Party of Five Season 4

Tags

1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 4, Paula Devicq, Scott Wolf

We rejoin the Salinger siblings navigating through new challenges that life presents in Party of Five Season 4. It may not reach the heights of Season 3, but it still has its moments to treasure. Be warned, spoilers may well follow in my review of this fourth season of the dramatic show.

Bailey(Scott Wolf) is on the mend and getting back to himself after his crippling battle with alcohol last season. He has been supported by Sarah(Jennifer Love Hewitt), who has forgiven him for involving her in the near fatal car accident months back. But Sarah’s parents don’t see it that way, they file charges of DUI against Bailey. As the trial gets underway and seeing that everyone is willing to sacrifice things for his mistakes, Bailey accepts a plea bargain which leads to a suspended sentence for him. Yet even though he’s making amends, he still finds that the impact of his actions follows him around and won’t let go. Luckily, he does discover a job that also ties in with what will happen to Sarah. Sarah moves out from her parents, feeling that they have victimized Bailey unfairly. Finding out that life independent can be difficult, she finds a place where she enlists Bailey to help her be a manager to an apartment block. The two are now pursuing a platonic friendship as they become managers and maintenance to the tenants of the building. Around this time, Bailey meets Annie; one of the residents who is also a recovering alcoholic. Yet is Bailey ready to commit to a relationship just as his recovery is starting to go well? Charlie(Matthew Fox) is now properly head of the family, having grown up into the role he never really wanted. As the season starts, he is annoyed that he can’t find some romantic happiness. He also bumps into Kirsten(Paula Devicq), who is now remarried to a doctor and back on track following her depression. And though Charlie begins a brief relationship with someone else, he still carries a torch for her. This however takes a backseat as Charlie’s tiredness that he thinks is down to his overworking is diagnosed as Hodgkin’s Disease. he at first only confides in Kirsten. His anger and scared mind are laid bare as he undergoes treatment and the family rallies around, though it proves to be a strain. Julia(Neve Campbell) and Griffin(Jeremy London) are married, with Julia returning from travels to life as a wife. Yet while happy to be married to Griffin after all the struggles, she is still attempting to find her identity. She must also deal with the fact that she feels a bit disconnected from her family, having spent so much time with them yet wants to cut out on her own. This leads her to try new things, yet ultimately makes her get a little bit selfish. Griffin meanwhile discovers his new business is not a cakewalk as he finds a cash flow problem and makes the mistake of accepting a loan off a seemingly helpful man, who becomes something of a loan shark. This leads to money woes for the two, with Julia having to do what she can to provide and Griffin attempting to get them out if this hole. All of this puts a massive strain on their union. Claudia(Lacey Chabert) is now in high school and trying to fit in, and finding it a hard slog. She is tired of people treating her like a small child and wishes to be taken more seriously. Finding that she must grow up more herself, especially after her hopes of romance with a boy are dashed, Claudia still resentfully acts out to get her family’s attention and due to a feeling of loneliness. Can the family hold it together and weather the storm?

Coming off such a dark and engrossing last season, I think it was inevitable that Season 4 might not measure up, it still has plenty going for it. Though I found some of the stories lacked the pull of past , there is still something immensely watchable about Party of Five. The main stories that I didn’t appreciate or enjoy was the one of Bailey getting with Annie, whose many troubles only posed more or a burden for a recovering Bailey . For one, Bailey had already gone through hell and back with his alcoholism, so why did they have to include Annie? It isn’t that the story is bad, it’s just that alcoholism was dealt with so realistically and honestly in Season 3, that it feels a bit superfluous to use it again. Other little sub-plots are decent and sometimes diverting, yet some of them go nowhere and end up superfluous. I did like later on when Charlie starts a romance with Daphne, an uninhibited woman who works as a stripper. They are opposites, but I liked the unpredictable vibe they have. The saving grace here is the overall impact of Charlie’s illness that bears heaviest and most deeply on Season 4.

The Salinger family repeatedly drift apart and then come back into closeness, just like any family does. And while the individual stories have their moments, the subject of family and its many facets is still the successful force of Party of Five. It’s been the main selling point and chief weapon in its arsenal and one that is still prevalent in the fourth season. The reliability and sometimes hard sacrifices are evident here, as the siblings realise how much their lives have changed and how things have turned out differently for each of them. Charlie’s battle with Hodgkin’s  and the reactions of the family to it are a manor dramatic high point, sensitively observed and credibly performed. Even though everyone has a different way of coping with the news, they all see that banding together, despite differences, is the only way to get their brother through his trying time. It feels like how a family would react; with obvious worries, trepidation and uncertainty, but all unite by a common love for their sibling. Plus, the inevitable fall out of these pressures, particularly confused Claudia’s acting out and skipping school, gives an emotional depth and honesty to it all. The Salinger’s are frequently at the brink of being pulled apart, but somehow manage to get through a hell of a lot. The writing ensures that we do care about their struggles in the long run and boy the show still knows how to get your emotions working. And special credit must be given to ‘Go Away’, the finest episode of the season. While Charlie awaits news of a crucial batch of tests, he, Bailey and Julia travel to a cabin they frequented as children. Claudia confides in Kirsten about her fears of Charlie dying, while at the cabin, the rest of siblings are dealing with their own struggles. old wounds are opened and slowly some resolution looks like it could be on its way, after much revealing conversation on how their lives have been impacted by their parent’s death. It’s one of those episodes that really allows things to be eventually expressed and for a bigger meaning to come in.

The ever dependable cast is on hand for great work that registers beautifully. Matthew Fox movingly displays the leadership Charlie has gained that is curtailed by the devastating blow of illness. He doesn’t want to admit that he is sick, but simply carry on as normal. Which is obviously going to be difficult, but you do feel bad on Charlie mainly due to the sympathetic work of Matthew Fox. Scott Wolf successfully charts Bailey’s recovery, that isn’t easy, but is worthwhile in establishing him again as a caring guy pulling his life back together. While he still has struggles, Bailey is now back to the amiable guy he was before, albeit one who has been through hell and managed to get himself sorted out. Neve Campbell is up to the task of making Julia both selfless and alternatively selfish, and yet you still can’t hate her. Julia is at the biggest crossroads of her life( wrestling with doubt and pangs of regret)  and feels that she has sacrificed enough for everyone else, making her occasional bout of self-absorption pretty reasonable. And as Campbell is adept at depicting the frequently misguided but longing Julia, you do feel for her. Lacey Chabert continues to impress as troubled Claudia, who is really having a rough time with everything that has transpired. She has for someone so young been through the wringer and Chabert is a mature performer who pulls off the melancholy confusion of Claudia. Jennifer Love Hewitt isn’t given as much to do as before, but her sweetness and sensitivity playing Sarah are still there in lovely fashion. And with regards to Jeremy London as the hopelessly unlucky Griffin, while the issue of him never amounting to anything is overplayed, London finds sympathy in there too. Paula Devicq returns more frequently here, and captures how Kirsten may be married, yet still has a love of Charlie that won’t ever go away.

So while it lacks some of the pull of past seasons, Season 4 of Party of Five has enough to recommend on the dramatic front.

Party of Five Season 3

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1990's, Alexondra Lee, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 3, Paula Devicq, Scott Wolf

We return to the dramas of the Salinger family in Party of Five Season 3 . With more strife and issues at play than ever before, Season 3 is probably the best season so far, due to the astonishing maturity and how it isn’t afraid to grapple with weighty and dark subject matter. Be aware, spoilers may follow in this review.

Bailey(Scott Wolf) has graduated high school and is heading to college nearby. The thing is he’s feeling lousy and worthless as his best friend Will is leaving for a better college. Also present are the latent feelings of being inadequate over opportunities he’s had to sacrifice, like using his money to pay for tuition to save the restaurant at the end of Season 2 and having to settle for a college closer to home. He moves into a dorm and meets free-spirited Callie(Alexondra Lee), who he impulsively sleeps with and deals with his own shortcomings. After dutiful girlfriend Sarah(Jennifer Love Hewitt) learns of this and saddened by is increasingly erratic behaviour, she breaks up with him. All of this spills into a dependence on alcohol that amounts to dangerous levels. Charlie(Matthew Fox) and Kirsten(Paula Devicq) are finally making another go of things and it looks pretty rosy for once. That is halted when it is revealed that Kirsten has manic depression which started after the botched wedding several months back. It comes to the surface when her dissertation reveals that she copied work from somewhere else, resulting in her losing her prized job and PhD that she worked hard for. She starts to slip worryingly into the wraps of depression and out of control as an unprepared Charlie flounders. Eventually, Kirsten’s parents arrive and after a tug of war with Charlie, she is taken away psychiatric help. This leaves Charlie deeply saddened and lost, though he finds some companionship in a social worker called Grace. Still it’s Kirsten that Charlie wants most of all. Julia’s(Neve Campbell) love life and future are in doubt, with Griffin(Jeremy London) bailing again(before returning late in the game with a more positive and driven attitude). With high school soon to be over, Julia reconsiders going to college and living up to the label of always by the bookish one in favour of something different. The only thing is she doesn’t know what to do, after being so well so for so long academically. Claudia(Lacey Chabert) begins to feel left out of things and as the family is at loggerheads, she tries to bring them back together( for the sake of youngest brother Owen who as a toddler needs looking after) even though it shouldn’t be her responsibility. All of these events combine and threaten to tear the once close family completely apart.

