Skip to main content

I'm going to need Google Translate on my phone if I'm going to keep talking to you.


Justified
Season Four

(SPOILERS) I seem to have an unfortunate knack lately for watching adaptations of great writers’ work as their deaths are announced. First there was Richard Matheson (The Legend of Hell House) and now the latest season of Justified as Elmore Leonard passes on. Leonard was a big fan of the series; of what showrunner Graham Yost had done to expand his short story Fire in the Hole and of Timothy Olyphant’s performance as US Marshal Waylan Givens.  Rightly so, as the only Leonard I can think of that approaches this series in terms of quality is Steven Soderbergh’s Out of Sight.


Leonard observed of the pilot that Waylan seemed very happy shooting people, and Season Four continues to explore the parallels and differences between Waylan and his criminal father  - and whether there are lines he will not cross. Hunter Mosley (Brent Sexton), who is responsible for the premature demise of Arlo and was sent down during Season One, expresses the opinion that Waylan is much more like his daddy than he cares to admit. There’s a running theme, as is common with idiosyncratic lawmen, what Waylan would be a criminal if it wasn’t for his badge.


But Olyphant doesn’t portray him as a fascistic or aggressive type; his views, when he expresses them, tend to the liberal. It’s just that he does seem to like shooting people. It’s one of the great pleasures of the series that Waylan will, at least every other episode, enter a situation where someone who means him harm ends up dead. His laconic, laidback manner usually offers the antagonist a way out, but inevitably he is called on to go the Quick Draw McGraw route. On occasion we need to see him seriously exposed, lest we start to think he is more than a mere mortal, but Yost and his writers continually broach the territory of how far he will take matters beyond his remit. Would it have been too much if he’d shot Nicky Augustine (Mike O’Malley) in cold blood? After all, if there was one area we’d expect Waylan to go further than perhaps he should, it’s in protecting Winona and his unborn child. As it turns out he gets others to do his dirty work, and as he sees it there’s no need for guilt on his part (I wonder how long Sammy (Max Perlich) will retain the crown of head of the Detroit mafia; maybe Yost and co are pulling for a return visit from Adam Arkin as Theo Tonin in Season Five, sorting out whatever mess Sammy has made by then and no doubt pulling double duties as a director on the show).


Raymond J. Barry’s Arlo had a good run on Justified, so contemptuous of his son’s lawful ways that he may have even attempted to kill him at the end of the previous season (killing a cop instead). Barry played Senator Richard Matheson (yes) in The X-Files, of course. Appropriately, this season revolves around a secret Arlo is at the heart of; the only issue is perhaps how well this retconing works (more of that in a bit). True to form, the two Givens spurn sentimentality during their last encounter (4.8 Outlaw). Waylan asks him to reveal the identity of Drew Thompson as a parting gesture and Arlo tells him where to go. After he dies, Waylan is back at work as if nothing has happened. It’s only when Art (Nick Searcy) tells him to go home that Waylan reveals a chink in his armour, finding something in his eye as he waits for the lift. The season leaves him pondering his mortality as he surveys the graves of his father and mother.


Winona-haters were no doubt pleased that Natalie Zea’s character only appeared on the periphery of this run. I don’t know what their problem is, really. Although, didn’t Sarah Wayne Callies also attract opprobrium in Prison Break? Is it down to fan girls who don’t want their lovely Waylan sullied? I’ve no idea. They’ll be pleased to hear that plan is for her to feature more significantly in the fifth year.


Her main showing is in the finale (4.13 Ghosts) where she is taken hostage by some of Augustine’s men. Haven’t we seen this before? It feels like it, and it could be that it’s a lazy device to put the girlfriend in peril.  She gets a good line about them making a big mistake as Waylan will kill them when he finds out, but it’s a forced, movie cliché moment to have both her and Givens shoot the main henchman simultaneously. That said, I like how this is a series that will set up a hostage situation and resolve it all in the first 10 minutes of an episode (then, any other series would require Waylan to go along with their plan to extract Drew Thompson rather than start shooting).


