Someone to Watch Over Me

Tags

1980's, Andreas Katsulas, Jerry Orbach, Lorraine Bracco, Mimi Rogers, Ridley Scott, Romance, Someone to Watch Over Me, Thriller, Tom Berenger

Film Title

Someone to Watch Over Me

Director

Ridley Scott

Starring

• Tom Berenger as Mike Keegan
• Mimi Rogers as Claire Gregory
• Lorraine Bracco as Ellie Keegan
• Jerry Orbach as Lt. Garber
• Andreas Katsulas as Joey Venza

It isn’t the best movie from Ridley Scott, but Someone to Watch Over Me is shamelessly overlooked and underrated for its atmosphere and visual style. A romantic thriller that looks at differences in lifestyle and appearance, the thriller aspect lacks but the rest of the piece, namely the acting and direction, make it a watchable and at times intriguing movie.

Mike Keegan is a recently promoted police detective who lives with his wife Ellie and young son Tommy in Queens. His marriage is stable and he is largely good at his job, so everything is going quite swimmingly. Then he gets the call to come in after a murder is committed. A criminal by the name of Joey Venza killed a businessman who he thought squeezed him out of a deal before their partnership severed and it was witnessed by the beautiful Upper East Side socialite, Claire Gregory. Mike is assigned to protect Claire and provide round the clock support as she is clearly in danger. If any evidence is brought forward, Venza will most likely be charged. Claire’s testimony is what this cast stands on and Venza makes it his priority to silence her. At first, Mike and Claire aren’t exactly friendly; his tough demeanor is at odds with her aloofness and the obvious difference in backgrounds is pretty noticeable. Yet, as he continues to watch over her, he develops romantic inclinations for her that are reciprocated. He gets a glimpse into the high life of extravagance and she lets her icy guard down. This poses obvious problems for Mike as he does really love his wife Ellie deeply, yet is unable to deny the attraction he has for Claire. At the same time, Claire is menaced by Venza, who threatens to kill her if she talks anymore about what she saw him do. Add to this situation the fact that Ellie is growing very wary of Mike’s devotion to the case, and things look like they will be very complex for everyone here.

The film is directed with exceptional finesse by Ridley Scott, whose stamp of luscious and enviable imagery and depth of cinematic quality is in good supply. There is a real elegance to Scott’s direction that juxtaposes the glamour of the Upper East Side with the working class Queens to striking effect, while giving that sheen of sophistication you can always count on in something directed by Ridley Scott. He knows how to visually bring out the themes at hand, here it is someone from the outside looking in along with society and lifestyles, that are rendered with impressive results. Now while Someone to Watch Over Me is billed as a romantic thriller, the elements of thriller can sometimes be a bit lacking. That isn’t to say there isn’t any tension or suspense because there is, but the main focus is more the unlikely romance between Mike and Claire than just action. The film functions better as a study of two people who are almost opposite in every respect unusually finding a mutual attraction in possibly dangerous circumstances. That’s where the real force of the film lies, despite it being straightforward and displaying parts that are a bit implausible. If you concentrate more on the romance aspects and the look at people, Someone to Watch Over Me is frequently quite riveting and engaging. The main thing that marks the movie down in my estimation, despite it being still very watchable, is that is lacks the special something that Ridley Scott movies usually have. Despite this hiccup, the smoky atmosphere leaves a lot to be thankful for, helped in no small part due to the lovely jazz music that features heavily. The growing attraction between Claire and Mike is kept to a classy level which actually makes it more interesting because of the subtlety, you didn’t need overly sexual scenes to convey their sparks.

Tom Berenger fares well as the tough guy who unexpectedly finds himself straying from the marriage bed by someone who is completely out of his league. Berenger finds the right understated note to play Mike, that allows him to be cynical and hard-boiled on the job and more sensitive when the occasion calls. The beautiful Mimi Rogers has the class and poise for Claire, while underscoring that for all the glamour she has, houses a void of loneliness that is suggested through Rogers’ subtle face. She has become accustomed to this life of privilege and enjoys it, but with everything going on, she finds companionship of an unusual sort with Mike that allows her to open up. Her quiet and fearful demeanor are played extremely well by Rogers in a way that is understated and demure. But the best performance in Someone to Watch Over Me comes from Lorraine Bracco. As the dutiful but outspoken wife of Mike, she nails the suspicion and attitude of the woman, who knows that something is definitely not right and wants answers. Bracco has an unpretentious and open delivery which coalesces with the heart of Ellie to form a well-tuned piece of work, from what could have been a throwaway part of a wallflower. Jerry Orbach is fun to watch in a supporting role of grizzled police lieutenant who appoints the job of watching Claire to Mike, while Andreas Katsulas has a face made for a villain that is used very effectively as the criminal trying to eliminate any chance of a life sentence.

