The Best thing about Legion isn't in the movie at all ...

... it's Craig Ferguson's recent interview with Adrianne Palicki (pictured at left).  Probably best known for 50 episodes of Friday Night Lights (yawwwn .. sorry, did we drop off for a moment?) she is making a bit of a splash, don'tcha know, in the Rush neighborhood, first by playing the diner waitress who is unwittingly pregnant with the next messiah (jeez, how many times have we heard that one?), and next appearing in the remake of Red Dawn, coming this November (bigger!  Better!  This time it's the Russians and Chinese who parachute in and take over America! Much scarier!)  Turns out Adrianne is not only gorgeous, she's smart as a whip, too; she stands up to Craig's classic, "oooh, I rehlly don't cayah," Scottish 'tude  Brash, funny, uncensored -- a real dame, and we likes her.

And there are plenty of reasons:

• She was in John Woo's unsold pilot of the Lost in Space reboot (ahh, Penny!)
• She was in the also unsold Aquaman pilot
• She was Kara, that is Supergirl, on Smallville
•  She was in a Will.i.am music video
• She was Sam Winchester's immediately murdered girlfriend on the first episode of Supernatural

 Catch her interview here, preserved forever on YouTube.  Meanwhile, her own site isn't much more than a place-holder at the moment ... but we'll be watching for her.

Go, Wolverines!

Bitch Slap: What are you, kidding? (Answer: Yes.)

So a bunch of Bob Tapert's old Xena: Warrior Princess and new Spartacus: Blood and Sand people get together and say, "What the hell, we've got a few weeks to kill, what say we make a really over-the-top girl fight movie?"  And one dude in particular, he says, "Ooh, and I have the perfect name for it: Bitch Slap."

You have to say one thing for this title: it's absolutely truth in advertising.  There's really nothing at all to this movie except a murky yet tissue-thin plot that gives three absolutely stunning women all the excuse they need to beat the living hell out of each other, in between scenes of going rilly rilly, like nuts, you know? and move scenes of girls kissing girls.  This is a 16-year-old punk boy's wet dream, filled with 'splosions and fistfights and BFG's (that's Big Effin Guns to the uninitiated), and one thing's for certain: you won't be bored.  Puzzled and titillated, yes, but never bored.

Some of these folks will be visible, presumably in just as little clothing, in the new Spartacus: Blood and Sand on the Starz cable network.  It even has more of Lucy Lawless than just one teeny little cameo, to which we can only say yay, with a little bit of it's about time.

Buried: Whoa, Intense

One of the great things about really good thrillers movies is their simplicity. They are the home of the High Concept, the simple premise taken to its relentless extreme.

Buried, the little-heard-of new thriller starring hot-potato Ryan Reynolds is a prime example.  It's one of the films tearin' it up at Sundance right now, and judging by the horribly simple and chilling trailer, you can see why.  even the log line works: "170,000 square miles of desert. 90 minutes of oxygen. No way out."

This is the kind of nail-biter we'd like to see more of: simple, straightforward, and scary. 

Check out the trailer ...

The Human Target: A Secret Comic Book (but not really...)

FOX is rolling out a new action/adventure show, called The Human Target, and it's not bad.  Mark Valley, not known as an action star (at least not in Boston Legal or even in his strange dead-partner appearances in Fringe) is remarkably convincing at Christopher Chance, the private operative who protects people who need protecting and elminates threats to the innocent, or semi-innocent.  The show has a wicked sense of humor as well as failry interesting supporting characters in Chi McBride, whom we've loved since Night Court, and Jackie Earle Haley, whom we've loved since he was a child actor stomping people to death in Day of the Locust (and oh, yeah, there was that Watchmen thing, too, but a guy's got to eat).  Anyway: Valley isn't bad, the script popped right along, and it's worth a second look.

You'd never know it was based on a comic book.

The fact is The Human Target has been a C-grade superspy hero in the DC universe since ... well, for more than fifty years, if you go back to his very first appearance in a single Batman story.  He was re-invented by comics writer Len Wein and artist Carmine Infantino as "Christopher Chance," a master of disguise who put himself in the place of threatened innocents, way back in 1972, and he's been skipping around the edges of teh DC Universe ever since. (If you're interested in the complete and almost psychotically details history of this minor faivure, there's an excellent article at http:/at Human Target Online.