I began to wonder how well this season was going to come together after a relatively unfocused first third. The arc of the quest for the identity of Drew Thompson felt like they were clutching at straws for a hook, but it turned out to be sufficiently different from just another big drug dealer pulling into town (this one did, 30 years earlier). Some of the plot threads felt like filler, in particular the snake handling church that is set up as a threat to Boyd (4.1 Hole in the Wall) and then fizzles (mostly) out (1.3 Truth and Consequences). Billy, the charismatic preacher who leads the church, is played by Joseph Mozello, best known as the boy in Jurassic Park. His sister Cassie is portrayed by Lindsay Pulsipher, seen as the were-panther girl in True Blood a few years back. It’s unclear is she’ll be sticking around, although she seems to have formed a tentative connection with Tim (Jacob Pitts).


One of the issues in the first half of the season, which seems to be further emphasised when Drew’s identity is revealed, is the discovery that nearly everyone we’ve met up to this point has a shady past. So Lindsey (Jenn Lyon), the landlady Waylan is having a fling with, suddenly turns out to be a former stick-up artist. And, lo and behold, FBI Agent Barkley (Stephen Tobolowsky) is in league with the Detroit mafia (4.5 Kin). It feels a bit weak, really.


By about this point, I was wondering when the big villain of the season would appear. It couldn’t be Colt (Ron Eldard), so maybe it would be Nicky Augustine. He kind of is, but he never attains the centrality of the previous year’s Quarles. Colt, however, is a superb creation; an Iraq vet (a former Military Policeman) and heroin addict who is unable to keep his psychotic impulses in check (and to think, in the first episode we even wonder if killing people might be anathema to him!


Colt allows a much more significant role for Tim this season (I seem to recall a suggestion that he might be gay a couple of seasons back, but this seems to have been left hanging). The two veterans circle each other throughout, first in Kin, again in 4.11 Decoy and finally get their own showdown in 4.12 Peace of Mind. It’s nice change to have someone other than Waylan getting to do the cool stuff, and it must also be an attractive carrot for the likes of Pitts and Erica Tazel (Rachel) that they’ll get something meaty if they’re patient.


Everyone is after Drew Thompson, but Boyd (Walton Goggins) and Ava (Joelle Carter) are also attempting to solve a problem like Ellen May (Abby Miller) after Colt takes his eye of her for a moment and she disappears (This Bird has Flown); they’re concerned that she won’t be able to keep her mouth shut about the crimes she has witnessed, so she has to be disposed of. While Ellen May is likably dim, and her relationship with Shelby (Jim Beaver) is genuinely touching, the Crowders’ plotlines don’t quite come together this season.


They’re almost entirely reactive, and it’s only when Colt is involved that sparks fly. I don’t really buy Ava countenancing disposing of Ellen May in the first place, so it’s laborious walk round to the point where she recognises this herself. Boyd is scrabbling about to be made the local heroin supplier by Wynn Duffy (the ever fantastic Jere Burns), to find Drew Thompson, deal with a pesky preacher or be put in his place by the local super-rich (4.7 Money Trap). None of it really grips, and Johnny’s increasing disgruntlement-come-betrayal of Boyd is all-too predictable. The carrot of Boyd winning Harlan’s heroin supply holds out hope for Season Five, but unlike in previous years his arcs have been on the weak side.


The lawmen have been favoured by material this year, though. Patton Oswalt’s Constable Bob ducks in and out of episodes as a wannabe great lawman who we wouldn’t be at all surprised to find meeting a nasty end while getting in over his head. Instead, Decoyoffers him the greatest worm-turning moment in recent TV/movie memory as he gets the better of sadistic hit man Yolo (Bobby Campo).


And then there’s the Sheriff. I wouldn’t be surprised if quite a number of viewers guessed that Shelby was Drew Thompson before it was confirmed in The Hatchet Tour. It occurred to me on the grounds that we should probably have encountered Drew well before his unmasking, and after the season hit the halfway mark it was probably wise to start looking around for recognisable contenders. Shelby first appeared in 2.5 Cottonmouth and I like how series’ characters evolve beyond their design, based on how well an actor works out (both Goggins and Breaking Bad’s Aaron Paul are good examples of this).