As I’ve covered in the past when discussing Party of Five, it is a show that works on the emotions well. Yet it doesn’t feel contrived or overly manipulative because of the clarity of writing and content. Season 3 is no exception, albeit that is traverses darker territory than before. The Kirsten depression story line is honest and heart wrenching to watch as she slips into darkness and is eventually taken away for help, which devastates Charlie. It’s sad because Charlie wants to deal with it himself but is clearly out of his depth, despite the fact that he wants to help. If you don’t shed tears when Kirsten is taken away for treatment, you clearly need to examine yourself.

And big praise should be extended to the dealing with of Bailey’s drinking arc; which gradually begins to unravel, as opposed to all at once. The fact that time is taken to establish the slope that Bailey goes down through one drink here and a knock that influences a binge there, is exemplary and believable in how it tackles the insidious effects of alcoholism. A massive wallop and clout comes through in Season 3, with Bailey’s story the most dramatically and challenging one. Take for example ‘The Intervention’, which for my money is the standout episode of not just this season, but so far the show. the family, along with Sarah and Grace, confront Bailey and attempt to make him realise his destructiveness and drink problem. A real gut punch is present as everything comes spilling out with the strained family trying to save one of their own, but who may be beyond the point of rescuing. Things don’t go as you think they might in this heartbreaking episode that feels like a stage play, through the enclosed setting that scarcely leaves the house and the sheer intensity of the piece. Trust me, this episode will emotionally exhaust you with how deeply it pierces and how it doesn’t take the easy way out. And what follows as Bailey endangers Sarah makes for equally soulful and shattering viewing.

All in all, Season 3 darkest and most mature season so far. It starts slightly slow and some of the sub plots don’t quite add much at first, but gets into the groove of things quickly and with a sensitivity that’s been its chief asset. it still retains some of the earnest humour it has always had, but Season 3 is by far the most emotionally and bleak series so far and all the better for that. By the far the biggest theme that permeates from Season 3 is change. Whether it be Bailey’s spiral to Charlie’s growing backbone and Claudia’s reluctant maturity, transformation and challenging growth are the name of the game. Heck, even slacker Griffin returns and adopts a more positive and hopeful attitude than his usual

Scott Wolf delivers his most impressive performance so far as Bailey, who goes from the fun yet mainly responsible sibling to pathetic and angry drunk in devastating fashion. He honestly conveys the descent and feeling of being worthless that Bailey feels, as he’s always been the one to help but never really thought of himself. The boiling frustration reaches a maximum when his drinking spins out of control and Wolf’s tragic and heartbreaking performance only adds to the dramatic intensity. Matthew Fox turns in a sympathetic portrayal if Charlie, who is finally getting to be responsible after so long being anything but. Fox finds a genuine care in Charlie, that despite his stubbornness and less than ideal sense of support in the past, is still very apparent as he fights to keep the family in one piece. Neve Campbell hits the effective beats of capricious and mixed up emotions excellently, showing Julia as wanting to change and feel some form of release. After being the studious sibling for a long, she wants to let her hair down and live in the moment. Lacey Chabert as Claudia grows up quicker and assume some control, albeit of the reluctant kind that any young kid shouldn’t have to deal with. It’s something that weighs heavy on Claudia and Lacey Chabert is heartbreaking and strikingly precocious in how she presents the unwanted responsibility that Claudia must take on to preserve her family. And damn if she isn’t emotionally convincing when the drama hits. Appearing largely in the first half of the season and making a big emotional impact is Paula Devicq playing the depressed Kirsten. Trust me when I say she inhabits that crippling impact of the condition with moving clarity and pain, that it doesn’t even feel like she’s acting sometimes. Genuine decency and a capacity for forgiveness can be difficult to portray without becoming parody, but Jennifer Love Hewitt beautifully finds a convincing way to do it as supportive Sarah. Even though Bailey hurts her, she still wants to help him as she knows there is good underneath his drunken state. Alexondra Lee successfully appears as the free-living Callie, who isn’t as uninhibited as she makes out and grows weary of Bailey’s drinking. Jeremy London finally gets to be a bit more than scowling and handsome, finding a desire within Griffin to finally make something of life and not just be a lay about.

A dark and dramatic third season, Party of Five is at the top of its game with powerful acting and genuine heft. This allows it to be the best season so far.

Party of Five Season 2

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1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Michael Goorjian, Neve Campbell, Party of Five, Party of Five Season 2, Paula Devicq, Scott Grimes, Scott Wolf

We return to the journey and lives of the Salinger clan in Season 2 of Party of Five. Building on the set up from Season 1, this sophomore installment is just as good in how it deals with tough themes and explores relatable events. Be warned, spoilers will follow.

Charlie(Matthew Fox) and Kirsten(Paula Devicq) are now engaged after many hiccups in their relationship and thinks seem to be improving. Yet more upheaval and chaos throws a spanner in the works and a multitude of things stand in their way. It culminates in Charlie getting cold feet and callings off the wedding, despite the fact that they love each other. Bailey(Scott Wolf) is still struggling to come to terms with the death of Jill, despite the best efforts of buddy Will(Scott Grimes) to bring him out of his shell. At first he largely doesn’t notice sweet Sarah Reeves(Jennifer Love Hewitt), who has an obvious crush on him. But even when he begins to date her, it becomes clear that Bailey is wanting to escape his life that he sees as hopeless. Sarah also has her own struggles, but thankfully brings out some happiness in Bailey. Julia(Neve Campbell) experiences a crisis of the heart regarding her nice boyfriend Justin( Michael Goorjian)and the bad boy Griffin(Jeremy London). Justin breaks up with her after finding out about her tryst with Griffin, then things become more complex for her and Griffin. Julia doesn’t know how to deal with her emotions that are tangled to say the least. It appears that she finally gets a grip on her love life once and for all by reuniting with Justin. Then something really drastic happens and Julia is thrown into a massive tailspin. Claudia(Lacey Chabert), who has now entered junior high school, finds it difficult to adjust to being older and the pressures of puberty. Hanging out with a troublemaker at school, Claudia begins to rebel a lot. And baby Owen is finally starting nursery, while still needing the mature caring of his siblings in the place of parents. It’s another eventful journey for the Salinger’s as life poses a lot on them, but hopefully through unity they can survive.

Just like I predicted, Season 2 expands on what the debut season set up, finding firm footing in giving more attention to the individual characters, as well as the whole thing of family. The arcs of the characters have depth and honesty to them, tapping into themes of change, lying, love and even the return of their long lost grandfather. And issues faced with honest rendering and impactful force are sexual harassment, teenage pregnancy and commitment, showing the show dealing with complexity and intimacy in a way it knows already in this early stage to manage. Balanced among this is healthy doses of humour that enliven events, yet never get too over the top and take away from the moving stories at its heart. While I don’t think there is anyone who has gone through all of the issues mentioned in such a short space of time, Party of Five boasts a gravity and slices of realism to ground it in the most effective way. You do give a damn about these people and it isn’t a chore to watch the tribulations they must do battle with. Even if some of the stories don’t work as well as others, the overall impact and high quality rise it above just common teen drama into something more moving.

The episode of the wedding is a pretty effective one of highs and lows as Charlie and Kirsten attempt to salvage something but are ultimately at different ends of the spectrum. It’s a real heartbreaking episode as you know the two are meant to be together but are both unsure of what the future holds. Reconciliation could be on the cards, but if so it’s not going to be an easy ride for either party. Equally as wrenching is the episode of Julia discovering she’s pregnant and faced with a very difficult decision. We get to see how everyone reacts to this news and how it impacts on young Julia.  Eventually settling on having an abortion, Julia then experiences a miscarriage that devastates her. As she has no female role model to confide in, she finds unlikely support in the form of the usually not so helpful Charlie. An honest and authentic atmosphere is present throughout this episode, highlighting the issues of teen pregnancy and abortion sensitively.

Scott Wolf rocks it playing the frustration and pain of Bailey, while imbuing a charm and energy that could be the characters saving grace. Once more, Wolf allows Bailey to be troubled, but not so much as we can’t relate to him on a personal level. Matthew Fox impresses again as Charlie; whose coping mechanism of pushing those he loves away makes for drama. scared that his while life has been planned our for him already and wanting escape is rendered excellently by Fox. Neve Campbell hits the right notes with an emotion driven performance as mixed up Julia. You genuinely buy into her turmoil and gamut of unfortunately difficult events she encounters. Campbell nails the intelligence of Julia, but like most people, the pangs of confusion, guilt and unfortunate turbulence are all evoked in her more than capable hands for us to see. Lacey Chabert mixes childlike innocence with playful maturity as Claudia, whose finding out that growing up and all it entails is rough business. Jennifer Love Hewitt joins the cast as the sensitive Sarah, who provides a love interest for Bailey. Possessing an adorable smile and a gentleness, Hewitt is touching and charming in equal measure. She immediately gels with the other members of the cast and slots in nicely as a kind-hearted girl. The main chemistry between the main cast is as splendid as the first season, boasting a deep believability that these people are related. Paula Devicq steps up as Kirsten. I mentioned in my last review that she was a tad wooden last season, but she really shakes at off here with a very good performance. She’s got a sensitive depth and emotive ability that is on full display and shows Kirsten becoming more conflicted over her feelings with Charlie that are frequently challenged and come to a dramatic head. Good support and humour is glimpsed with Scott Grimes returning as loyal best friend Will. Michael Goorjian and Jeremy London provide the two very different love interests for Julia; the sarcastic Justin and rebellious Griffin.

