Episode four of Aaron Sorkin’s The Newsroom, "I’ll Fix You," is a fairly engaging episode which delves the furthest into Will’s personal and emotional life thus far. Despite the strong character moments for McAvoy though, it's beginning to seem as though the female characters on The Newsroom exist pretty much only to instigate plot.
In many of the series reviews I've read of The Newsroom, critics unanimously declared that the pilot, "We Just Decided To," was the strongest of the first four episodes. For me, however, this Sunday's episode, "The 112th Congress," is easily Sorkin's strongest stuff thus far, at least partly because of the episodes effective structural reliance on a device that Sorkin memorably used in David Fincher's The Social Network.
While not one of the more disposable films in the Woody Allen cannon, the filmmaker's latest To Rome With Love only manages to be a mildly amusing mishmash of four separate, mediocre, half-baked stories instead of just one really good one.
After a promising but problematic pilot, the second episode of Aaron Sorkin's The Newsroom should have brought things together and smoothed out some of the rough edges. Instead, it's very clear that the series is still struggling to find its feet. Worse, it almost squandered what interest we had in the series by repeating itself in just the second episode.
Pilot episodes are notoriously hard to pull off. The writer must introduce characters, themes, and settings, all while telling a very specific type of “jumping off” story likely bearing little resemblance to the episodes that will follow. Such is the case with “We Just Decided To,” the first episode of super-creator Aaron Sorkin’s new show The Newsroom.
After a notable 5-year absence from television, made even more notable by a well-deserved Academy Award win for The Social Network screenplay, Aaron Sorkin returns this Sunday to HBO with his new show The Newsroom. Ian MacIntyre previews the first three episodes of Sorkin's fast-paced and highly political new TV series.
Calling Goon this generation's Slap Shot would be an understatement. Aside from the obvious surface comparisons to the George Roy Hill/Paul Newman classic about a minor league hockey team going nowhere, director Michael Dowse (Fubar) and co-writer/co-star Jay Baruchel have created a film that outdoes what many hail as the greatest hockey comedy ever made.
Dork Shelf talks to another Goon cast member, Toronto native Alison Pill, about what to look for when choosing a love interest role, working with Seann William Scott and Jay Baruchel, and her fear of improv.
Fantasia 2010 Review Last night I dared to say on Twitter that, after seeing Scott Pilgrim vs. The World, director Edgar Wright is on his way to gaining status as an auteur. This sparked a lively debate among friends on whether this was true, or even what the definition is of an auteur. To my […]