Yost has drawn on Shelby’s essential dignity cleverly, spinning out both his failings and virtues such that we’re relieved when he doesn’t meet the standard end for a Justifiedantagonist. Of course, that may be because the real bad guy is Nicky Augustine. If I haven’t mentioned how good O’Malley is, it’s because he sort of crept up on me; his performance is riveting in the last three episodes of the season, and he gets some great lines (requesting a translation for the verbose Boyd is a particular high point).


Justified’s light shows no signs of dimming, and I hope we get at least another three seasons. It doesn’t get the same attention as many of the current critics’ darling (Breaking Bad, Mad Men) or the ratings of some of the biggest cable shows (The Walking Dead, True Blood), but it deserves both. Season Four is a slight step down on the previous two, but it remains one of the top five shows on TV right now.


Comments

Popular posts from this blog

Who’s got the Figgy Port?

Loki (2021) (SPOILERS) Can something be of redeemable value and shot through with woke (the answer is: Mad Max: Fury Road )? The two attributes certainly sound essentially irreconcilable, and Loki ’s tendencies – obviously, with new improved super-progressive Kevin Feige touting Disney’s uber-agenda – undeniably get in the way of what might have been a top-tier MCU entry from realising its full potential. But there are nevertheless solid bursts of highly engaging storytelling in the mix here, for all its less cherishable motivations. It also boasts an effortlessly commanding lead performance from Tom Hiddleston; that alone puts Loki head and shoulders above the other limited series thus far.

As in the hokey kids’ show guy?

A Beautiful Day in the Neighbourhood (2019) (SPOILERS) I don’t think Mr Rogers could have been any creepier had Kevin Spacey played him. It isn’t just the baggage Tom Hanks brings, and whether or not he’s the adrenochrome lord to the stars and/or in Guantanamo and/or dead and/or going to make a perfectly dreadful Colonel Tom Parker and an equally awful Geppetto; it’s that his performance is so constipated and mannered an imitation of Mr Rogers’ genuineness that this “biopic” takes on a fundamentally sinister turn. His every scene with a youngster isn’t so much exuding benevolent empathy as suggestive of Chitty Chitty Bang Bang ’s Child Catcher let loose in a TV studio (and again, this bodes well for Geppetto). Extend that to A Beautiful Day in the Neighbourhood ’s conceit, that Mr Rogers’ life is one of a sociopathic shrink milking angst from his victims/patients in order to get some kind of satiating high – a bit like a rejuvenating drug, on that score – and you have a deeply unsettli

It’ll be like living in the top drawer of a glass box.

Someone’s Watching Me! (1978) (SPOILERS) The first of a pair of TV movies John Carpenter directed in the 1970s, but Someone’s Watching Me! is more affiliated, in genre terms, to his breakout hit ( Halloween ) and reasonably successful writing job ( The Eyes of Laura Mars ) of the same year than the also-small-screen Elvis . Carpenter wrote a slew of gun-for-hire scripts during this period – some of which went on to see the twilight of day during the 1990s – so directing Someone’s Watching Me! was not a given. It’s well-enough made and has its moments of suspense, but you sorely miss a signature Carpenter theme – it was by Harry Sukman, his penultimate work, the final being Salem’s Lot – and it really does feel very TV movie-ish.

What's a movie star need a rocket for anyway?

The Rocketeer (1991) (SPOILERS) The Rocketeer has a fantastic poster. One of the best of the last thirty years (and while that may seem like faint praise, what with poster design being a dying art – I’m looking at you Marvel, or Amazon and the recent The Tomorrow War – it isn’t meant to be). The movie itself, however, tends towards stodge. Unremarkable pictures with a wide/cult fanbase, conditioned by childhood nostalgia, are ten-a-penny – Willow for example – and in this case, there was also a reasonably warm critical reception. But such an embrace can’t alter that Joe Johnston makes an inveterately bland, tepid movie director. His “feel” for period here got him The First Avenger: Captain America gig, a bland, tepid movie tending towards stodge. So at least he’s consistent.