Another impressive season of Party of Five, this second part is an emotionally invested and finely tuned triumph, benefiting from the fine cast and writing.

Party of Five Season 1

Tags

1990's, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 1, Paula Devicq, Scott Grimes, Scott Wolf

I recently found Party of Five on Netflix, having heard about it being popular in the 90’s. So I decided to give it a watch and I’m happy I did. Focusing around five siblings as they come to terms with the tragic death of their parents, it makes for earnest, moving and excellent television. What could have been an overly melodramatic concept, instead captures the things that young people go through smartly and with substance. Be warned, spoilers will probably follow in my overview of this promising first season.

It has been six months since the Salinger siblings lost their parents in a car accident and they are all still dealing with it. The orphans are oldest son Charlie(Matthew Fox); an immature, occasionally selfish 24-year-old who is appointed the head of the family; Bailey(Scott Wolf), the responsible but hapless 16-year-old; sensitive and awkward Julia(Neve Campbell); child prodigy Claudia(Lacey Chabert) and baby Owen. Each of them is trying to stay afloat and keep going with their lives, despite having responsibilities they are not ready for, thrust upon them. The shift in dynamics strains them all, as Charlie is not the most natural leader there is and frequently screws up. Bailey has to make sacrifices because of his maturity, which in turn causes his grades and teenage life to slide. Julia, who is a natural with poetry and writing, feels lost and begins to experiment with trying to be popular and accepted. And little Claudia, who is never far from her violin, is often the catalyst for mischief and sometimes soul-searching questions. The arrival of young Kirsten(Paula Devicq), who is hired as a nanny helps with things, yet gets equally complicated when her and Charlie become involved. The dramas and mounting pressures in their lives( loyalty, struggles to find oneself, love, keeping their father’s restaurant going and the nature of grief) is a constant burden as they really have no one to look up to. And with the many troubles of being a youth brings, it’s going to take a lot for them to get through everything that lies in wait for them. Through it all, the Salinger family, through frequently close to falling apart, manage to stick together through their respective grief and care.

There is something very organic about Party of Five; be it in the conversations of the characters or how they deal with things. Sure there is a lot of dramatic impact that is generated through the content, yet it feels very natural and how a family would be. The Salinger clan are relatable because of the way they are written, with the scripts fleshing out their tumultuous lives and fractured but alternately tight-knit closeness. The show stays on the right side of earnestness, only dipping its toes into sentimentality on the rarest of occasions. Originality is not what the show is going for, as it has the angst, hardships and relationships of adolescence in abundance. But that isn’t a deterrent from it, far from it in fact. Party of Five is a drama about the bonds of family and a mighty fine one at that. To be honest, lack of originality rarely bothers me when something is well made. The show isn’t attempting to be overly intellectual, and yet it does have significant clout when it comes to dealing with difficult issues sensitively. It’s the emotions that it really goes for and thankfully it never feels manipulative in how it elicits them. Too many dramas aimed at teenagers and young adults are superficial and shallow; Party of Five has a lot more on its mind and rises to a good level of genuine thematic material.  The inclusion of a soft guitar score is another thing that helps shape the show, with how it creeps in and nicely aids with its naturalness and calm.

The tropes of growing up and discovering the complexities of life, seen from Bailey’s unfortunately tragic relationship with a girl hooked on drugs that he can’t see at first or Julia discovering that her late mother, who she idolized, might have had an affair are just a few examples of what is covered. And while the show is eventful, it gives equal time to each of the characters stories, that often intertwine with each other. Not every episode is a knockout, but really when is that the case in any show? But the vast majority of the episodes depicting the struggles and journey of the Salinger family are engaging and filled with sincere emotional weight. And even though the main premise casts a tragic air over things, Party of Five is far from just an epic downer. It inevitably has a sadness to it that is well shown, but there is humour, drama and heartfelt reflection that round out events nicely. Life may be unfair and difficult for the Salinger clan, but the overall message is one of hope, even in the darkest circumstances. Season 1 is the set up of the show and it promises a lot more to come. I reckon Season 2, like most shows, will be the main step up and really hit its stride. Not that this debut season is a slouch, I feel it will become more expansive and build on the impressive building blocks that this has formed.

Scott Wolf leads as the reliable Bailey, who is the guy who fixes things yet often gets things wrong too. He is still a teenager at the end of the day, whose had to grow up fast and is more than a bit resentful of that fact. Bailey mainly represents the assertive but unlucky spine of the family and its core, which Scott Wolf unaffectedly brings out. It’s hard not to root for him, especially when the chips are down. Playing the part of reluctant guardian Charlie is Matthew Fox, who also impresses. Fox strikes the right balance between Charlie’s desire to live his life and the sacrifices that he’s had to employ to keep his siblings together. Charlie is a guy trying to assert authority, but being constantly challenged with the feeling that he’s not up to it, which is where Fox really hits the mark. Neve Campbell is incredibly convincing as Julia, whose always searching for herself and uncertain of her identity. This confusion is played very well by Campbell, who immediately gains our sympathies and successfully embodies the depth of Julia’s struggles with adjustment. Sensitivity tinged with melancholy colours the sensitive Julia, as her kindness and search for answers moves you. By far the best thing in Party of Five is how well the cast works together. They are immensely believable as a family going through change and the unfairness of life. From their interactions, misunderstandings and ties, we witness a family close to the edge but slowly pulling back up to some form of normality. Little Lacey Chabert is delightfully as the precocious Claudia, who is mature in many ways but still very much a child. She’s funny, petulant and at times wise beyond her years, all performed with effervescence by the young Chabert, who shows no sign of nerves when acting alongside older performers. Paula Devicq, while a bit wooden at first, certainly grows on you as the romantic interest of Kirsten, while Scott Grimes supplies humour as Bailey’s wise-cracking best friend Will.

A heartfelt family drama that never feels too forced or hackneyed, Party of Five is an honest and eminently watchable series that has me very much interested to see what future installments hold. If Season 1 is anything to go by, it must be good.

Dark Angel

Tags

2010's, Alun Armstrong, Based on a true story, Crime, Dark Angel, Drama, Joanne Froggatt, Jonas Armstrong, Laura Morgan, Mary Ann Cotton, Penny Layden, Sam Hoare, Thomas Howes, Tom Varey

A two-part mini series recounting the life of Victorian serial killer and black widow Mary Ann Cotton, Dark Angel is pretty chilling stuff to watch. Though I feel it could have been more effective of it had more episodes, Dark Angel still hits the creepy notes of disturbance and turmoil that evoked the hardships of life at the time and how one woman took murderous charge over her own. Be warned, spoilers will follow in my review of the series based on true events.

We begin with Mary Ann Cotton(Joanne Froggatt) in prison in Durham, England, awaiting her execution by hanging in 1873. From here, we flashback to many years before when she came back to her home along with her first husband William(Tom Varey) and a young daughter. She had lost five children through gastric fever and coming back was something of an attempted fresh start. She moves in with her mother(Penny Layden) and step father(Alun Armstrong) for a while, yet when William gets a job on a steamship they have to move. Several children later and several more deaths follow Mary Ann, who finds the bed sit she lives in a dirty and horrible place designed to crush her spirit. Importantly, she has to purchase arsenic to get rid of bed bugs in the dank home. When William returns from work with a busted leg which means the family won’t be able to survive with no one earning money, a light comes on in Mary Ann’s head. Knowing that William has taken out life insurance( which was just coming into prominence with many families at the time), she slowly begins poisoning him by lacing his meals and tea with arsenic. William eventually dies painfully and his death is put down to disease, as it was so rife at the time. Mary Ann collects on the life insurance as a result of this and survives from possibly starving. Seeing how easy this is, Mary Ann moves around the North East and continues to gain more husbands, who all perish( but one) when they become no use to her anymore or can’t provide for her. And it isn’t just husbands that drop like flies, step-children, her own mother and best friend all end up six feet under, ensuring more money for her and that she won’t be found out. It is only years later that a suspicious grocer finds the woman a little menacing and slowly deduces how evil this Mary Ann Cotton truly is; leading to her arrest and eventual hanging.