So while the story is quite simplistic and some of the thrills could have had a bit more punch, Someone to Watch Over Me should be more well-known and appreciated for the stylish way that Ridley Scott shoots it and brings it to life.

The Mirror Has Two Faces

Tags

1990's, Barbra Streisand, Comedy, Drama, George Segal, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, Romantic Comedy, The Mirror Has Two Faces

Film Title

The Mirror Has Two Faces

Director

Barbra Streisand

Starring

• Barbra Streisand as Rose Morgan
• Jeff Bridges as Gregory Larkin
• Lauren Bacall as Hannah Morgan
• Mimi Rogers as Claire Morgan
• George Segal as Henry Fine
• Pierce Brosnan as Alex

A romantic comedy-drama that has a feeling for old-fashioned films of the genre yet infused with something modern, The Mirror Has Two Faces has humour and heart to be taken from it. The middle part is slow and overindulged in a couple of missteps, but the overall package of the film, under the clear command of both director and star Barbra Streisand crafts an often touching and funny tale of relationships.

Rose Morgan is a dowdy, middle-aged professor of English Literature at Columbia University who often talks about grand romance and passion. The irony is that Rose has neither of them but really would like them, she just hasn’t had any luck in relationships. Living at home with her overbearing and vain mother Hannah is no help either as her mother is a woman who always feels the need to do her daughter down. And to top it off, Rose’s pretty sister Claire has just got married to the hunky Alex, who Rose has carried a torch for since the moment they met. Gregory Larkin also teaches at Columbia University though he is in the maths department and doesn’t quite have the ability to connect with his class that Rose does. He has come to the conclusion that he can’t function if in any sort of romantic or sexual relationship as he appears to lose his head. He puts and ad in the paper for a relationship that is intellectual rather than lustful. Through the intervention of Claire, Rose and Gregory meet and somehow hit it off. She impresses him with her self-deprecating wit and intellect, while she likes that he has taken an interest in her as no one in the past really has this much and no one quite as dashing either. After a few mix ups, the two pursue a platonic union that seems to work for both of them as it provides stimulating company and both of them can be themselves around the other. A few months into this, Gregory proposes much to the surprise of Rose, who knows that the marriage would be one without physical intimacy. Perhaps out of fear that she’ll be left on the shelf forever, Rose accepts his offer and the two marry. As time goes on, Rose begins to develop deep romantic affections for Gregory and this puts a strain on what is supposed to be a chaste meeting of minds rather than bodies. When she attempts to seduce him, Gregory rejects her as he doesn’t want sex to complicate what has become a pleasing companionship and goes on a teaching tour around Europe. Rose is then left to choose whether she should still pursue a potential reunion with Gregory or make some sort of change.

Taking the director’s seat, Barbra Streisand shows of yet more of her talent by giving perceptive and inviting direction to The Mirror Has Two Faces. She covers themes of self-worth and beauty in it, and while during the middle section where Rose has a makeover she jeopardizes some of what she’s been getting across, she brings it all back together for a lovely home stretch as Rose and Gregory have to acknowledge their feelings. Having starred herself in many romantic comedies in the past, the genre has obviously rubbed off on her and the result is a film constructed with attention and care for the genre it is in. Some will dismiss the film as a vanity project and simply just The Streisand Show, but dig deeper and there’s genuine emotion to be found there as well as a crackling script of funny characters. Streisand shows her confidence behind the camera as well as in front and makes the procedure both humorous and delightful. The Mirror Has Two Faces succeeds due to its throwback nature and moments that bring to mind 50’s romantic comedies. Scenes like the awkward meeting of the two are her attempt at a seduction have a feeling of yesteryear to them, but also benefit from modern values too. The film loses steam in the middle section and gets a bit bogged down in an abundance of gloss, at least it regains footing near the end and doesn’t do too much damage to a well-crafted flick. A lush sweeping score harks from Marvin Hamlisch harks back to the glory days of the romance picture with strings and woodwind as the perfect backdrop for this throwback picture.

