copy' other filmmakers. Dillinger (1973) isn't a total waste as many stars and famous faces who were at the cusp of breaking out are involved with this directorial 'big budget' debut, but wait for it on a classic movie channel rather than spending money to rent or buy.
Overly dramatic pauses between sentences, random shots of surrounding scenery that wasn't needed for storytelling plus over-the-top acting of bit players and supporting actors was reminiscent of the backyard camcorder directors of the late 1980's - I was left wondering who was in charge of this film during production and during post-production. The playing of music in most two shots and close-ups and then suddenly stopping in wide shots overly emphasized a weak musical score. No sound editing was drastically apparent as the bulk of the film was gunshots, doors, footsteps and dialogue (a style used in the late 60's through the mid-70's by new directors) but lacking background noise causing it to seem artificial - particularly the tire squeaks on dirt roads. In my honest opinion the biggest problem of all is there are no 'likeable' characters for the audience to route for nor were we lead to see as the protagonists of the story. Neither the gangsters nor the lawmen were characters I wanted to see win and neither were focused on as the 'hero'- a necessity for any story to work for me. We know from Penn's and Hill's movies who the 'heroes' are. Even though they are criminals, we like them and want to see them get away. I could care less who was on the screen in this film. I got the impression that John Milius was trying to give off a non-historically accurate reenactment documentary of the events surrounding John Dillenger's life from June 1933 to July 1934 (his death).
To be fair, there are some moments of good solid storytelling, which are moments that shine forth brightly from the dark and dismal canister in which this film sits. John Milius gets better thankfully in future films where he doesn't seem to try to 'copy' other filmmakers. Dillinger (1973) isn't a total waste as many stars and famous faces who were at the cusp of breaking out are involved with this directorial 'big budget' debut, but wait for it on a classic movie channel rather than spending money to rent or buy.
The Philadelphia Story
(1940)
"With the high and mighty always a little patience."
18 September 2000
One of the greatest romantic comedies of all time. Tracy Lord (Hepburn) is Philadelphia aristocrat who is to be wed in the privacy of her parents' home to "the man of the people," George Kittredge. Former husband C.K. Dexter Haven (Grant) is blackmailed into bringing two reporters for "Spy Magazine," Mike Connor (Stewart) and Liz Imbrie (Hussey). The clash between "rich and Not so rich" (both financial and in character) begins. Classic fast-paced, brilliantly written dialogue almost unheard of in film today is abundant (pay attention or you might miss some of the greatest banter ever spoken on screen).
Oscars for J. Stewart (Actor), D. O. Stewart (Writing), nominations for Hepburn (Actress), Cukor (Director), Hussey (Supporting Actress) and MGM (Outstanding Production, losing to Rebecca). Re-made as a musical with Bing Crosby, Grace Kelly and Frank Sinatra titled High Society (1956), based upon the Broadway play of the same name by Phillip Barry starring Hepburn who bought the rights. Controlling the rights she forced the studio to use her even though she was considered box-office poison at the time, this film resurrected her career.
Oscars for J. Stewart (Actor), D. O. Stewart (Writing), nominations for Hepburn (Actress), Cukor (Director), Hussey (Supporting Actress) and MGM (Outstanding Production, losing to Rebecca). Re-made as a musical with Bing Crosby, Grace Kelly and Frank Sinatra titled High Society (1956), based upon the Broadway play of the same name by Phillip Barry starring Hepburn who bought the rights. Controlling the rights she forced the studio to use her even though she was considered box-office poison at the time, this film resurrected her career.
Tell Your Friends