You nicknamed my daughter after the Loch Ness Monster?

The Twilight Saga: Breaking Dawn Part 2 (2012) The final finale of the Twilight saga, in which pig-boy Jacob tells Bella that, “No, it's not like that at all!” after she accuses him of being a paedo. But then she comes around to his viewpoint, doubtless displaying the kind of denial many parents did who let their kids spend time with Jimmy Savile or Gary Glitter during the ‘70s. It's lucky little Renesmee will be an adult by the age of seven, right? Right... Jacob even jokes that he should start calling Edward, “Dad”. And all the while they smile and smile.

Here’s Bloody Justice for you.

Laughter in Paradise (1951) (SPOILERS) The beginning of a comedic run for director-producer Mario Zampa that spanned much of the 1950s, invariably aided by writers Michael Pertwee and Jack Davies (the latter went on to pen a spate of Norman Wisdom pictures including The Early Bird , and also comedy rally classic Monte Carlo or Bust! ) As usual with these Pertwee jaunts, Laughter in Paradise boasts a sparky premise – renowned practical joker bequeaths a fortune to four relatives, on condition they complete selected tasks that tickle him – and more than enough resultant situational humour.

I'm offering you a half-share in the universe.

Doctor Who Season 8 – Worst to Best I’m not sure I’d watched Season Eight chronologically before. While I have no hesitation in placing it as the second-best Pertwee season, based on its stories, I’m not sure it pays the same dividends watched as a unit. Simply, there’s too much Master, even as Roger Delgado never gets boring to watch and the stories themselves offer sufficient variety. His presence, turning up like clockwork, is inevitably repetitive. There were no particular revelatory reassessments resulting from this visit, then, except that, taken together – and as The Directing Route extra on the Blu-ray set highlights – it’s often much more visually inventive than what would follow. And that Michael Ferguson should probably have been on permanent attachment throughout this era.

Somewhere out there is a lady who I think will never be a nun.

The Sound of Music (1965) (SPOILERS) One of the most successful movies ever made – and the most successful musical – The Sound of Music has earned probably quite enough unfiltered adulation over the years to drown out the dissenting voices, those that denounce it as an inveterately saccharine, hollow confection warranting no truck. It’s certainly true that there are impossibly nice and wholesome elements here, from Julie Andrews’ career-dooming stereotype governess to the seven sonorous children more than willing to dress up in old curtains and join her gallivanting troupe. Whether the consequence is something insidious in its infectious spirit is debatable, but I’ll admit that it manages to ensnare me. I don’t think I’d seen the movie in its entirety since I was a kid, and maybe that formativeness is a key brainwashing facet of its appeal, but it retains its essential lustre just the same.

I’m just glad Will Smith isn’t alive to see this.

The Tomorrow War (2021) (SPOILERS). Not so much tomorrow as yesterday. There’s a strong sense of déjà vu watching The Tomorrow War , so doggedly derivative is it of every time-travel/alien war/apocalyptic sci-fi movie of the past forty years. Not helping it stand out from the pack are doughy lead Chris Pratt, damned to look forever on the beefy side no matter how ripped he is and lacking the chops or gravitas for straight roles, and debut live-action director Chris McKay, who manages to deliver the goods in a serviceably anonymous fashion.

Damn prairie dog burrow!

Tremors (1990) (SPOILERS) I suspect the reason the horror comedy – or the sci-fi comedy, come to that – doesn’t tend to be the slam-dunk goldmine many assume it must be, is because it takes a certain sensibility to do it right. Everyone isn’t a Joe Dante or Sam Raimi, or a John Landis, John Carpenter, Edgar Wright, Christopher Landon or even a Peter Jackson or Tim Burton, and the genre is littered with financial failures, some of them very good failures (and a good number of them from the names mentioned). Tremors was one, only proving a hit on video (hence six sequels at last count). It also failed to make Ron Underwood a directing legend.