As well as sitting in the director’s chair(and doing a fine job in that department), Barbra Streisand also contributes an amusing yet sympathetic performance as the lovelorn Rose, entering into a platonic marriage yet secretly desiring grand passion. Streisand breathes life into a woman who has a low self-esteem yet a good sense of humour that hides insecurity. Exuding kooky mannerisms and an articulate mind, Barbra Streisand marvellously makes Rose a character to root for and be charmed by along the way. Jeff Bridges provides superb humour as the somewhat bumbling and talkative Gregory, who believes that his theory of a union without the complication of sexual feelings or romance will work, but is challenged when Rose wants more than just companionship. Bridges has a real knack for laughs that is apparent here and by giving the part fastidious tendencies as well as awkwardness, he is a joy to watch. It must be said that the way that Streisand and Bridges bounce off each other is quite something and has that snap that old romantic comedies of the 40’s and 50’s had. Lauren Bacall flat-out steals The Mirror Has Two Faces however, with a sharp turn as Rose’s disagreeable and looks obsessed mother Hannah. With acerbic drawl, Bacall marvellously plays this matriarchal diva as something of a vain Medusa with all the best lines and withering put downs. Yet I have to give credit to Bacall for also injecting touches of vulnerability to the part that show that Hannah is not as bitchy or as harsh as her exterior would suggest. It’s a true supporting turn that is great to behold whenever Bacall takes the screen. Mimi Rogers is fine as the foxy glamour puss sister, while although only seen briefly, George Segal is a hoot as a friend of Gregory’s with a roving eye. The only person to not really make an impact is Pierce Brosnan as Rose’s brother-in-law, though the blame can’t be put at the door of Brosnan because the character is lazily written.

Its main message can get jumbled amid the gloss and the latter stages could have had some trimming to make them slightly tighter, yet The Mirror Has Two Faces brims with such beaming love, awkward romance and surprisingly moving moments that it’s flaws can be passed over because of how well it all turns out. And the well assembled cast and illustrious director/star of Barbra Streisand are even more reason to seek this film out.

The X-Files Season 7

Tags

1990's, 2000's, David Duchovny, Gillian Anderson, Mimi Rogers, Mitch Pileggi, Nicholas Lea, The X-Files, The X-Files Season 7, William B. Davis

Season 6 of The X-Files may have suffered from a few signs of tiredness and some feelings of rehash, but it was still entertaining as anything and kept you gripped. With Season 7, there are still some creative episodes to be found, but the focus seems a bit off the boil. It knows how to grip, but something about Season 7 doesn’t quite gel and it emerges as probably the weakest season so far. Spoilers will be following in this review.

Mulder(David Duchovny) is still in a state of delirium and confinement after suffering mental disintegration relating to markings he came into contact with from a presumed alien spaceship. As his condition worsens, a desperate Scully(Gillian Anderson) travels to North Africa where she discovers the ship and begins to investigate it. She isn’t prepared for what she discovers as it appears that the markings on the ship could very well prove that the human race descended from aliens and possibly more answers on burning philosophical questions. As Mulder slips into a coma and Skinner(Mitch Pileggi) attempts to help while having his hand twisted behind his back, the mysterious Cigarette Smoking Man(William B. Davis) takes Mulder to a facility to have him experimented on, while also revealing that he could be Mulder’s father( it’s up to us to determine that one). It emerges that when Mulder was infected with the alien virus years before, it lay dormant before being activated by contact with the strange markings. These events put the duplicitous Fowley(Mimi Rogers) in a compromising position as her loyalties are called into question and she chooses to help Mulder just as he is experimented on. Scully manages to save Mulder and he soon returns to seemingly fine health, though because of her betrayal, Fowley is murdered. Back on the cases of unusual phenomena, Mulder finds himself immersed in the case of missing children, that bears resemblance to his sister’s disappearance that has haunted him from the beginning. After his mother leaves a cryptic message regarding his sister before committing suicide due to her descent into ill-health, Mulder teams up with a psychic who finally allows him to discover the truth about Samantha. She wasn’t taken by aliens as he first thought, but was taken away from harm by walk in spirits who protect children from. Mulder has closure when he discovers that his sister is at peace and he can now finally close the wound that has been with him for all this time. Skinner begins to buckle under the pressure of the manipulation put on him by crafty Krycek(Nicholas Lea), who is possibly up to dirty tricks once more(or is he?). And with a dying Cigarette Smoking Man trying to resurrect plans of old, it is a dangerous time for all involved.

