Gotham Episode 3 "The Balloonman" Review

by Snow Drift

  On this episode, directed by Dermott Downs and written by John Stephens, a mysterious killer nicknamed “Balloonman” (Dan Bakkedahl) is strapping Gotham’s corrupt public figures to weather balloons and sending them to the sky to die. Detectives James Gordon (Ben McKenzie) and Harvey Bullock (Donal Logue) are on the case, but Bullock is no longer as safe from suspicion of being corrupt as he though.

  I’m honestly a bit conflicted about this episode. On one hand, I found it a bit jarring that the method of the murders by the Balloonman clashed with the atmosphere of the rest of the series. However, when I thought about it, I realized that the murderer and his method worked to portray the state of desperation of the citizens of Gotham. A regular adult man, who had nothing remarkable to his name, decides to take it upon himself to save Gotham with his only talent: balloons. This episode showed that a citizen of Gotham had finally had enough. Nevertheless, I still would have liked it if the episode had handled the portrayal and direction of the murders to better match the dark and gritty atmosphere of the series. 

  Among the subplots, the one matching Renee Montoya (Victoria Cartagena) and Barbara Kean (Erin Richards) is an interesting one, for it brings out to the forefront the romantic relationship between these two women and who they were before the start of the series. It also portrays the powerful force of doubt that prevails throughout the innocent of Gotham. Those that are not corrupt doubt the system, forcing them to live on the edge.

  Meanwhile, Oswald Cobblepot’s (Robin Lord Taylor) indiscriminate murders throughout Gotham and his visible presence makes it a bit unbelievable that very few people know that he is still alive. I’m surprised that only one person has discovered him and that there hasn’t been any talk of the random murders in and around Gotham. However, I am still glad that his false murder is still a topic that connects Gordon, Montoya, Crispus Allen (Andrew Stewart-Jones), Fish Mooney (Jada Pinkett Smith) and the rest of the criminal underworld to each other and further expands on their conflicts.

  In addition, Alfred Pennyworth’s (Sean Pertwee) portrayal in this episode was, in my opinion, better than the last. His extreme discipline upon Bruce Wayne (David Mazouz) worried me, yet in this episode he is shown trying to make Bruce happy in his own way, which is a bit more consistent with the essence of his comic book counterpart. 

  All the while, I do like how Bruce, even though he outwardly seems to be in the process of moving on from his parents’ murder by having a bit more fun, while still holding unto his anger and fear. He lashes out at times and seems to be taking every event that happens in Gotham personal. 

  McKenzie’s and Logue’s acting was more convincing than before, which may be based on the fact that they’re getting used to their characters or the script itself. The villains acting was relatively well, but it could have been better. The rest of the cast was consistent with the last two episodes, although I have to say that I love Pinkett Smith, for she portrays a character that feigns a relative goodness, yet makes it known to everyone around her that she is not one to mess with. 

  The episode in its entirety could have been better directed to portray the sense of terror from being forcefully lifted to the sky. However, I liked the elements that were implemented into the series and the fact that events that have happened in previous episodes are affecting the future.

Gotham Episode 2 "Selina Kyle" Review

by Snow Drift

  On this episode, Patti (Lili Taylor) and Doug (Frank Whaley), a strange duo, of snatchers, work together to capture homeless children from the streets of Gotham to take them to their boss, the mysterious Dollmaker. When given this case, Detectives James Gordon (Ben McKenzie) and Harvey Bullock (Donal Logue) have to work together to save these children, if with several problems along the way.

  Plot-wise, the episode began to gather momentum as the snatchers captured the children and were eventually discovered by Gordon and Bullock. However, the episode ended anti-climatically. Selina Kyle (Camren Bicondova), or Cat, simply slipped away from their clutches and was saved by a deux ex machina-like arrival of Gordon. There was no tension if Gordon would have arrived on time to save the children; he was just suddenly there, right on time, with no explanation as to how he got inside a building that had armed guards around. The viewer is told to believe that the police were just that good in the nick of time. 

  Besides that, I liked the rest of the subplots. The power struggle between Fish Mooney (Jada Pinkett Smith), Carmine Falcone (John Doman) and even Oswald Cobblepot (Robin Lord Taylor), with his viciousness and cruelty, makes for an interesting dynamic and view of the criminal underworld. The corruption and lack of care from the mayor and most of the police department in regards to the well-being of the homeless and delinquent children help to readily show an environment of hopelessness and selfishness, all of which help portray Gotham as having a darkness that goes beyond mere physical violence and murder. 

  In a way, this episode felt more like a prelude to another than anything else. The importance of the snatchers was based more on giving information on a potentially new future villain and Selina Kyle’s presence in this episode seemed more to be about showing her skills, ruthlessness, cunning, and significance as to the identification of the Wayne’s killer than anything else. However, Kyle’s actions do help to establish the kind of person she is and how that might develop in future episodes.