Kudos to Dark Angel for how it telegraphs the squalor of Victorian life and how dank it all was. With a grey and brown colour palette, the world is unrelentingly grim for Mary Ann, who obviously chafed at her lack of prospects and eventually turned to murder to assert some form of power. Seriously, Dark Angel is enough to put anyone off tea for a long time, watching as this was one of Mary Ann’s wicked ways of slipping poison to her unwitting victims. I never thought the words ‘Everything will look better after a nice cup of tea’ could carry so much malevolence. Now the issue of pace is something of a double-edged sword as far as Dark Angel is concerned. On one hand, it moves pretty rapidly that it can be hard to keep up with what time frame we are in and what exactly is happening. Yet in another breath, it also conveys the grim efficiency of Mary Ann and how she managed to elude detection for so long by moving about and insidiously worming her way into people’s lives. Overall, the uneasiness is pretty darn effective, though I couldn’t escape that lingering feeling that a few more episodes may have done the story more justice. For what it’s worth, Dark Angel is still alarmingly watchable, as there is something grimly fascinating about watching how an average woman of the time took devious command of her life after feeling so slighted by the hand it had dealt her. And though we know the end result, it’s the lead up the captures the most interest for a lot of it. Be warned that Dark Angel is more than a little squirm inducing as historians have estimated that she may have killed up to 21 people, though we don’t see this, what we do witness certainly makes it appear possible that she was capable of anything. We may never really know why Mary Ann Cotton did what she did, but this drama provides a compelling visualization of her emergence as a woman of greed and horror. The music used is pretty minimal and through this, out attention is drawn more to the darkness and stark nature of this horrifying true story.

Joanne Froggatt is the series ace in the hole, embodying the part of Mary Ann Cotton exquisitely. At first, there is some genuine sympathy that Joanne Froggatt projects as Mary Ann; you can clearly see that life is one long drudge of housework, child rearing and soul-crushing poverty in the beginning. It’s the following events as she becomes very selfish and callous, killing anyone who stands in her way to financial gain or security that make the part truly horrifying. Froggatt doesn’t miss a beat, charting the rise in her killer instinct and avaricious ways that are captured through nuances of seductive charm, boiled anger and unrepentant mind. I admire her commitment to the role and how she played it with a certain subtlety rather than going for an overtly dramatic approach. Alun Armstrong is particularly good as the stepfather; a hardworking man who can’t help but have that nagging concern that something is just not right. The same goes for Penny Layden who compliments him well as Mary Ann’s mother, who while caring for her daughter, just doesn’t have the strength to shake off her suspicions of foul play. Sam Hoare is seen the most out of the four husband’s as he plays the rich and grieving widower in need of a nanny for his children. Hoare gets the sadness of the character across, but wisely he is the only husband to live as he realises that Mary Ann is not the sweet girl who came into his house when he discovers her thieving of money from his account. Jonas Armstrong plays Joe, a bit of rough who engages in a long affair with the devious Mary Ann. The part doesn’t particular call for a lot, but Armstrong gets the uncouth manner of the miner right enough. Laura Morgan fares very well in the supporting part of Mary Ann’s unsuspecting best friend, while as two of the unfortunate men who are offed by the wicked woman, Tom Varey and Thomas Howes evoke sympathy in their brief tenures.

So while it could have benefited from some more expansion to it, Dark Angel successfully gets by due to the shock of it all and the excellent work from Joanne Froggatt as the murderous Mary Ann Cotton.

And if anyone wants to get an idea of the series, below is the trailer.

Alias Season 5

Tags

2000's, Alias, Alias Season 5, Amy Acker, Élodie Bouchez, Balthazar Getty, Carl Lumbly, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Mia Maestro, Michael Vartan, Rachel Nichols, Ron Rifkin, Victor Garber

I’ve finally arrived at the final season Alias. After an eventful run, here is where everything finishes. I have totally enjoyed watching this engaging show that combined spies and dramas. So the final season of the show has a lot riding on it to wrap things up and provide good closure. I’m happy to report that it does just that. It may not be the finest season of the show, but it successfully provides us with a thrilling finish to remember as Sydney Bristow’s emotional journey in the spy world comes to an end. Caution, big spoilers will be found in this review as it is the last season and a lot happens.

We open right where Season 4 left us with Vaughn(Michael Vartan) opening up to Sydney(Jennifer Garner) about how he has secrets and that his name isn’t really Michael Vaughn. A car crash soon cuts these revelations short as Vaughn is abducted during this. These events leave Sydney reeling as she attempts to fathom everything going on. She learns that Vaughn is under suspicion of being a double agent, which throws her into shock. Vaughn manages to explain his past after escaping. His real name is Andre and he has been investigating Prophet Five, a mysterious and deadly organisation that his late father was somehow linked to. It is a complex network with underling offices such as The Shed, and Vaughn has been pursuing it with the help of known criminal Renée Rienne(Élodie Bouchez) . There is also some unexpected news for Sydney; she’s pregnant. Just as Sydney is processing some of this information, Vaughn is seemingly killed and this leaves an expectant Sydney grief-stricken. Meanwhile, Jack(Victor Garber) has been made director of APO as Sloane(Ron Rifkin) is incarcerated for his participation in the Rambaldi events in Russia. Sloane has undergone something of a change as his daughter Nadia(Mia Maestro) lies in a coma as a result of his actions and he is prepared to do anything to save her. With the presence of Prophet Five hanging over everything and Rambaldi seemingly part of it, it is not going to be easy in dismantling this evil power. New additions to the APO team are hot-headed and unorthodox Thomas Grace(Balthazar Getty) and Rachel Gibson(Rachel Nichols), a computer analyst who worked for The Shed but was duped into believing it was the US government. Though pregnant, Sydney refuses to back down from work as she fights to bring down Prophet Five, with the help of her father, Dixon(Carl Lumbly), Marshall(Kevin Weisman) and just about anyone else who can provide information. This is going to be the most difficult task for her yet and there will plenty of surprises along the way for her and the threat of Prophet Five’s end game looms larger.

As I mentioned earlier, Season 5 is not a vintage season of Alias, but that doesn’t mean that it isn’t great. It is in fact very thrilling and driven by characters, all of which I’ve come to love about the show from creator J.J Abrams. The fact that the season is a little shorter than the others brings about an immediacy to the work presented, allowing both excitement and intrigue. And you can never say that Alias is dull because there is always something eventful happening. Alias retains the interest factor that has been with it even when not at its best, and this technique is employed to the fullest here. The incorporation of Sydney’s pregnancy coincided with Jennifer Garner’s real life expectancy and while this could have put some of the show on the back burner, it actually deepens the story as Sydney is protecting not just herself but her unborn child. Death plays a significant part in this last season, whether it be genuine death or simulated death. The ‘death’ of Vaughn is a gripping way to open, as I was just gobsmacked by what we are lead to believe is his demise. Thankfully through the revealing nature of the show, heroic Vaughn faked his death to save himself. There are also the deaths of Nadia and Jack, which are laced with sadness and will be discussed later in this review. Even at the end, Alias displays how inventive and unpredictable it can be having never lost the element of surprise. And I liked how all the villains from the past( like Sark and Irina) came out of the woodwork here for a final showdown of good against evil. There is a few missteps along the way which I will discuss. The characters of Weiss(Greg Grunberg) and Nadia are somewhat secondary this season which is a shame as I like both of them. Nadia has more to do than Weiss, but both suffer from a lack of material for either. There is a sense of repetition going in some of the stories here that is a bit disjointed if I’m honest as some of it has been done better in the past. Some of the episodes are a little up and down, but once the pace is settled it soars. These flaws though are relatively minor and in the scheme of things don’t do harm to what is a very good final season.

The emotional pull of Alias is very much still on show, in between the action and revelations. With it being the final season, there are tons of memorable moments of deep emotion to be discovered. The slick and stylish additions of the show are still in tact and continue to generate excitement. And the music is still a major highlight; this time setting the emotion driven season with a bittersweet core. Episodes of note are plentiful. The opening of ‘Prophet Five’ has plenty of shocks, not least the ‘death’ of Vaughn at the centre of it. The dazzling old school vibe of ‘Bob’ makes for a cool episode of intrigue and double crosses, as an old enemy makes himself known to everyone once again. Sydney gives birth to a baby girl in ‘Maternal Instinct’, while coming to terms with the return of her traitorous mother Irina, whose working for Prophet Five and has some revealing truth for her daughter. This is followed by the superb ‘There’s Only One Sydney Bristow’ which more than lives up to that title and stands as one of the best episodes Alias has produced in its history. And of course I have to talk of the exceptional finale ‘All The Time in the World’ which is eventful and very satisfying as a close to the series. The end game of Sloane, who has used Prophet Five, is finally revealed; through the use of a Rambaldi artifact he hopes to gain immortality. Elsewhere, Irina is orchestrating a devastating attack on major powers around the world. Sydney and the crew suit up for an epic showdown. There is Sloane becoming immortal, yet becoming trapped underground forever with his sins as comeuppance for everything he has done. This is thanks to a dying Jack, who was injured by Sloane, but goes out with a bang by imprisoning him where no one will find him as revenge for the torture he has plagued Sydney with. Sydney does battle with her mother, but her mother’s greed is what ultimately causes her death. In the end with all of the scores settled, we catch up seven years later with Sydney and Vaughn who are semi-retired and living in peace with two children. The ending is such a really moving one that while happy, has notes of sadness as the show has finally finished. There won’t be a dry eye in the house by the end, in the best possible way.