In this version, however, FOX and serires devleoper Jonathan E. Steinberg has really retained nothing except the cool name for the series and the equally cool name of the hero: Christopher Chance.  Gone is the 'master of disguise' schtick and any other high-tech or superpowerish elements.  This is just a truly resourceful guy with your typical mysterious past, either in Special Ops or Gangsterland (which will no doubt soon be releaed as episodes progress; they're certainly dropping enough hints about it).  Valley has a couple of good fight seens and plenty of snappy repartee; this doesn't seem so much of a breakout show as it does a competing action-adventure we could all enjoy for a year or three.

Not that he's any Rick Springfield, 'cause, come on, who is?

The thing is, Springfield, back in his light rock "Jessie's Girl" days of 1992, actually starred in a pretty awful version o the same comic for ABC TV.  Barely half a dozen episodes aired (this was from the same production company, Pet Fly, that had perpetrated a couple of other equally horrid action/adventure shows -- Viper and The Sentinel, as well as another comics-based show, the near-career-ending version of The Flash starring John Wesley Shipp and featuring a pre-Munch Richard Belzer.  The "master of disguise" schtick was stil in place for this show, but that didn't help much: it chalked little more than half a dozen episodes before cancellation, and Christopher Chance went back into hybernation for 18 years or so.

It's interesting to note that FOX is not playing up the comic book aspects of the show at all; in fact even the credit to DC comics is buried deep in the end credits, with a card that goes by so fast you're not sure it's there at all.  This is much closer to a James Bond (or Remington Steele, really), and relies pretty heavily on the charm of the key actors and the cleverness of the plots.  Which, after exaclty one whole episode, it has displayed in adequate amounts.

DC, however, is not about to let the connection be forgotten: they've just released a trade paperback of Peter Milligan's re-imagining of the character, and character creator Len Wein, still in there kicking (and making not a dime on all this, we assume, since he created the character back in the days of work-for-hire, pre-creator's rights) has authored a brand new six-issue mini-series -- a kind of back-door pilot all its own -- that premieres in comics stores on February 10.

Any actual relationship bewteen the the Christopher Chance of the comics, the Nineties, and today is almsot entirely coincidental.  But it is a cool name.

Check out the first episode on Fox On Demand

Buy the Trade Paperback of the Human Target's Earlier Incarnation here.

Flash Forward: Illogicallifragilisticexpedalidocious

Here's the opening teaser-paragraphs from a long, exquisitely beautiful piece from Editor in Chief Brad Munson, running in its entirety over on ScriptPhD.  Start here ... then check it out!

It goes without saying that pretty much every work of fiction begins with the "what if" question.  "What if I knew the world was ending tomorrow?" "What if my wife was secretly plotting to kill me?" "What if this article wins me the Pulitzer?"  What separates the great (or simply enjoyable) work from that which cannot be accepted is a second level of consideration: actually thinking about the "what if" and seeing if it has any real value, any weight, beyond that first fleeting thrill that comes with the High Concept. 

FlashForward -- the ABC TV series or the 1999 novel by Robert J. Sawyer upon which it is loosely, loosely based -- is a perfect example of exactly that: the cool but ultimately unsatisfying idea that really can't stand the stress of storytelling. Because hiding behind the spotty acting and cliche'd characters -- on screen or in print --  the whole concept has a serious problem: it just doesn't make a lick of sense. 

A quick reading of the novel (which is all it warrants) won't provide you with any background or spoilers on the TV series.  In fact, it will only confuse you even more.  The two have almost nothing in common, except the most basic of High Concepts and a character name or two.  But both versions do share one other thing in common: they could have ended just a few pages/minutes after they began.

Want more? Of course you do!  Click Here for the entire experience!

Robert Downey Jr. Won't Be in Cowboys & Aliens ... and that's okay

Of course we love Robert Downey, Jr.  It's kind of required.  He is Tony Stark now, after all, as well as a goofy (and yes, we admit it, fun) alternate-universe Sherlock Holmes. But he doesn't have to be everybody, y'know?  So maybe it's not such a bad thing that Downey has announced that he's passing up the starring role in Jon Favreau's other big project (other than Iron Man 2, that is) -- the big, bad movie adaptation of Cowboys & Aliens. 