The thing is the new mythology of the origin of life is intriguing, but it doesn’t measure up to the original conspiracy that made the show addictive. There is still the possibility of the alien colonization being brought back and it is hinted at, mainly from Cigarette Smoking Man, but the main focus is the newer mythology which can’t quite compete with the one of old. It is far from bad and I found some of it intriguing, mainly the whole concept of where life originated, but other parts felt a bit tacked on. There are many other episodes that feel a bit rehashed from previous stories that were told a lot more successfully. Season 7 in a word is inconsistent; when it’s really good it soars, but when it flounders it becomes a bit uninteresting. It seems to veer from one point to another without a second thought, when control is put actually put on however some fine television can be seen.

Given that Season 7 is a bit all over the place in terms of coherence and quality, there are still some fantastic episodes and moments to be found that still show that The X-Files even when not at full strength can still be very good. The two-part season opener is a very good way to put us back into the continuation of events leading from the spaceship discovery in the last season. ‘Hungry’, told from the point of view of a creature(that takes on the appearance) that has a compulsion to eat brains and wanting to change may sound strange on paper, but with classic style it is fashioned into an emotional story of someone trying to fit into society and how people can often fight against who they really are. ‘Millennium’ may not vintage X-Files, but it has a moment that many were waiting for; Mulder and Scully’s kiss. For years their relationship has built and grown into a trustworthy one with traces of romance. The way that the kiss is put in is to celebrate the millennium, and because of their connection the moment doesn’t appear false or forced in the slightest. It’s a really sweet moment.

There is the creepy ‘Orison’ in which the evil Donnie Pfaster returns after a chaplain with the power of hypnosis who believes he’s doing God’s work helps him escape, but realizes too late he has unleashed something deadly. Pfaster, who appeared in Season 2 and kidnapped Scully, goes down this path again as Scully was the one who got away from his death fetishism. Once more, his very presence is enough to induce nightmares and we witness how the trauma of his previous attack still looms over Scully as it strikes again. The highly emotional ‘Closure’ that finally reveals Samantha’s fate is so beautifully constructed and gives Mulder the answer he always wanted as well as the peace he has yearned for. It is X-Files at its most moving and completes a story that has provided the heart of many of Mulder’s quests in the past. And though the episode All Things, which was written and directed by Gillian Anderson was somewhat derided upon airing, I actually found it a very personal and emotion filled episode. We watch Scully reexamine her life and the choices she has made after discovering a former lover of hers is ill and somehow fate leads her there. Posing philosophical and existential questions combined with mysticism and faith, you got to hand it to Gillian Anderson for her ambition and execution of this personal voyage for Scully to contend with. The final episode ‘Requiem’ more than makes up for some of Season Seven’s flaws with intrigue and good direction.

Whatever flaws or inconsistencies this season has, the same can’t be said of the acting which is once more top-notch. As Mulder, David Duchovny fits the role like a glove with his sarcastic humour that’s combined with a serious and often worrying devotion that borders on obsession to finding out what is hidden. So much has happened to Mulder over the years and Duchovny shows all the changes that his journeys have had on him and how each has shaped him as his quest for the truth has brought him both pain and closure. And with this being the last season that he appears as a full-time regular on the original run of the show, Duchovny more than stamps his mark on the character. Gillian Anderson invests Scully with an emotional core and steadfast persona that has grown in her for a while. There is something about Anderson’s delivery that I’ve always found to be subtly moving and it is very much at play here in the well-rounded character of Scully. I like seeing Scully in more believer territory as there are just some things she can’t comprehend or rationalize. Anderson has truly taken Scully on a journey from skeptic to slowly growing believer. She may not say that she truly believes and can nitpick at the logic in some cases in true skeptical style, but I think this is the season when Scully finally comes around after all she has witnessed, judging by her inability to fully comprehend the strange phenomena she has encountered. The connections between Mulder and Scully have deepened and the hints of love are realistic but not too in your face. Mitch Pileggi stretches his legs more as the buttoned-up Skinner, caught between a rock and a hard place but determined to be as loyal as can be. Injecting some sympathy into the evil character of Cigarette Smoking Man, William B. Davis shows off another side to the antagonist that hints at pathos but still reminds us that he is a very dangerous man capable of indescribable evil. While only seen briefly, both Mimi Rogers and Nicholas Lea make the best impressions they can with their characters.

