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Showing posts with label Peli. Show all posts
Showing posts with label Peli. Show all posts

THE SKED'S PILOT + 1 REVIEW: "The River"




A lot can happen between the creation of a TV pilot in the spring and production of episodes for the regular season:  a writing/producing team is hired, audience focus groups weigh in, networks and studios (which may have had their own turnover in the off-season) give plenty of notes, both helpful and otherwise, and critics begin to rear their ugly heads.  The results can include changes to tone, pace, casting and even story.  Here at THE SKED, we're going to look past the pilots and present reviews of the first regular episodes of this year's new series as well.

Previously... on THE RIVER:  A small boat called the Magus heads up the Amazon, in search of vanished TV nature series host Dr. Emmet Cole (Bruce Greenwood).  The crew is a mix of Cole's family and friends--wife Tess (Leslie Hope), son Lincoln (Joe Anderson) and Lena (Eloise Mumford), the daughter of his trusted cameraman--and a TV crew headed by Clark (Paul Blackthorne) that's documenting the search.  Also along are mercenary Brynildson (Thomas Kretschman) providing security, and the boat's engineer (Daniel Zacapa) and his adolescent daughter Jahel (Paula Gaitan).  There are plenty of tensions among this group as they follow breadcrumbs of clues they find in the videotapes Cole has left behind.  And along the way, at every stop they encounter all manner of supernatural phenomena.  The entire show is supposedly edited together from the footage shot by the documentary crew itself.



Episode 2:  Although The River aired as a "2-hour premiere," it was actually the original pilot with the first regular episode appended.  The building blocks of exposition and mythology having been established in the pilot, that second hour gives a good picture of what the series is planning to be.  Clearly it'll be quite a while before the Magus finds Emmet Cole, and some of the show's episodic adventures will only tangentially involve the search for him.

In the 2d hour episode, written by Executive Producers Michael Green and Zack Estrin, and directed by pilot director Jaune Collet-Serra, some kind of magic CG bug flew into Jahel's mouth and temporarily possessed her with Cole's spirit (and Bruce Greenwood's voice).  The spirit tried to talk the group into going home, but of course then there'd be no show, so they ignored him/it and pressed on.  Something the spirit said seemed to indicate that Cole was still alive but being held in captivity, which set the Magus to this week's part of the Amazon.  Cole wasn't there, but they did find the ghost of a dead colonial family's child.  The site where the girl drowned was surrounded by dolls who sometimes came alive, and since the dead girl missed her dead mother, in her loneliness she took Tess as a substitute.  (This storyline oddly echoed The Woman In Black, which opened in theatres last weekend.) 

The hour had a few creepy moments, but it never made the use that it should have of those dolls, which didn't do much more than open their eyes and stare (limited series CG budget?).  Watching Leslie Hope get pulled under muddy water was a good deal less frightening.  The episode also made clear some of the limitations of the show's concept.  Since the show-within-the-show is being filmed by a professional TV crew, the "found footage" gimmick doesn't mean much (unlike, say, the ingenious use of technical imitations in Paranormal Activity 3), because it all looks like any other TV show except for the shaky hand-held camerawork used to accentuate panic in the action sequences, and there's already overuse of genre cliches like images suddenly cutting to static or flaring in the face of the supernatural.  Also, the conventions of series television mean that the regular characters aren't in all that much mortal danger until we get near the season finale, which lessens any suspense, and thus far, the relationships between those characters are none too scintillating.

Since the hunt for Emmet Cole is a very loose underpinning for the series at this point (this week we got a B story suggesting that it's Lena, not Lincoln, who's the "chosen one" that will have to fight evil to rescue Cole), each episode of The River will mostly have to fend for itself, based on the strength of that week's story.  This episode was medium-scary, and the show will have to do better if the repeated scenes of people stumbling through jungle or looking off the side of the boat and exclaiming "What the hell was that?!?" aren't to get tiresome.


Original Verdict:  Potential DVR Alert

Pilot + 1:  Beware of Shaky-Cam Seasickness

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THE SKED PREMIERING TONIGHT: ABC's "The River"



Disclaimer:  Network pilots now in circulation are not necessarily in the form that will air in the Fall.  Pilots are often reedited and rescored, and in some cases even recast or reshot.  So these critiques shouldn't be taken as full TV pilot reviews, but rather as a guide to the general style and content of the new shows coming your way.

THE RIVER -  Midseason on ABC:  Potential DVR Alert

THE RIVER is a solid sleeper, a pleasurably nerve-rattling B-movie creepfest set on the Amazon.  ABC is holding it for midseason, where at the very least it should stand out from other network arrivals.


As every promo will surely be heralding, The River comes from Steven Spielberg's Amblin production company and producer Oren Peli, of Paranormal Activity fame.  Peli's involvement is more obvious, because the show uses the same "found footage" format as the Paranormal movies, where everything we're watching is supposedly filmed either by the show's characters or surveillance cameras (this illusion only goes so far, unless there's an invisible helicopter around for a few of the shots).  The backstory of the premise is that America's beloved TV explorer Dr Emmet Cole (Bruce Greenwood), who had traveled around the world for 20 years with his wife Tess (Leslie Hope), his son Lincoln (Joe Anderson) and an ever-present camera crew, suddenly decided to head up the Amazon on a small boat without his family.  When the pilot begins, he's been missing for 6 months, and Tess and Lincoln, funded through a TV show to be produced by Cole's sometime partner Clark (Paul Blackthorne), set out in search of him. 

Naturally there are complications:  Lincoln has daddy issues (Emmet may have cared more about his show than his son); Clark may not be trustworthy, and that goes for the group's head of security Brynildson (Thomas Kretschman) too; Lena, the daughter of another missing colleague (Eloise Mumford) knows more than she's saying.  More bothersome, the young daughter (Paula Gaitan) of the boat's engineer (Daniel Zacapa) senses... evil.  And it won't come as a surprise that she's not wrong.  Before too long, the handheld cameras are shorting out, there are weird rustling noises in the trees, and the question becomes:  just what was Emmet Cole looking for?

Peli contributed to the story of The River, but the script is by Michael Green (Heroes) and Michael R. Perry (the TV version of Dead Zone and last summer's oddball Persons Unknown).  They capably deliver some old-fashioned spookiness, and lightly sketch in potential plot and character complications for later episodes.  The pilot is directed by Jaume Collet-Serra, who helmed Unknown with Liam Neeson a few months ago, and had previously done the notably kinky horror movie Orphan (watch out, she's not really an orphan!); those incessantly shaky hand-held cameras can get awfully annoying if overdone, but Collet-Serra keeps it stylistically under control.  Even though a show like this isn't exactly a showcase for actors, Anderson is a strong lead, and Blackthorne a practiced hand at untrustworthiness.  (It appears that we'll mostly see Greenwood in videotapes he's left behind, although presumably that might change.)

The River could easily become unintentional comedy--a couple of episodes too many of people peering off the side of the boat and muttering "What is that?" and the game will be lost.  (At some point, it'll also need to show more of its monsters than the fragmented glimpses we get in the pilot.)  Plus it's a difficult series to schedule, especially on ABC, which now that Lost is gone relies mostly on female-skewing dramas for its one-hours.  If the network and producers can find the right creative and marketing harbors for it, though, this could be a cruise worth taking.

Read more about TV's new shows at THE SKED PILOT REPORT.

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