Some names are concepts in themselves, and some are just too good to pass up.  Pride & Prejudice & Zombies.  Abe Lincoln, Vampire Hunter.  And yes, Cowboys and Aliens.  (In fact, the relative provenance of this whole project is kind of interesting.  Let's see if we have this right: Cowboys & Aliens was actually created by Platinum Studios’ Scott Mitchell Rosenberg; Fred Van Lente and Andrew Foley wrote it, and artists Dennis Calero and Luciano Lima illustrated, the original graphic novel of the same name in 2006. And there's no telling how close the screenplay sticks to that story.  This is clearly all about the High Concept, baby.)

In any event, it's bound to be good.  We hope.  It's certainly getting the first-class treatment: a screenplay from the out-and-out amazing team of Robert Orci and Alex Kurtzman (Star Trek, Transformers, Xena, Fringe, and everything else even moderately cool in the decade gone by), along with Damon Lindelof, who wrote and co-produced a ton of Lost episodes, with the AA+ team of producers on top: Brian Grazer, Ron Howard, Stephen Spielberg and the aforementioned hot-as-a-repulsor-ray actor/director Jon Favreau.  In retrospect, Downey is almost superfluous -- this is already the gold standard, deal-wise  And Downey already has two major-league franchises to exploit; maybe it's time he gave somebody else a chance. Which makes it even more  appropriate that he's giving this up to do a (rumored, potential, blah blah blah) Sherlock Holmes sequel.

This all just happened, so any speculation about who will be replacing Downey as the cowboy-alien fighter Zeke Jackson (love that name!) is way-way premature. And now there are rumors the whole project will be filmed in 3-D, a pretty inevitable thought given the Avalanche of interest in the tech  (Get it?  It's kind of a pun.)  Either way, it's still scheduled to be one of the biggies for Summer 2011, so things had better start happening pretty quickly. We'll keep an eye out ... 

Climax de Hiatus: A TV Scorecard

Every show on the nets seems to be going on hiatus -- some for a few weeks, some for a few months.  Among the Rusherrific shows, a number are skidding to a (temporary) halt for quite a long spell ... and the last go-rounds of '09 run the gamut, from the classic cliffhanger to the satisfying pause that refreshes.  Let's be completely arbitrary and take an admittedly spoiler-iffic look at the last pre-hiatus episodes of some of our faves and not-so-faves ...

Stargate Universe: B+  This latest in the apparently immortal line of the Stargate franchise has been  decidedly upsy-downsy since its inception, with some of the best sf on TV in recent years and some of the whiniest do-nothing installments on record.  The tension between the militarists, civillians, and scientists all stuck on this Ancients' Ship to Nowhere has been growing since the beginning, and the chief scientist has been a manipulative and callous asshole from the git-go.  We knew something  had to happen .. but did any of us really think the military leader of this accidental expedition would actualy abandon the slimeball on a planet and walk away?  Yeah, sure, there's a ship there; we know the bastard's going to get it working and come curising back home as the second half's super-villain, but still: harsh, dude.  And rather cool.  Way to advance the premise.

White Collar: C-  Admittedly, this USA Network conman-and-FBI agent 'buddy' show baely qualifies as a mystery or a thirller, but the charm and chemistry between the two principles is undeniable.  That's why the final scene in the last epi was so unforgiveable. The Con Man has been bonding with the Agent all season long, as he helps solve lots of silly high-profile swindle-cases and murders while he not-so-secretly searches for his long=-lost girlfirend (who doesn't want to be found.)  And now, after al this bonding and banter, now we get a scene tha shows the agent as the bad-guy with the kidnapped babe in hiding, Now, come on.  We are not idiots.  Quite.  Yet.  You're not going to throw away one of the two stars on a cheap left-field play like this; you know the first line of the post-hiatus episode is something like, "How did you find me?" or it'll turn out she's the one doing the blackmailing or something else equally cheap and manipulative.  I would have thought better of this moderately clever show.  Now all that's keepingus watching is the denoument, not the characters we'd actually started to like.  *Sigh*