In this final season, the acting is sublime especially in the main cast. For the final time, Jennifer Garner rocks it as the centre of the show that is Sydney. Both physically and emotionally strong, we have journeyed with Sydney thanks to the stunning work of Garner. She has completely become the character whose determination will not be halted by anyone. It’s a complete performance of conflicting emotions and actions that remains immensely memorable throughout. We glimpse Sydney’s desires, fears and heart through the investment of the performance. Jennifer Garner is the anchor that is Sydney Bristow, and it is as simple as that. Michael Vartan, though absent through the first part of the season, provides this season with the mystery and moving moments as Vaughn must fake his death to escape being terminated by Prophet Five. The love shared between Sydney and Vaughn is here in all its glory and it’s lovely to see them together again. Throughout the show, the depth of their connection has never failed to move me and it does more than that here. Stalwart Victor Garber is his dependable self as the dedicated Jack now with an authoritative stamp, yet not above breaking the rules for the good of those closest. Jack has been one of my favourite characters within the show and he shines here. Ron Rifkin plays Sloane at his most sympathetic, yet never forgets the temptations of the man. I don’t know how Rifkin does it but he has this ability to make you really hate Sloane and then moments later feel bad for him. It’s a very good gift to have and Rifkin has it in abundance, as Sloane sets out to save his daughter but is set upon by the darkness around him and within that turns him fully on to the side of evil.

Mia Maestro, despite not being given the best material, at least makes a mark as Nadia again. She invests a lot into the character that causes her eventual fate to be tragic as she is really a victim in all of the darkness going on. It would have been nice to have seen more of Élodie Bouchez as well, even though she did a credible job in her role of the criminal helping Sydney. These are the only two people who aren’t expanded on enough, but thankfully at least the rest of the characters are. Carl Lumbly, with his easy charisma and upright seriousness and Kevin Weisman with comedic antics, are both superb as respectively Dixon and Marshall. These characters have been with the show since the beginning so it was a joy to see them at their best. Rachel Nichols has a very good part as computer specialist Rachel Gibson, a character who has some resemblance to Sydney but thankfully isn’t a carbon copy. The fact that the Rachel character has been through a similar ordeal makes her relatable and even though she isn’t as adept as others, she shows her mettle. Balthazar Getty is impressive as Tom; a man of action who doesn’t know the meaning of by the book. At first his methods are at odds with Sydney’s, but eventually he wins her over as well as the rest of the team with his effectiveness. A very good addition the cast is Amy Acker as the spineless Kelly Peyton; a worker for Prophet Five whose seemingly pleasing demeanor masks a vicious and remorseless person. She makes for one nasty villain who looks innocent when looking at appearance, but is nothing like the sweet surface projected.

1. Prophet Five – A
2. 1 – B+
3. The Shed – B
4. Mockingbird – B+
5. Out of the Box – C-
6. Solo – B+
7. Fait Accompli – D+
8. Bob – A
9. The Horizon – B+
10. S.O.S – C
11. Maternal Instinct – A+
12. There’s Only One Sydney Bristow – A+
13. 30 Seconds – B
14. I See Dead People – B+
15. No Hard Feelings – B+
16. Reprisal – A
17. All the Time in the World – A+

Season 5 is a great way to finish the trials and tribulations of Sydney and other characters and it nicely bids a nice farewell to the audience who have become so invested in it.

It has been great watching this gripping show and Alias now ranks as one of my favourite television shows. I’m sad to finish it, but happy I watched it and experienced all of the events within it from the characters to the twisty stories. I bid Alias goodbye with fond memories of an inventive adventure that was as thrilling as it was deep and moving.

Alias Season 4

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2000's, Alias, Alias Season 4, Carl Lumbly, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Mia Maestro, Michael Vartan, Ron Rifkin, Victor Garber

After Season 3 derailed Alias somewhat, Season 4 gets things very much back on track. The cogs click into place and we are left with a wonderful season filled with what we’ve come to love and yet more surprising intrigue revolving around Sydney once more. Caution, spoilers will follow.

After encountering some cloak and dagger activities, Sydney Bristow(Jennifer Garner) is led to a new Black Ops division within the CIA, known as APO. She along with boyfriend Vaughn(Michael Vartan), Dixon(Carl Lumbly) and her father Jack(Victor Garber) have been selected for this newly formed unit which has all the necessary resources for missions and the back up of the rest of the CIA. The only hitch of this is that the superior of everyone here is Sloane(Ron Rifkin), Sydney’s biggest nemesis who she still doesn’t trust with anything. Although she is reluctant to work with Sloane, she accepts the job. Working in the job proves a lot harder for Sydney as she has to encounter the sneaky Sloane every day. Gadget man Marshall(Kevin Weisman) and amusing Weiss(Greg Grunberg) also join the team after deliberation. For Sydney though, she has unfinished business with her father that comes to light quickly. It appears that Jack had Sydney’s mother Irina killed as it became apparent that she had put a hit out on her daughter. Also, Nadia Santos(Mia Maestro) returns after her appearances in the final episodes of the last season. The half-sister of Sydney and the product of an affair between Irina Derevko and Sloane, Nadia didn’t want anything to do with the spy game in the beginning although she served in Argentine Intelligence for a time. But her required skills lead her to the agency( as well as a link to Rambaldi) and back to espionage again, also giving her a chance to know Sydney more. She establishes herself as a capable agent alongside Sydney, with who she grows closer to. In other stories, Vaughn(while tentatively getting back together with Sydney) is dealing with a lot of demons, mainly his wife’s betrayal last season and burgeoning knowledge about his father’s past that point to sinister machinations. Meanwhile, there is more Rambaldi and his prophecies to contend with as they get increasingly bizarre and extraordinary. Can APO function as an agency if there is distrust among everyone, in particular Sydney? Has Jack really had Irina killed, or is it more complex than that? And what is Sloane’s end game, if he has one? You’ll just have to watch to find out.

It is with gladness I report that Season 4 of Alias is a return to form for the show. The tonal diversity of the show reaches a peak here, successfully shifting between the genres thanks to Abrams and his team, with relative ease but staying rooted in the spy world and touching it with fantasy. The mixing of tropes is what made Alias a great show to begin with so with the focus going back to it, the results are inspired. The cinematic essence of the episodes is filled with a style that can’t be ignored and contributes to the fantastical quality of the show. The focused aspects of the show are back, after being sidelined a lot in Season 3 and are just as enjoyable as ever. The pounding music once more sets the amazing backdrop for the show to play out against. On the visual side, the title sequence this time is very accomplished and Sydney’s many disguises flash across the screen in rapid succession. Sure it is complex in terms of plotting, but it is meant to be and rightfully so. Trust has always been a significant theme throughout Alias but it is most explored here. Chiefly it is embodied in the fact that Sloane is the head of APO and Sydney doesn’t know how to ever trust someone who has been the enemy for so long. This only adds to the boiling intrigue of motives and actions as Alias takes flight once more. Father and daughter relationships take up quite a bit of the season too, as both Sydney and Nadia have their own issues with their respective elders. And the writing is pretty stellar as every one of the characters has something to face or come to terms with. One thing you can’t say about Alias is that it is predictable, as the twists and turns know exactly how to wrong foot you. The only real quibble I had was the short appearances of Sark. He has become one of my favourite characters and though he makes a showing here and there, it would have been nice to see more of the slimy villain. That being said, that is the only real problem I found with Season 4.

The cinematic opening two parts of ‘Authorized Personnel Only’ are especially excellent in announcing the return to greatness in a big way. We have the unnerving ‘Ice’, that features a deadly bio-weapon that causes the body to crystallize and implode on impact. Much squeamish activity colours the episode and creeps the audience out no end. The immensely disturbing and nightmarish ‘Nocturne’ is an unusual but compelling episode charting Sydney coming into contact with a hazardous drug and suffering horrifying hallucinations. The episode could easily be a horror short it is that spine-chilling and executed with style. There’s a nice recalling of the SD-6 days within ‘The Index’ as both Sydney and Dixon become suspicious that Sloane is up to his old tricks again and set out to prove it. One of the best episodes can be found in ‘The Orphan’ which utilizes imaginative techniques to flesh out the back story of Nadia and how she came to be the person we see now. Cutting between past and present with urgency, it greatly expands on the character of Nadia and her importance to the story.

The resourceful cast pull it out the bag again with great work. Jennifer Garner impresses again as Sydney; showcasing her stubborn personality and emotional depth with excellent degrees of shading. Sydney is an immensely developed character, but she gains bigger momentum through the work of Garner, who knows the right buttons to press to make us sympathise with Sydney and want her to survive everything thrown towards her. So many facets are present in Sydney; she’s strong yet vulnerable, tough but sensitive and assured yet emotional. All of this and more is found in the amazing work of Jennifer Garner. Michael Vartan does some of his best work as Vaughn in this season. The character has always had the heroic thing going on, so the detour into darkness clouding him is a good move for development. He is put in a situation that he really doesn’t know how to handle, and his anger becomes more pronounced. Victor Garber continues an impressive run of performances as Jack, who is a lot murkier than usual(which is really saying something). Jack definitely appears to be planning something this season, but as usual thanks to the cold and reticent quality of Garber’s acting we are never sure what it is. And as shifty as Jack is, his defining characteristic of being a protective father thankfully remains. The same can be said Ron Rifkin as he portrays Sloane with a crafty secrecy and mystery. We can also glimpse some actual humanity in the character as if he’s stuck between a rock and a hard place. Yet like the intuitive Sydney, we are wary of being trustful of him due to his past record.

