Skip to main content

We don’t submit to terror. We make the terror.

House of Cards
Season Four

(SPOILERS) Well, it’s a massive step up from the middling third season, mostly hitting its targets in making Claire (Robin Wright) as steely and reptilian as President Frank (Kevin Spacey). As such, Season Four of House of Cards is somewhat superior in the first half, when the Underwoods are at sabotaging loggerheads with each other, rather than the resumption of the new united front in opposition of Republican, selfie-obsessed pretty boy Will Conway (Joel Kinnaman) in the second. It’s a particularly nice touch to have her stare into the camera in the final shot too.


Mostly this show is as politically disconnected a fantasy as The West Wing, merely replacing altruistic motives with Machiavellian ones. Frank and Claire have no one calling their shots, perpetuating the notion of an Oval Office that actually issues edicts and exerts control. But there are occasional neat touches along the way.


If Conway’s strangely garbled Google-esque search engine election-rigging formula never really convinces as anything that would work (which is probably why the writers are so vague about what exactly Pollyhop can do and how it keeps him ahead), and Frank’s countermeasures CIA surveillance is a crude grab at invoking Snowden topicality without really being remotely relevant, and ICO is just the latest forlorn attempt at making capital from a fictionalised War on Terror, at least the final curtain, as the President, backed into a corner, goes to war as the only way out, is appropriately, ruthlessly cynical (“We don’t submit to terror. We make the terror”). The only problem is that, for every time the makers come up with something neat, they miss something even better. I fooled myself for about 10 minutes into thinking the hostage abduction might be a false flag designed to gain capital as part of a ruse to undermine Conway, but it was just more sub-Homeland terrorists-on-home-turf nonsense.


The Frank and Claire Show, with her running for VP (the kind of unlikely conceit that actually just might work, given public appetites for gloss over substance, but just as likely really wouldn’t – you’d have to completely love them as a celebrity couple to get public onside) looks more and more like a parallel with the Clintons, with all the skeletons attempting to break open the closet doors. Against that, her relationship with Tom Yates (Paul Sparks) is a little laboured, and the kind of thing, in its extended form as the US show is, that reminds you this kind of material works so much better as a finite, focussed satire; that they’re wrapping it up after five seasons is probably as much about Spacey wanting to do other things as getting out while the going is good and there are still a few storylines left to plot.


The assassination attempt on Frank made for good dramatic capital for a few episodes, even if I never really bought into Lucas (Sebastian Arcelus) being brought to the brink, and the whole deathbed hallucinations thing was dreadfully overplayed. Which lead into the Big Bad of the season, and, while his arsenal of hooks isn’t terribly convincing, Kinnaman really delivers as Conway; it’s one of the best roles he’s had, in fact.


But, while House of Cards manages to be more-ish in a manner a number of Netflix shows just plain aren’t (the Marvel run, and I’ve mentioned I’m really struggling to summon enthusiasm for Bloodline Season Two), and it’s nice that it leaves characters for a while and then returns to them, there is a sense that rather than a shrewdly devised and calculated schematic for a show that wants to be as elegant and poised as this one, it’s actually going around in a lot of circles (Boris McGiver’s Tom Hammerschmidt picking up the investigation into Frank again), often spinning its wheels and patching up holes rather than ploughing ahead with intent. What I’d have liked more of is the unlikely, and the idiosyncratic, like the Damian Young’s offbeat NSA data scientist listening to rap on his headphones as he fucks people’s lives up.


The show has definitely proved it works best when making the Underwoods devilish equals, be that as opposing forces or working symbiotically, showing off both sides at various stages of the season. So, however the final chapter goes, and possibly nervously so without Beau Beaumont running things anymore, it needs to keep that in focus.


Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Comments

Popular posts from this blog

What ho, Brinkley. So, do you think we’re going to get along, what?

Jeeves and Wooster 2.4: Jeeves in the Country  (aka Chuffy)
The plundering of Thank You, Jeeves elicits two more of the series’ best episodes, the first of which finds Bertie retiring to the country with a new valet, the insolent, incompetent and inebriate Brinkley (a wonderfully sour, sullen performance from Fred Evans, who would receive an encore in the final season), owing to Jeeves being forced to resign over his master’s refusal to give up the trumpet (“not an instrument for a gentleman”; in the book, it’s a banjulele).

Chuffnall Hall is the setting (filmed at Wrotham Park in Hertfordshire), although the best of the action takes place around Bertie’s digs in Chuffnall Regis (Clovelly, Devon), which old pal Reginald “Chuffy” Chuffnell (Marmaduke Lord Chuffnell) has obligingly rented him, much to the grievance of the villagers, who have to endure his trumpeting disrupting the beatific beach (it’s a lovely spot, one of the most evocative in the series).

Jeeves is snapped up into the e…

Exit bear, pursued by an actor.

Paddington 2 (2017)
(SPOILERS) Paddington 2 is every bit as upbeat and well-meaning as its predecessor. It also has more money thrown at it, a much better villain (an infinitely better villain) and, in terms of plotting, is more developed, offering greater variety and a more satisfying structure. Additionally, crucially, it succeeds in offering continued emotional heft and heart to the Peruvian bear’s further adventures. It isn’t, however, quite as funny.

Even suggesting such a thing sounds curmudgeonly, given the universal applause greeting the movie, but I say that having revisited the original a couple of days prior and found myself enjoying it even more than on first viewing. Writer-director Paul King and co-writer Simon Farnaby introduce a highly impressive array of set-ups with huge potential to milk their absurdity to comic ends, but don’t so much squander as frequently leave them undertapped.