V: D+  And frankly it's be a straight "D" if it weren't for Morena Baccarin, who's so beautiful you have to bump the grade just for her alone (not to mention Alan Tudyk.  Hey, Firefly fans.  When do you think Nick Castle will be makin a cameo?)  The only notable thing about the end of the four-part (four parts?  That's it?) Fall "season" (more like an Indian summer) is that it was exaclty like the other three parts: nothing happened.  The big reveal is a yawner: "Ooooh, look!  More ships!"  And the "secret" of the aliens' real reason for being here makes no sense.  What, they want to use us for food?  This is n advanced civilization that can fly faster tha light; they can aleady grow human flesh so easily they use it as a cheap disguise for infiltrators.  You mean to tell us they haven't invented the concept of domestic farm animals?  Or even grow-in-a-vat Human Snacks?  What are we, a delicacy?  Have we become human caviar And besides, it's hard to take an alient race seriously when it has FTL ships but still uses hypdoermic needles, and apparenlty dislikes its own culture so much that the invaders speak English even when they're alone and away from humans.  *Yawn*  Possibly the most do-nothing non-delivery of the year here.  What was all the fuss about in the first place?  And if they don't think this dud of a conclusion is oging to hurt them, check and see who remembers (or cares) about this hsow when it reapears on teh schedule in four months.  By then, Chuck will be back and V will be a distant memory.

Glee: A.  Yes, it's not really a Rush kind'a show, but it does show you how a hiatus-break epi should work.  All the complex story lines established in the previous six episodes nicely and surprisingly tied up, a strong sense of completion, and yet enough open questions about pregnancies, revenge plots, and new romance to make you ache for its return, and yet be patient for the long, long break for the holidays and American Idol.  If only SGU, White Collar, and especially V had finished up the first half of their respective seasons with half as much lass and content.  We would all be the richer for it.

As it is .. hey, anybody got a spare copy of Christmas Story?  We haven't seen it twenty times this season.  Yet.  We can't wait.

Deadgirl: the most depressing zombie movie EVER

Zombies are fun, aren't they?  Gosh, yes!  Just look at Zombieland, or Shawn of the Dead or even Fido (which is really pretty good). Even look at I Am NOT Infected, here on the web (which we love). Laugh a minute, those shambling, decomposing, corpsefolkken. (We just made that up, but it sure sounds cool.)

But once in a while it's nice to remember the cultural antecedents of the Walking Dead -- you know, back when we shuddered at the dead part.  The idea of bodies physically rising from the grave, even as they rotted away, with no brain but an undying hunger for human flesh -- that was was supposed to horrify and repel us, remember?  For the most part, however -- absent 28 Days Later, which revived the brand a bit, albeit in fast motion -- we've  become inured to the whole concept.

C'mon.  Zombies are fun.  

Until you see Deadgirl.

In fact, Deadgirl has more in common with the bleak, existential "high school as Bergmanesque death camp" genre of filmmaking that has depressed us for years now than it does with Zombieland.  Think The River's Edge, or Brick -- both excellent films, but absolutely unremitting in their hopeless and almost lifeless view of life for the contemporary teenager.  Deadgirl shambles through the same territory, with a slow but relentless plot, a set of horribly convincing characters and portrayals, and a grimy, gray production design that gives "depressing" a whole new level of depth.

The plot is simple enough: a couple of bottom-of-the-barrel no-account teens, ditching school and looking for trouble, break into the sub-basement of an abandoned hospital (asylum, maybe?) and find what looks like the almost-freshly-deceased body of a teenage girl -- an exotic, even wild-looking girl they've never seen before.  She's strapped down every which-way, slightly blue and not breathing ... but as they go for a closer look she snaps to life and attacks them as best she can: with her teeth.  Mindless, roaring, twitching, she's obviously not dead at all and pretty damn crazy ... but she's not quite alive either.  And best of all .. she's theirs.

Rape, kidnapping, necrophilia ... all the very worst that lies just under the repellent surface of really serious zombie movies is here in stomach-churning profusion.  And though the ending may seem as inevitable as an oncoming freight train, you really, really don't want it to happen.  Please.  But it does.

Made for about a buck fifty by people you never heard of, Deadgirl is available on DVD and has been out for a while now.  And if you want to get a sense of just how undeniably creeeeeepy the whole "zombie" thing was back in the days of White Zombie and the original Night of the Living Dead, here's your chance.  Just plan to take a shower right after you watch it.

Is "Dilithium" Klingon for "Budweiser"?