The newest addition to the cast of Mia Maestro is a good one. Portraying Nadia as sassy, slightly rebellious but open-hearted, the character is one that bears similarities to Sydney but distinct differences too.  Maestro boasts great chemistry with Jennifer Garner and you genuinely buy them as sisters. The growing closeness is nicely observed, benefiting from the depth of the work from Maestro. Carl Lumbly plays Dixon as a determined and level-headed agent with degrees of respect of depth to it. The affable presence of Greg Grunberg covers the part of Weiss, who is just about one of the funniest things on Alias. And Kevin Weisman rocks it as Marshall, who gets out more in the field this time around. Weisman knows the exact tics to make Marshall both lovable and geeky at the same time.

1. Authorized Personnel Only Part 1 – A+
2. Authorized Personnel Only Part 2 – A
3. The Awful Truth – B
4. Ice – A
5. Welcome to Liberty Village – B-
6. Nocturne – A
7. Detente – B+
8. Echoes – C+
9. A Man of His Word – B
10. The Index – A
11. The Road Home – B-
12. The Orphan – A+
13. Tuesday – A
14. Nightingale – B+
15. Pandora – C
16. Another Mister Sloane – B-
17. A Clean Conscience – B+
18. Mirage – A
19. In Dreams – B
20. The Descent – A
21. Search and Rescue – B+
22. Before the Flood – B+

A welcome rebuilding year for Alias, Season 4 is a great penultimate season for the show with the recalling of the past and a wide showing of talent across the board. You can’t really ask for much more for a season and I know I am really excited to check out the final season.

Alias Season 3

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2000's, Alias, Alias Season 3, Carl Lumbly, David Anders, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Melissa George, Michael Vartan, Ron Rifkin, Victor Garber

Season 2 of Alias was a high point of the show, with the way it switched things up and delivered twists. It must have been hard to come up with a season that would measure up. And while Season 3 undoubtedly has its moments of greatness, it doesn’t quite reach the heights of the past two seasons. You can still enjoy the show however, despite the hiccups present in this flawed season. Caution, spoilers will follow.

We arrive back with Sydney Bristow(Jennifer Garner), who has discovered that for two years she has been missing and presumed dead. Plus she has been left with no real memory of what happened to her. When she returns to the CIA, a lot of things have changed in her absence. Dixon(Carl Lumbly) has been made one of the directors, her father Jack(Victor Garber) was imprisoned for converting with Irina for information on Sydney( though Sydney manages to secure his release), Sloane(Ron Rifkin) has made a deal with the CIA to give information on other criminals, tech wizard Marshall(Kevin Weisman) is expecting a child. The most devastating of all these changes is that Vaughn(Michael Vartan) is now married to NSC agent Lauren Reed(Melissa George), who helps out in operations. Vaughn temporarily left the CIA following what he thought was Sydney’s death, but is brought back into the fold once more. Sydney, while still strong, is frightened and wants to know what happened to her in those missing years. Having to see Vaughn on a day-to-day basis poses another struggle as she harbors deep romantic feelings that have been thwarted. Unbeknownst to Sydney and everyone else, Lauren is in fact working for a criminal organisation soon to be identified as The Covenant. One thing that Sydney does know, thanks to her father’s digging is that she shockingly killed a man, yet can’t recall how and why she did so. The burden of everything begins to weigh heavily upon a shocked and confused Sydney. Add to that Sark(David Anders) is at large again and the new organisation of The Covenant stirring up the criminal underworld, and it’s yet more complex motives to navigate. Will she discover, with the help of those around her such as good friend Weiss(Greg Grunberg), what sinister machinations The Covenant has and how those two years she lost are linked to them?

While it boasts some well crafted episodes, Season 3 falters and loses some momentum along the way of the journey. Parts of this season are undeniably flawed in the very least. There is a feeling that Abrams and his crew are trying to recapture the greatness of what they have built up, but misfires a bit in their attempts. The uneven tone of this season doesn’t help, as there are good episodes but also just as many sub-par ones. While Alias has always had a somewhat wacky premise to it, the other seasons kept it flowing in a good fashion. Here, they are running out of steam a little and it does show. I think some of it stems from the absence of both Irina and Will. Those two characters were very good and added their own touches to it, with Irina driving the last season. Granted Will appears once, but it’s only a short appearance. The writers try to distance from the formula but this doesn’t necessarily work as it tries to be too different to what has come before. And I can understand them wanting there to be drama between Sydney and Vaughn to some extent, but the inclusion of Lauren as the hurdle is not exactly great in terms of a storytelling device. I felt there needed to be more Rambaldi centred episodes of which the first half of Season 3 lacks. But as it progresses, Rambaldi returns once more. All of these negatives being said, I don’t think Season 3 is nearly as bad as some make out. It’s just the lack of focus that marks it down in my estimations.

Now that the negatives are out the way, I’ll talk of the positives to be gleaned. There is definitely many parts of Season 3 to praise as it isn’t a complete disaster; just can’t be categorized as vintage Alias like the first two seasons. The visual side of Alias remains intact, with brightly coloured settings and extraordinary costumes a real joy to observe. The editing is quick and frequently inventive as it follows Sydney’s dangerous everyday life. And the music is pretty stellar; having an electronic pulse but expanding into more orchestral and emotive flourishes. Despite some weaknesses with the plotting, Alias remains mysterious and can still grip when it hits the heights. Special mention must go to the following episodes. ‘Repercussions’ has Sydney and Lauren locking horns on how to deal with the case of a Covenant kingpin. Sloane is enlisted as a double agent and though he seems to want to help, Sydney won’t trust him in this fast-paced installment. ‘Prelude’ features the disturbing dreams of Sydney that could link to the past and her past misdeed being possibly discovered. This leads Jack to take desperate and dangerous action to protect his daughter from exposure. It’s one eventful episode that all ties back to Sydney’s missing years. ‘Full Disclosure’ is possibly the best episode of Season 3 as it gives some answers as to Sydney’s past that shake her to the core. It’s a revelation episode that knows how to keep you glued. Lauren’s duplicity comes close to being discovered in the tense ‘The Frame’ and ‘Unveiled’ in which Sydney and the CIA also have to keep tabs on a Rambaldi artefact that could be hazardous for all who want it.

Season 3 has its share of flaws, the acting thankfully from out of the cast isn’t one of them. Jennifer Garner aces it as Sydney, who is more vulnerable than ever. She can still kick ass when it is needed, but this season features Sydney at her most terrified and confused. Garner is a dab hand at getting across Sydney’s painful plight to discover the truth, despite her fear of what it may reveal. Garner is the only person who could play the role of Sydney this well and she owns it from head to toe. She is Sydney Bristow from start to finish thanks to her stellar and emotive acting. I continue to be impressed by the acting of Victor Garber as Jack. Given that the character is one who usually sports a poker face and a severely cynical outlook, it is amazing how much Garber can bring out in Jack, particularly his concern for his daughter. Through small gestures, Victor Garber demonstrates an immense subtlety and quiet power in the role that he makes all his own. Carl Lumbly plays with low-key brilliance Dixon, who is now in a higher position within the agency. The down to earth charisma and soulfulness are thankfully still present in the character and the great delivery of Lumbly. Ron Rifkin essays the part of Sloane, who has allegedly come over to the side of good, but is still crafty as a fox. Rifkin is most successful at showing Sloane’s manipulative and creepy tendencies as he knows how to reel people in with his ways and get them to divulge what he needs. Some great scenes are generated from his meetings with Sydney who he toys with, yet can’t beat due to her quick wit and intellect in not succumbing to him. He’s something of a complex villain, who alternates between strangely sympathetic and downright evil holding all the cards thanks to the good work of Rifkin. Michael Vartan continues to grow as Vaughn, who is caught in a moral quagmire between his undying love for Sydney and his new wife. Although he tries to hide it, Vaughn still can’t let Sydney go because of how much history they share. A darkness also colours Vaughn this season that adds significant depth to the latter half. Michael Vartan knows how to hit the right notes of indecision and dilemma as Vaughn is forced to acknowledge his feelings.

The most problematic role of the show is that of the deceptive Lauren. Melissa George is a very good actress, but even she can’t save a woefully underwritten part. The character is supposed to be assertive and slightly innocent, but the way she comes off is as a petulant girl rather than cold-blooded agent. None of this is George’s fault as she tries her best, Lauren just doesn’t hold the interest that well in the main frame of the stories. Reptilian nastiness and suave sophistication are embodied by David Anders returning as the opportunistic Sark. Anders can turn the charm on like no ones business but can be devilishly cool as well as cruel, making Sark even more despicable. Kevin Weisman is an utter hoot playing Marshall once more, it’s impossible not to laugh at his comic timing and array of facial expressions. Comic relief also comes courtesy of Greg Grunberg as friendly Weiss. Weiss is the kind of person who you could talk to about anything and he’d have a funny answer to it. With Grunberg in the part, he becomes a good asset for Alias.