1. The Sixth Extinction – B
2. The Sixth Extinction II: Amor Fati – A
3. Hungry – A+
4. Millennium – C
5. Rush – C-
6. The Goldberg Variation – D-
7. Orison – A
8. The Amazing Maleeni – B+
9. Signs and Wonders – C+
10. Sein und Zeit – A
11. Closure – A+
12. X-Cops – B
13. First Person Shooter – E
14. Theef – B+
15. En Ami – C
16. Chimera – B+
17. All Things – A
18. Brand X – D
19. Hollywood A.D. – C
20. Fight Club – D-
21. Je Souhaite – B-
22. Requiem – A

Despite it being the weakest season so far, Season 7 at least entertains and holds enough interest near the end to make me curious about what more the show can offer. I mean any X-Files is better than none at all, right?

The X-Files Season 6

Tags

1990's, Chris Owens, David Duchovny, Gillian Anderson, Mimi Rogers, Mitch Pileggi, Nicholas Lea, The X-Files, The X-Files Season 6, Veronica Cartwright, William B. Davis

Continuing after the shock ending of Season 5 and the events of the movie, Season 6 of The X-Files is still a very enjoyable season that knows how to thrill. It has its fair share of flaws here and there, sometimes with the tone, but all in all it is still extremely watchable and thrilling, with some neat tricks involving the conspiracy. Spoilers will be following in my review of this sixth season.

Mulder(David Duchovny) and Scully(Gillian Anderson) are back from the finale in Antarctica of the feature-length movie. Their discoveries regarding alien life forms gestating in humans because of The Syndicate’s plans are discredited because of a lack of evidence. They are also taken from under the eye of Skinner(Mitch Pileggi), even though he tries to help them, despite it being against policy. And though The X-Files are reopened after Cigarette Smoking Man(William B. Davis) burned them down , there is a shock in store for the agents. The X-Files have been reassigned to Agent Jeffrey Spender(Chris Owens) and Diana Fowley(Mimi Rogers), much to the chagrin of Mulder who sees Spender as opportunistic and a non-believer and old acquaintance Diana as a backstabber( which isn’t far off the truth). He is right about Spender in one respect, but he is also being used by his father The Cigarette Smoking Man who pushes him to tip Mulder over the edge, but is he having some second thoughts. Skinner is poisoned by a deadly form of nanotechnology controlled by none other than slimy Krycek(Nicholas Lea) , who continues to manipulate him for his own gain. With the prospect of colonization now turning to full on take over of the human species, doomsday is around the corner. The return of Cassandra Spender(Veronica Cartwright), who is now a hybrid after being tested on, heralds The Syndicate’s plans for colonization, which don’t go to plan. Alien rebels, who we have glimpsed in the past seasons, put a stop to the plan and kill the Syndicate members. Cigarette Smoking Man and Diana manage to escape, while Cassandra, as an alien-human hybrid perishes. Cigarette Smoking Man gets enraged when he sees that Spender has betrayed him after realizing that his father has been using him all along and Spender is seemingly killed by his father. Mulder and Scully are eventually assigned back to The X-Files, but not without danger. Although the Syndicate’s plans have failed, the discovery of more alien life forms and activity involving a new mythology puts both agents on a course filled with surprises, especially in a dangerous case for Mulder.

I think that with Season 5 and the movie, The X-Files was at its peak and nothing could touch it. Season 6 is still very enjoyable, but you can begin to see some signs of fatigue in it, which is only to be expected because a show can’t run for such a long time and not expect to hit a road bump or two. For starters, I do usually like the way The X-Files has a controlled sense of humour, but there are numerous occasions here where it veers out of control and becomes too much. Some of the plots of certain episodes also feel a bit rehashed and uninspired, like ‘Alpha’ and ‘Trevor’ that don’t really show the series in the best and most engaging light.