The commentary on most DVDs really isn't worth the time to listen to it (in fact, most of the movie on DVD aren't worth watching that third, fourth, fifth time).  But once in a while you do get a wonderful little nugget.

Consider the otherwise-not-awesome commentary on the reboot of Star Trek, provided by J.J. Abrams, Robert Orci, Alex Kurtzman and exec producer Brian Burl in what must have been the ultimate Skype conference call.

The chatter and self-congratulation isn't awful; it's just not terribly exciting.  Though you do find out that there were whole chunks of movie, whole storylines that were written, filmed and even edited into the final product, then left for the "Deleted Scenes" section only because it would have made the movie an unmarketable 12 1/2 hours (or so it seems).  We also discover that many of the locations you thought wee sets constructed on the Paramount back lot were actually real, live (if odd) places: a blimp hangar, a mortuar chapel ... and a brewery.

That's the coolest one.  See this picture?

This is one of the busy below-decks places of the newly rebooted Enterprise -- a part of it that actually explains what most of the 400-and-some-odd crew people actually did, since as far as we could tell from the original series, the whole ship could be run by those nine or so people up on the bridge.

Anyway: it turns out this one particular set isn't a set at all -- it's part of a huge brewery in Southern California.  And those big silver tanks that the young, new Kirk is sprinting between?  Not filled with dilithium or some other exotic fuel or coolant or life-supporting gas.  Nah.  Filled with beer.  

Hey, you gotta do something in those long, long nights between planetfalls, don'tcha?

Riese: Gorgeous, Professional and ... Sssssslllloooowwwwwwww...

There are ten zillion web series out there now, and let's face it: most of them are pretty bad.  And the vast majority of them also fall into Rush territory: sf, fantasy, thrillers, mystery, suspense.  Which makes the
bad-osity that much harder to ignore.

The bad-osity isn't entirely because of the low to subzero production values.  In fact, a few -- like the classic, ever-clever The Guild and the lesser-known but pretty damn funny I am NOT Infected! take advantage of the "Hey, we're on the interwebs!" aspect or the non-existent budgets (though The Guild has gotten pretty fancy-schmancy in the last series) as parts of the story itself.  Others are totally obsessed wtih the capabilties of ridiculously inexpensive CGI or the specific sub-sub-subgenre they're part of or spoofing, and some are just plain obscure on purpose (does anybody understand Circle of 8?  Really?)

And then there's Riese, that falls somewhere in between.

Riese (and no, I don't know how to pronounce it. In the three episodes that have been released so far, no one had said it out loud) is a gorgeous wanderer, a mysterious warrior-woman in a damp and misty forest-world that looks slightly sword-and-sorceresque and a little post-apocalyptic. (The medical facilities, for instance, look much like a modern-day health center; the weaponry is pure Society for Creative Anachronism).  She's running from the oppressive religious government run by "The Sect," and they clearly want to get her, too. Oh, and she pals around with a big, beautiful wolf.  Yeah: a wolf.


Riese has production values as high as anything you'll see online, even stuff from the big boys like Paramount Digital and Joss Whedon.  And it's not quite as impossible to follow as some of its kin.  But the pacing?  Slooooowwwwww ... and after three episodes, each about 9 minues in length, we STILL don't know anyhing more a out the main chraacter, really, or the "Sect" that seems to control this mildewy medieval world.(It has that same damp deep-north-forest look that all Canadian series shot out-of-doors has; it owes more to Jeremiah than to Mad Max.

The costumes are great, the production design in general -- especially the matte painting -- is lovely.  But come ON, people, STEP IT UP SOME, willya?  A little less of the ominous and portentous, and a little bit more kickin' ass and telling us who's doing what to whom.  Not to mention how to pronounce "Riese" and why all the women are dressed like extras from that bad Flash Gordon remake froma couple years back.  And if y'all can learn the basic idea of the set-up and the pay-off, the teaser and the cliff-hanger ... well, these nine-minute episodes would seem a whole lot shorter, and we'd be much more inclined to continue.

In oh so many of these web series, you can tell in the first two minutes whether or not the show is worth your time.  Riese definitley is.  Probably.  Potentially.  But pretty soon now, it's going to have to be something other than just pretty to look at. It's going to have to do something, too.