1. The Two – C+
2. Succession – C-
3. Reunion – B+
4. A Missing Link – D
5. Repercussions – A
6. The Nemesis – B
7. Prelude – A
8. Breaking Point – C-
9. Conscious – B
10. Remnants – C
11. Full Disclosure – A+
12. Crossings – B-
13. After Six – B+
14. Blowback – D
15. Facade – D-
16. Taken – B+
17. The Frame – A
18. Unveiled – A
19. Hourglass – B
20. Blood Ties – C+
21. Legacy – B
22. Resurrection – B+

It’s not to say that Season 3 of Alias is horrendous, in fact parts of it are very good thanks to the cast and how it still provides thrills. It just happens to be the most flawed season of Alias thus far. Still, it can be enjoyed, though one hopes Season 4 is a lot more coherent and thought out.

Alias Season 2

Tags

2000's, Alias, Alias Season 2, Bradley Cooper, Carl Lumbly, David Anders, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Lena Olin, Merrin Dungey, Michael Vartan, Ron Rifkin, Victor Garber

Continuing from that jaw-dropping mother of a cliffhanger that Season 1 provided, Season 2 of Alias is a stellar follow on that is even better than the debut season. Introducing new dynamics plus one hell of a game changer in the middle, its compulsive television. Be warned, big spoilers will follow in this jam-packed review of the enthralling Season 2.

We open where we left off as Sydney(Jennifer Garner) comes face to face with her mother Irina Derevko(Lena Olin), who she first believed was dead but later discovered the deception of how she was a KGB agent. Things get more complex when her mother turns herself into the CIA. Sydney’s father and fellow double agent Jack(Victor Garber) is not so convinced that Irina will co-operate in bringing down SD-6, like she claims she will and sets out to prove this. But Sydney despite her better judgement, grows a little closer to her mother and Irina does provide some valuable information. Yet what does she get in the long run? That is the question on everyone’s lips. Sydney and Jack are forced to confront Irina and at times work with her, which makes events complex and challenging as no one knows what her motives are. Meanwhile, Vaughn(Michael Vartan) survived after he seemed to have drowned and returns to the CIA. He finds that his feelings for Sydney have gotten a lot more personal, but are restricted due to company protocol. Ruthless Sloane(Ron Rifkin) has now been given a seat in the Alliance, but is haunted by the fact that his wife who he supposedly killed may still be alive and used as leverage against him in an attempt to undermine him. Everything Sloane has worked for starts to fall away as the intrigue grows. The malevolent and slimy criminal Sark(David Anders) arrive back on the scene and offers his services to SD-6, who accept due to his knowledge. Yet this underscores a level of suspicion as Sydney is reticent of getting close to Sark because of how slippery he is and curious about what his true nature is. The role of Will(Bradley Cooper) changes as he stops being a reporter under duress and now aware of Sydney’s double life, is employed as an analyst for the CIA, which helps with matters pertaining to espionage without leading to jeopardy once more. Although Will now knows, she still has to keep her spy work concealed from best friend Francie and other colleagues at SD-6. Loyal Dixon(Carl Lumbly) begins to question whether Sydney is really a worker for SD-6 or a double agent, causing more conflict. As the roles of her friends change and she must face her own problems, it’s another eventful day for Sydney Bristow in the game of espionage, procuring objects of the mysterious Rambaldi and sabotaging SD-6 until it completely obliterates.

Right off the bat, we are thrust back into the perilous world of Alias, where fun can be had in equal measure. J.J. Abrams, and his team of writers and directors, fashion more crazy but hugely engaging stories for us to savor as Sydney does battle with enemies and even those closest. One of the reasons Alias is a good show is that it can juggle the balls of genres with relative ease. The package is one where you don’t have to suspend belief at various points but you are that fully immersed in the depth of most of it, that you can’t look away. The show has familiar elements like the cliffhanger structure, but this season shifts gears and occasionally takes another route which in turn makes it more intriguing and watchable. The expansion of greatness makes sure this season doesn’t suffer from a slump, instead being the opposite.

The introduction of Irina is a key example of upping the ante and giving more dynamics to a show that prides itself on its shifts in tone. The drama neatly goes hand in hand with the intrigue, allowing emotional interludes and Sydney’s globe-trotting missions where she dresses up in yet more colourful costumes, to be equally as riveting. Some may find the convoluted nature of Alias confusing, but once you get in its hard to resist. On the technical front, the editing and array of camera techniques keep Alias going along as quick as a speeding bullet with style to boot. The electronic beats of the score are twinned with emotive strings and distorted voices for a peculiar but haunting effect.

And here comes the big one that makes this season special. About midway through, the show does a ballsy move by having SD-6 destroyed in a real standout episode entitled ‘Phase One’. Seriously I can’t remember the last time an episode of television thrilled me as much as this one. Through discovering specific files and a computer server, Sydney and other CIA agents finally take down the corrupt organisation, though not without danger. If you want an eventful hour of television this is it. You have Sydney and Vaughn finally kissing, a sexy opener and the shocking killing of Francie, who is subsequently impersonated by a double. It is a work of television art that does everything right and more than delivers shocks in it. The impact of this is felt throughout the later half of the season and cements Alias as a show willing to take risk. More episodes of note are plentiful. A killer opening of revelations is just the right thing to hit the sweet spot and put us right back into this crazy world. The twisting ‘The Counteragent’ features Sydney making a deal with the devil to save Vaughn from a painful death after it is confirmed that he could be infected with a fatal disease, which shows just how much she cares about him. ‘The Abduction’ was a notable and fun episode where talkative gadget geek Marshall(Kevin Weisman) was put in the field for the first time and his mission was hilarious. And the finale ‘The Telling’ is a kick ass piece of television, featuring a shocking twist I never saw coming and a savage fight scene between Sydney and the Francie double in which the whole apartment is destroyed through the use of objects as weapons.

And where Alias score some of its biggest points and victories is with the well assembled cast it has. We have the lovely Jennifer Garner portraying Sydney once more and owning every minute. Sydney finds herself with more than her fair share of things to confront here, and the believable and natural acting from Garner highlights both the fighter and the woman she is. One thing that is hard to miss is how assertive Sydney has become now, she has her demons for sure but her resolve is significantly strengthened and this makes her grow even more. Jennifer Garner is just breathtaking in the amount of emotion she can project with the smallest gesture and the physical side of events that she is more than adept at. She is simply a force to reckoned with and one of immense power. The diminutive but immensely menacing work from Ron Rifkin as Sloane hits a high point here. He imbues Sloane with an insidious nastiness that comes to the front when it becomes apparent he foresaw the collapse of SD-6 and made his moves to go underground. Sloane, thanks to the good work of Rifkin, showcases a sense of vulnerability underneath it all but it’s the viciousness you remember. Victor Garber is on hand once more with his subtle performance as Jack, who will do just about anything to protect his daughter. Jack is one intriguing character who at times appears like he’s doing underhand and dirty things, but knows exactly what his long-term results will be.

By the far  the most interesting character this season is the enigmatic Irina. As played by the remarkable Lena Olin, we are never sure where her true loyalties lie. Essaying the complex character, Olin injects sly and ruthless tendencies, yet manages to show what can be seen as concern for her daughter. But is it all just a show of cunning lies? That’s where the excellence of her performance lies and how dynamic she makes the season. Then we have Michael Vartan returning as Sydney’s handler Vaughn and the two finally making a go of a relationship. More depth is given to Vaughn here, witnessed in his love for Sydney and his smart personality as well as patriotism. And its nice to finally see a relationship of romance develop between him and Sydney. Carl Lumbly and Kevin Weisman are great actors in their roles of Dixon and awkwardly funny Marshall, who are shocked to learn of betrayal but then recruited to the CIA. Carl Lumbly especially brings deep sympathy to Dixon and we feel his pain of being lied to and used. Bradley Cooper’s earnest relatability is very well used as Will, who finds himself back in the spy game but hopefully on the side where he won’t get hurt like in the past due to his snooping. David Anders is given a lot more to do this season after appearing sporadically throughout the first year as the slime ball Sark. He just exudes this smug, silver-tongued villainy that creates a character you love to hate. And partnering him with Sloane as the two go underground and continue to be a thorn in the side looking for Rambaldi works was a very good move. Greg Grunberg is also given an expanded role playing CIA agent and Vaughn’s friend Weiss. His humour and respect is a good asset to the show and it was good to see him being more prominent. And finally Merrin Dungey gets a more fleshed out challenging part to do as Francie and her murderous replacement. Francie was always the character who wasn’t involved in the spying game, so having her killed and replaced adds a whole other dimension to it that Dungey plays well as the evil of the double plays out.

1. The Enemy Walks In – A+
2. Trust Me – B+
3. Cipher – A
4. Dead Drop – B+
5. The Indicator – B+
6. Salvation – C
7. The Counteragent – A
8. Passage Part 1 – B
9. Passage Part 2 – B-
10. The Abduction – A
11. A Higher Echelon – B+
12. The Getaway – B
13. Phase One – A+
14. Double Agent – B-
15. A Free Agent – B
16. Firebomb – C
17. A Dark Turn – A
18. Truth Takes Time – B
19. Endgame – C+
20. Countdown – B+
21. Second Double – A
22. The Telling – A+

An unpredictable, action-packed sophomore season, Alias Season 2 is addictive television that is far from predictable as it constantly challenges and reshapes what we thought we know.