And now I’ll discuss the positives that Season 6 has to offer, which is still numerous and inventive. I particularly enjoyed the conclusion to the main conspiracy, as everything was built up so effectively and the ringing together of it all was done with excellence. And the fact that a new conspiracy is born is further reason to keep watching as it can open up,a whole other set of possibilities. There is some excellent plotting and writing to be found and when it works, it really works wonders. Season 6 has no shortage of ambitions and various episodes are deserving of praise. ‘Triangle’ represents the show at some of its most inventive and spellbinding as Mulder finds himself journeying back in time to the war on a doomed ship caught in the Bermuda Triangle, where he encounters people who resemble modern counterparts such as Scully and Cigarette Smoking Man. Employing ambitious editing and camerawork that gives the appearance of many continuing shots that never seem to cut, it gives the episode the required dreamlike effect that is just outstanding. An accidental body swap for Mulder and a government brought on by an investigation into Area 51 has a real wit to it in the two parts of ‘Dreamland’. The mid-season two parts of ‘Two Fathers’ and ‘One Son’ are unforgettable as they draw the Syndicate mythology that has been built so well to a close with betrayals, shocks and answers all given. The wonderfully structured and remarkably tense ‘Monday’ centres on a time loop that only one woman seems to know of as she tries to warn Mulder and Scully of imminent death before the day repeats itself again. ‘Milagro’ uses an unique concept of an obsessed writer’s work coming to murderous life and becoming entwined with desire for an unsuspecting Scully to fashion a creepy and inventive episode.

The cast is once more delivering stellar work, having grown so much into the characters by this point in the show’s run. David Duchovny rocks it as Mulder, whose humour and often questionable antics are balanced with a serious and undying determination, that could very well lead to something bad for him. Likability is definitely on the side of Duchovny as it shines through in his work here. Gillian Anderson continues to shine as the pragmatic and plucky Scully, who is a lot more open to possibilities than ever before, yet still retaining scepticism when required. Imbued with an undercurrent of emotion and filled with a steely strength and resolve, Anderson captures the character of Scully so well, even showing us a fun side that is very delightful to see. The chemistry between the two is palpable as anything. I love the way that they can just look at each other and without words convey so much emotions that you feel the special bond between them that has been growing since the day they met. There are more than a few hints that a romantic connection is being formed, without either acknowledging it which makes it more intriguing to watch their interactions with one another.Mitch Pileggi as Skinner is featured a lot more and used for an intriguing story of him being manipulated by Krycek, with the fear that he can just flick a switch and render him near dead in a matter of seconds. It was great to see one of my favourite characters having something very integral to do and Pileggi presents Skinner’s plight with assurance and credibility. As the used and easily lead Spender, Chris Owens is marvellous at showing how he is so heavily manipulated and a such an unsuspecting victim in all of this that he will eventually meet a possibly bad end. As usual, William B. Davis cuts a fine figure as the main villain, and he still has the sinister presence that burns into the mind whenever he appears. Nicholas Lea is somewhat underused this time around as the nefarious Krycek, and I would have liked to have scene more of the weasel like character that is a continuous thorn in everyone’s side. Hopefully Season 7 can give him more to do. Thankfully in the backstabbing stakes there is Mimi Rogers as the sultry and double-crossing Fowley, who Scully is right not to trust from the very beginning but is still good at turning Mulder’s head. And I can’t forget to mention the wonderful Veronica Cartwright who reappears as Cassandra and gives her a tragic impact that is deeply felt.

1. The Beginning – B
2. Drive – B+
3. Triangle – A+
4. Dreamland – A
5. Dreamland II – A
6. How the Ghosts Stole Christmas – B+
7. Terms of Endearment – C-
8. The Rain King – D
9. S.R. 819 – A
10. Tithonus – B
11. Two Fathers – A
12. One Son – A+
13. Agua Mala – C-
14. Monday – A
15. Arcadia – B+
16. Alpha – E
17. Trevor – E
18. Milagro – A+
19. The Unnatural – A
20. Three of a Kind – B+
21. Field Trip – B+
22. Biogenesis – B+

So while there are senses of tiredness that can be glimpsed during the unfolding events, The X-Files Season 6 continues to make for cracking and ambitiously drawn television, despite some flaws along the way. Some of it may not be vintage X-Files, but the show still knows how to hit the mark and do it with panache.