Quentin Tarantino’s The Hateful Eight has been hotly anticipated ever since the director threatened he might never even make it. But when Django Unchained brought along such oddball and exhilarating casting choices as Leonardo DiCaprio, Jamie Foxx and Jonah Hill, it was anyone’s guess who the director would work with next. Now Deadline has exclusively …
(Note: I only considered nominees for the categories to which they were actually submitted. For example, I could not select Alan Cumming for The Good Wife, since he did not submit himself as a Best Supporting Actor in a Drama.) Best Drama Series: The Killing After it controversially failed to resolve its storyline in its …
This week’s episode is a crucial one- after “Take the Ride, Pay the Toll” wrapped up the season-long mystery last week, we’re left with only two episodes this season. That’s too much time if the PtB are only going wrap up the hanging threads from the Tate arc and potentially not enough time for them to start something new. For the show to succeed over multiple seasons, though, a new border-spanning case is necessary and we get just that this week with the abduction and rape of Eva in Juarez by a mysterious Texas-plated car. This case feels like a bit more of a stretch for calling in our favorite international crime-fighting team than the half-bodies posed on the literal border, but given our previous relationships with the characters, it’ll work.
Although The Bridge has struggled with the Tate story line throughout the season, they’ve never run out of ways to use him as an emotional vehicle for Marco Ruiz, bringing their feud to a head in “Take the Ride, Pay the Toll”, a dramatic hour that squeezes every possible ounce of tension out of the final showdown between Tate and Ruiz – and then smartly switches perspective to Sonya as the other shoe drops with a massive clang to the floor. Ironically, the effectiveness of the events on the bridge (and at Tate’s house) only stand to point out the problems so far this season (and challenges that exist in the near future), giving an interesting – if problematic – dichotomy to the micros and macros of the show.
The reveal of ex-FBI agent David Tate as the mastermind behind the rash of cross-border crimes on this season of The Bridge brought the motivations behind the crimes into focus. What it didn’t bring into focus, however, was the machinations of Tate’s plan, nor did it bring Sonya and Marco any closer to capturing him. The effects of Tate’s actions on the police begin to show this week, as Marco and Sonya react differently to the strain Tate put on them, in a solid episode that manages to keep the tension high despite very little in the way of resolution.
There’s no shame in stealing from the greats. So when “Destino” begins to feel like a hyperkinetic Justified/Breaking Bad mashup for a few minutes during a trailer-park raid gone very wrong, it’s just the kick in the pants an hour this scattered needs. Not everything about “Destino” works, but its peaks are very encouraging.
The Bridge, Season 1, Episode 6, “ID” Written by Dario Scardapane Directed by Alex Zakrzewski Airs Wednesdays at 10pm (EST) on FX This week, on The Bridge: Bobby Cobb gets a name (and a few ideas), Sonya gets a backstory, and Gina gets the eyes right The Bridge reached an intense season best last week …
Much of the first three episodes of The Bridge have focused on fleshing out the characters on both sides of the border, giving the audience a better idea of what makes them tick, and doing a fantastic job of it. This week’s episode used the framework of a standalone case, in the form of the search for the missing woman in the desert, to give a look at how the characters relate to each other, in another solid episode that introduces a promising new character while offering a look at how the Mexican cartels operate.
A Better Life Written by Eric Eason Directed by Chris Weitz USA, 2011 A Better Life, directed by Chris Weitz, succeeds because it knows that at its core it is a father-son story, and not an angry political one. In lesser hands, a film like this could have gone so wrong, but Weitz, along with …