Oliver Platt

Adam Goldberg in Fargo

In many ways, I liked this week’s episode of Fargo, titled “Buriden’s Ass,” as much as I disliked last week’s (both of them were directed by Colin Bucksey). It wasn’t perfect, but it had a good deal of action and racked up a serious body count. Not that deaths make a good show, but it was enough that stuff was happening. And much of that stuff led to conclusions for certain characters and questions for and about others, questions that are intriguing rather than frustrating. Some characters make really dumb choices, as is expected in this series, but interestingly Lester (Martin Freeman) was not one of them this time. He finally made decisions that indicate he could just make it through the finale alive, after all. There are two moments in the episode where characters are shown to be really thinking about what to do next. For Lester, it’s with a surprisingly lengthy close-up on Freeman’s face as he works out his plan. And by episode’s end, it seems to have been a good plan, albeit one involving a very cliched escape scenario and a few too many instances of illogical luck (why did no one from radiology look for their scheduled patient? why did Lester’s nephew do nothing when he saw the guy creeping around the house?). Then there’s Stavros (Oliver Platt), whose thought process was accompanied by those annoying reminder flashbacks. And by episode’s end, it seems his decision was not a good one at all.


Billy Bob Thornton and Colin Hanks in Fargo

Just when I’m thinking that the Supermarket King storyline is worthless, this week it ties the Fargo series to its movie namesake. There was a tease in last week’s episode with the ice scraper in the office of Stavros (Oliver Platt), and now “Eating the Blame” opens with a flashback to 1987, which is the year in which the Fargo movie takes place. Funny, I just finally re-watched the movie the other day and was left wondering if someone would ever find the cash that Steve Buscemi’s character buries. Here’s the answer: Stavros found it miraculously in a moment of despair and used it to become grocery store royalty. I wonder if that will be the only link we get. It’s not important if it is or isn’t. What is important, at least this week, is the idea that miracles and plagues can be mistaken for each other. The finding of the money was a sure sign that “God is real” to Stavros, and it’s hard to argue that for 19 years it had to have seemed truly heaven sent. But he’s also likely had two decades of contemplating whether the briefcase belonged to someone and whether he’d be in trouble for taking it. The answer appeared to come in the form of the extortion note, completely accidental on the part of blackmailer Don (Glenn Howerton). And that it is accompanied by Biblical plagues of water turning to blood and locusts (really crickets, in a really great scene) makes it all the […]


Billy Bob Thornton in Fargo Episode 2

As noted in my review of the pilot last week, the second episode of Fargo promised some more references to various Coen brothers movies, namely Raising Arizona and Burn After Reading. The former was in the form of Oliver Platt‘s “Supermarket King” character. He owns a chain of stores called Phoenix Farms and wrote a book called “American Phoenix.” I guess showrunner Noah Hawley didn’t want to go too on the nose by naming him Stavros Phoenix, though. Instead, his last name is Milos. As for the latter homage, there wasn’t much to it other than Glenn Howerton playing a personal trainer. Meanwhile, there were allusions to The Hudsucker Proxy (the man scraping the name off the police chief’s office door) and I’m gonna say A Serious Man, as the scene with Colin Hanks spying on his orthodox neighbor undressing reminded me of a scene from that film. The Easter eggs are fun but also a little distracting, particularly because I’m looking for more in every scene and wondering whom each newly introduced character might be based on. Has there been a deaf guy in any of the Coens’ movies, for instance, or is deaf actor Russell Harvard playing a wholly original part? Was the blackmail note a direct reference to The Big Lebowski or is it supposed to be just the stereotypical ransom sort seen in countless movies? The hunt might have been more consuming this time, because there wasn’t a whole lot going on in a focused manner in this episode, titled […]


Oliver Platt in X-Men First Class

It’s a scientific fact that if you add Oliver Platt to anything it gets 34% better. There are numerous examples of Platt elevating films even with his smallest of appearances. However, this week he took off his actor’s hat and served as a narrative feature juror member for SXSW. He also has a role as a food critic in Jon Favreau‘s Chef, which premiered at the festival, but Platt was in attendance to be a part of the festival, not to promote a film. And yet, he made the time to speak with us. Platt was my final interview of the festival, and it couldn’t have been a better note to end on. Interviews can be tough during SXSW. Sometimes you’re lucky to have more than 10 minutes with whomever you’re interviewing. In many cases, it’s never done in a helpful setting, either. Too often you’re in a small room or restaurant packed with people speaking at an excessively high volume. Or, in one instance, you’re on a stage under a spotlight in some darkly lit bar being watched by 15 strangers. Thankfully, that wasn’t the case with Platt. At the last minute, an interview slot opened up and we met him in his hotel lobby the following day for a lengthy conversation. It was an all around ideal situation, and we used it to explore the overriding theme of the festival.


2012 Movie Roland Emmerich

The Mayans, the wise race of ancients who created hot cocoa, set December 21st, 2012 as the end date of their Calendar, which the intelligent and logical amongst us know signifies the day the world will end, presumably at 12:21:12am, Mountain Time. From now until zero date, we will explore the 50 films you need to watch before the entire world perishes. We don’t have much time, so be content, be prepared, be entertained. The Film: 2012 (2009) The Plot: Disaster filmmaker extraordinaire Roland Emmerich gives audiences his vision of how the world will end in this 2009 blockbuster. As the clock ticks closer to December 21, 2012, geologists and other scientists discover various anomalies happening to our planet. Solar flares are tossing neutrinos across space, and they are impacting the Earth’s mantle. They predict global catastrophe as the crust shifts and the Earth’s plates rearrange. Eventually, massive earthquakes wipe entire cities off the globe while one family, led by John Cusack, makes an escape in a limousine of awesomeness.



Themes of identity, difference, stigma, and othering are explicitly or implicitly present in much of the X-Men mythology, whether expressed through comics, television shows, or films. While I was never a devotee to the comics, as a fan of the 90s animated television series and (some of) the recent slate of Hollywood films (that have, as of this past weekend, effectively framed the continually dominant superhero blockbuster genre), I’ve always been fascinated by the series’ ability to take part in the language of social identity issues. Fantastic genres like horror and sci-fi have often provided an allegorical means of addressing social crises (vampire films as AIDS metaphor, zombie movie as conformist critique, or Dystopian sci-fi as technocratic critique, for example). The superhero genre has possessed a similar history in this capacity, even though it has thus far been mostly unrealized in the medium of film. As big entertainment, superhero films ranging from the first Spider-Man to the Iron Man films have bestowed narratives of exceptionalism and wish-fulfillment rather than shown any aspiration towards critique or insight. Perhaps The Dark Knight is most involved example of social critique thus far – a film that explores themes surrounding the personal toll on fighting terror and the overreaches of power that can result in the name of pursuing safety. What X-Men: First Class (almost) accomplishes is mining fully the allegorical territory made available by its fantastic premise in a way that few previous comic book films have.



This week, Fat Guy Kevin Carr brushes up on his world history by studying the Cuban Missile Crisis of 1962. He learns how multiple mutants were involved in not only escalating it but also trying to solve it. Surely an education by Hollywood will help him out when he takes his GED next month. After spending hours reflecting on January Jones’s boobs, he took the rest of the day trying to move things with his mind, which led to an emergency room visit after bursting a blood vessel from concentrating too hard. Thank god there was only one movie opening wide this weekend.



Kevin Carr looks at Punisher: War Zone, Frost/Nixon and Timecrimes, in theaters this week with the FSR Report Card.

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published: 01.27.2015
published: 01.27.2015
published: 01.27.2015
published: 01.27.2015

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