Paddington’s succession of odd jobs don’t quite escalate as uproariously as they migh…

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

That be what we call scringe stone, sir.

Doctor Who The Ribos Operation (1978)
Season 16 is my favourite season, so I’m inevitably of the view that it gets a bad rap (or a just plain neglected one), is underrated and generally unappreciated. Of its six stories, though, The Ribos Operation is probably the one, on balance, that receives the most accolades (on some days, it’s The Pirate Planet; many moons ago, back when DWAS was actually a thing of some relevance, The Stones of Blood won their season poll; there are also those who, rightly, extol the virtues of The Androids of Tara). I’m fully behind that, although truthfully, I don’t think there’s an awful lot between the first four stories. Why, I even have great affection for the finale. It’s only “KROLL! KROLL! KROLL! KROLL!” that comes up a bit short, which no doubt makes me a no good dryfoot, but there you are. If that Robert Holmes script is on the threadbare side, through little fault of his own, The Ribos Operation is contrastingly one of his very best, a hugely satisfyi…

I do… very competitive ice dancing.

Justice League (2017)
(SPOILERS) Superheroes, and superhero movies, trade in hyperbole, so it shouldn’t be surprising that DC’s two releases this year have been responded to in like, only each at opposite ends of the spectrum. Wonder Woman was insanely over-praised in the rush to fete a female superhero finally leading a movie, crushing all nuanced criticism in its wake. Justice League, meanwhile, has been lambasted on the basis that it’s more of the same as Batman v Superman: Dawn of Justice, only worse – to the extent there have been calls for a Zach Snyder Director’s Cut, which is quite an extent, as extents go – as it’s guilty of being an unholy clash of styles, grimdark Zach scowling in one corner and quip-happy Joss pirouetting in the other. And yes, the movie is consequently a mess, but it’s a relatively painless mess, with the sense to get in and get out again before the viewer has enough time to assess the full extent of the damage.

Angry man is unsecure.

Hulk (2003)
(SPOILERS) I’m not a Hulk apologist. I unreservedly consider it one of the superior superhero adaptations, admittedly more for the visual acumen Ang Lee brings to the material than James Schamus, Michael France and John Turman’s screenplay. But even then, if the movie gets bogged down in unnecessarily overwrought father-son origins and dynamic, overlaid on a perfectly good and straightforward core story (one might suggest it was change for the sake of change), once those alterations are in place, much of the follow through, and the paralleling of wayward parents and upright children, or vice versa, translates effectively to the screen, even if the realisation of the big green fella is somewhat variable.

‘Cos I’m the gringo who always delivers.

American Made (2017)
(SPOILERS) This is definitely more the sort of thing Tom Cruise should be doing, a movie that relies both on his boyish™ charm and at least has pretensions of ever so slightly pushing the envelope of standard multiplex fare, rather than desperately attaching himself to an impersonal franchise (The Mummy) or flailingly attempting to kick start one (Jack Reacher: Never Go Back); remember when Cruise wouldn’t even go near sequels (for about 20 years, The Color of Money aside, and then only the one series)? American Made is still victim to the tendency of his movies to feel superstar-fitted rather than remaining as punchy as they might be on paper (Made’s never quite as satirically sharp as it wants to be), but it at least doesn’t lead its audience by the nose.

Sometimes when you take people away, they don't come back.

The Ward (2010)
(SPOILERS) I’d felt no particular compunction to rush out and see The Ward (or rent it), partly down to the underwhelming reviews, but mostly because John Carpenter’s last few films had been so disappointing, and I doubted a decade away from the big screen would rejuvenate someone who’d rather play computer games than call the shots. Perhaps inevitably then, now I have finally given it a look, it’s a case of low expectations being at least surpassed. The Ward isn’t very good, but it isn’t outright bad either.

While it seems obvious in retrospect, I failed to guess the twist before it was revealed, probably because I was still expecting a supernatural element to be realised, it being a Carpenter movie. But then, this doesn’t feel very much like a Carpenter movie. It doesn’t have a Carpenter score (Mark Killian) or screenplay (Michael and Shawn Rasmussen) and it doesn’t have Gary B Kibbe as lenser (Yaron Orbach). I suspect the latter explains why it’s a much more professi…

Rejoice! The broken are the more evolved. Rejoice.

Split (2016)
(SPOILERS) M Night Shyamalan went from the toast of twist-based filmmaking to a one-trick pony to the object of abject ridicule in the space of only a couple of pictures: quite a feat. Along the way, I’ve managed to miss several of his pictures, including his last, The Visit, regarded as something of a re-locating of his footing in the low budget horror arena. Split continues that genre readjustment, another Blumhouse production, one that also manages to bridge the gap with the fare that made him famous. But it’s a thematically uneasy film, marrying shlock and serious subject matter in ways that don’t always quite gel.

Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

You diabolical mastermind, you.

The Avengers Season 4 Ranked – Worst to Best
Season Four is generally held up as the pinnacle of The Avengers, and it certainly maintains the greatest level of consistency in the run. Nevertheless, as I noted a few reviews back, one viewer’s classic is another’s ho-hum with this show, perhaps because it doesn’t elicit the same kind of exhaustive fandom to establish any level of consensus as some series. There follows my Worst to Best ranking of the season, told mostly in pictures. The index for full episode reviews can be found here.