Alias Season 1

Tags

2000's, Alias, Alias Season 1, Bradley Cooper, Carl Lumbly, J. J. Abrams, Jennifer Garner, Kevin Weisman, Merrin Dungey, Michael Vartan, Ron Rifkin, Victor Garber

I wanted to get back into the swing of things by writing about television again. This time I decided to find a show that I’d never watched prior to this. I settled on Alias, a spy/ action series that I’d heard of but never saw before. Anyone who regularly frequents my blog will know of my love for the spy genre and a strong female character. These are both provided in Alias, as well as pulse pounding action, cool missions, deepening mysterious twists and some excellent character development. So here is my review of the first season of Alias. Caution, spoilers will follow.

Sydney Bristow(Jennifer Garner) to everyone else around her appears to be just an average young woman; a grad student taking English as a subject while leading a seemingly reasonable and uneventful life. Yet she has a very big secret, she works for SD-6, a covert part of the CIA where she is a well trained and immensely capable spy. Naturally keeping her identities from mingling is difficult for Sydney, yet it gets a lot more complicated and dramatic when her unsuspecting boyfriend Danny proposes. Feeling that she has to be honest with someone she plans on being with for a long time, Sydney reveals the truth about her spy work. Yet by telling Danny of her true nature, danger and tragedy soon follow. Her revelation is overheard by her superiors, in particular the cold and calculating Arvin Sloane(Ron Rifkin), and as a result Danny is killed for what he knows about the organisation. Devastated by this, Sydney does not know which way to turn. Her estranged father Jack(Victor Garber) arrives on the scene and drops a massive bombshell. SD-6 is not a branch of the CIA at all, but the very enemy Sydney believed she was fighting against, as well as the fact that he’s a double agent. Reeling from this, Sydney goes to the real CIA with her information and is quickly recruited to act as a double agent due to her skills. She is assigned a handler in Michael Vaughn(Michael Vartan), who she at first clashes with but then comes to an understanding with. Sydney is determined to bring down SD-6, even though being a double agent is an extremely risky move. So off she goes on double missions: which consist of recovering specific objects pertaining to a historical figure called Milo Rambaldi(who Sloane has an obsession with) or information for SD-6 and at the same time bringing knowledge and more evidence to bring down the organisation for the CIA with similar counter missions. This danger plays out as Sydney attempts to keep her identity hidden from her friends and SD-6, even as one of her closest friends, reporter Will Tippin(Bradley Cooper) begins to conduct his own investigation into Danny’s death not realising what he’s getting himself into. Her main colleagues at SD-6; Marcus Dixon(Carl Lumbly) and gadget man Marshall Flinkman( Kevin Weisman) are also in the dark about the nefarious organization’s true purpose, which poses another challenge for Sydney as she cares about them both but can’t reveal herself. Knowing her own mortality is one the line, Sydney suits up in a rash of disguises as she executes her work and begins to slowly destroy SD-6 from the inside. There’s also the matter of her stained relationship with her father to contend with, as well as things from the past like the “death” of Sydney’s mother that remain mysterious, before slowly coming to light.

From the very first moments Season 1, I knew that Alias was going to be something I’d enjoy. It’s hard to put my finger on why, but I’ll give it a good try. From the talented imagination of J. J. Abrams, Alias flourishes into a show of many layers to it, from action to mystery and even touches of drama. Alias employs some very good cliffhangers, that have you wanting to know what’s going to happen next as Sydney’s globetrotting missions get more thrilling as they continue. Taking influence from the Bond movies, Alias has the title sequence play as one mission finishes and another begins which is generally in the middle of an episode, quickening the impact and continuing the trend of having us biting our nails by the end of each episode. These techniques help the episodes flow into each other, craft nifty cliffhangers and are on point with keeping things very interesting in the long run.

Alias thankfully doesn’t dumb things down in the way that some action films or television can, instead showing off more personal and unexpected parts to compliment the thrills of which there are a lot. The quick pace of the show(perfectly blended with a whole host of electronic and techno music) is efficiently offset with the quieter moments when we see Sydney growing as a person and attempting to keep her secret protected. Not enough spy series or movies develop the characters in my book; the people are usually super strong and largely impervious to threat. Yet the character of Sydney is refreshingly different, because while she is very strong physically and emotionally, at the end of the day she’s got a vulnerability and depth to her that sets her apart from the pack. There is fun to be had with Alias watching as Sydney is each episode dressed up in an array of unusual costumes and brightly coloured wigs in order to carry out her missions. Some of the get-ups are pretty outrageous but this adds to the fun to be had as the scripts stop it from falling into completely ridiculous or inane territory with witty lines, references to parts of possible fantasy and action never far from view. Season 1 reveals itself as a strong and twisting starting point for a show that officially has me hooked. Standout episodes are a plenty, particularly the opening episode ‘Truth Be Told’ that unravels in the middle of the action and fills in the gaps in a non linear structure. The action packed ‘Doppelgänger’ is a real treat that is almost cinematic in execution and should be applauded for the balance between thrills and emotional drama. Creepiness is brought in among the many tonal differences of the show in ‘Reckoning’ and ‘Color Blind’, where Sydney has to go undercover as a mental patient in a horrifying asylum in Romania that is shot with the atmosphere of an old horror movie. ‘The Prophecy’ is one of the most eventful and entertaining episodes, as well as having Roger Moore feature in a guest role. And you can’t ask for a better season finale than the one provided, which answers some questions yet leaves us with questions for Season 2 Not every episode is stellar( then again what show has a season of constantly amazing episodes?), but the vast majority are extremely well orchestrated and executed. It would be impossible for me to write about every great episode as I would be here all day.

The excellent work of Jennifer Garner in the part of Sydney is what really makes the show tick. She is the beating heart of Alias and the one who most requirements fall upon as it’s primarily her story. And let me say that Jennifer Garner doesn’t miss a beat. Garner displays how Sydney’s world and what she thinks she knows is crumbled away and she is left to fight to get some semblance of it back. Her anger, intelligence, sadness and fear are all very palpable from the beginning of the show. Sydney clearly is anything but an uninteresting character and emerges as a well-developed, strong and resourceful woman having to juggle each side to her life that threatens to overflow if she isn’t careful. As much as Sydney is the mistress of concealment, Jennifer Garner brings out an emotional honesty to her that displays how Sydney may be a kick ass spy but she’s still a human being of genuine emotion. I simply cannot imagine anyone else playing the fighter that is Sydney both in the physical and emotional ways that Jennifer Garner brings to the table. Michael Vartan has the required smarts, eagerness and good looks that are great in the part of CIA officer Vaughn, who grows to be more attached to Sydney than he expected. The two have sparks but the show hints at them rather than just immediately make them an item, letting them grow closer over time. Victor Garber portrays Sydney’s enigmatic father Jack, whose fractured relationship with his estranged daughter plays in heavily throughout the narrative. Garber excellently gets across the reticence of Jack to reveal specific information which at first makes him seem uncaring, when in actual fact it is his way of shielding his daughter from even more danger than she often finds herself in. He is revealed to be a deeply compassionate man not afraid to take violent action to ensure the safety of Sydney. The dynamic of the two has the required awkwardness and unease to it that makes that part of the series mysterious yet with a growing near trust. Ron Rifkin is on hand for the creepy villainy and dedicated to the job tendencies of the corrupt Sloane, who slowly becomes suspicious that there is a mole in his organization. Just with a simple look, Rifkin gets across the darkness of this man and also a strange depth. Carl Lumbly and Kevin Weisman are solid as two of those working at SD-6: the loyal and well-meaning Dixon and geeky gadget master Marshall. Lumbly plays his performance as subtle and understated, while Weisman revels in the amusing tics of the awkward Marshall who comes up with some baffling but useful gadgets. Bradley Copper excels as the determined reporter Will, who out of unrequited love for Sydney, investigates the mysterious events around her and finds a lot more than he bargained for. Merrin Dungey stars as Francie, Sydney’s best friend and has the right chemistry with Jennifer Garner to create a convincing bond between these two. It helps the way the show balances Sydney’s dangerous double life with a sense of normality when she’s seen with Francie. She has probably the most ordinary role in the scope of the series, but it’s meant to be like that.

1. Truth Be Told – A+
2. So It Begins – A
3. Parity – B+
4. A Broken Heart – B
5. Doppelgänger – A+
6. Reckoning – A
7. Color Blind – A
8. Time Will Tell – B-
9. Mea Culpa – B+
10. Spirit – A
11. The Confession – B
12. The Box Part 1 – A
13. The Box Part 2 – A-
14. The Coup – C
15. Page 47 – B+
16. The Prophecy – A+
17. Q & A – C+
18. Masquerade – C-
19. Snowman – B+
20. The Solution – B+
21. Rendezvous – A
22. Almost Thirty Years – A+

An excitingly intricate show that keeps you on the edge of your seat, Alias has now become a fast favourite of mine as Season 1 draws you into it so effectively and fills it with mystery, espionage and a remarkable heroine. This has me super stoked for Season 2 and what it may have to offer in the way of twisting narrative and thrills.