  Bruce Wayne’s (David Mazouz) character development seems fascinating, for he, although already succumbing to the determination, and possible obsession, of his future self, still acts like the child he is. He does not know much of how the world works, nor how he must move on from the tragedy. He wishes for an answer and a way to help the innocent, but is still too young to understand how to reach the conclusions to those. 

  Alfred Pennyworth’s (Sean Pertwee) attitude on this episode was disconcerting, to be honest. His way of treating Bruce is a bit too harsh for his character, even at this stage of his life. One thing is being disciplinarian and attempting to stop Bruce from going too far with his antics, but it is entirely another to be constantly harsh to him at nearly every moment. However, he does show compassion towards him, but it would be nicer for the sake of his character for his attitude to be a bit more humbling.

In terms of acting, I’m still not entirely convinced by McKenzie’s and Logue’s; its seems as if Logue is trying to be as outwardly corrupt in attitude as possible to the point of it being a bit exaggerated, while McKenzie just seems to still need to get into his character. The acting of the snatchers, although successfully unnerving at times, felt a bit forced during others, as if the actors were trying a bit too hard to sound and look creepy. The rest were relatively good for the portrayal of their respective characters, Bicondova especially portraying her character as young but used to the horrors of Gotham, to an extent.  

Overall, the episode was decent, although it could have had a better-handled ending. The possible mafia war and the existence of Dollmaker do help establish the possibility of much more to come throughout the series.

Gotham Pilot Episode Review

by Snow Drift

 

Gotham is a new DC Comics television series created by Bruno Heller and starring Ben McKenzie (Detective James Gordon), Donal Logue (Detective Harvey Bullock), David Mazouz (Bruce Wayne), and Jada Pinkett Smith (Fish Mooney), among many others. The series, which aired its pilot episode September 22^nd, will broadcast through Fox.

Gotham’s scenery was a mix between modern and gothic architecture with some early 20^th Century aspects, which gives the viewers a relative feel of a city that is both of our time and unique in its existence. There is a sense of grim darkness to it without it being too overwhelming. Portraying Gotham and its population as mostly corrupt helps to quickly establish the kind of world James Gordon will have to deal with on a daily basis: one that has the power to break him if he even flinches. By additionally showing characters that believe in justice, such as Renee Montoya (Victoria Cartagena), and villains that are more than just cardboard cutouts, like Carmine Falcone (John Doman), the episode demonstrates that the series will neither be monotonous in its characterization nor dull in its plot. However, even though the general atmosphere of the episode is dark and gritty, there is a sort of over-the-topness, like when the butcher came to kill Gordon and Bullock, which may seem jarring to some viewers but enjoyable to others, depending on each person’s tastes.

In terms of characterization, the episode presented each character with a sense of distinguished identity and the possibility to broaden their stories. Gotham does not go with a superhero twist from the start, but it portrays characters as having a certain quality to them that might develop into a more identifying one in the future. Since this series is based on the early years of the Gotham-centric characters, it is understandable that none of them will necessarily jump right into tights costumes out of nowhere; although it feels strange when certain characters act differently from their usual selves. A few perfect example are Alfred Pennyworth’s (Sean Pertwee) more disciplined, annoyed and serious manner, and Oswald Cobblepot’s (Robin Lord Taylor) more outwardly cowardice portrayal. These characters still need to be developed into the ones that comic book readers know and love. In terms of acting, I’m still not entirely sold on McKenzie and Logue’s performance, yet but I did love Pinkett Smith and Mazouz. The rest, although well done, still need development.

Unfortunately, there are some aspects I did not particularly like. The dialogue at times felt a bit too poetic when the moment didn’t necessarily call for it. For an episode that established itself as down-to-Earth, to an extent, those instances came on felt out of place. This also goes for the cinematography, which was relatively well done except in a scene that zoomed in on Gordon’s face, which broke the flow of the scene. Meanwhile, although I do love to see comic book characters making an appearance in television series, there must be a reasonable introduction to them. This was something Gotham lacked. It was nice to see Edward Nygma (Corey Michael Smith), Ivy Pepper (Clare Foley), and Selina Kyle (Camren Bicondova), and but it was a bit too much for a first episode. Their individual introductions should have been more dispersed and less cluttered. It would have helped the shows progression flow instead of shove characters in the viewers’ face. 

However, because this is a pilot there is a chance for improvement. One episode does not necessarily represent the style, characterization and plot progression of the rest of the series. The important thing is that it captures the attention of potential viewers; the rest of the series has the objective to maintain that audience and possibly make it grow as time progresses. In truth, one can only wait and see the true potential that Gotham holds.

Netflix Addiction: VGHS season 1

By Mick Neeky

Based on an idea by Will Campos and Chris Pappavaselio, Video Game High School is a clever and quirky series based in a world where video games are the ultimate sport. The story follows Brain D (Josh Bloylock) as he is accepted into the prestigious VGHS by chance due to his pwning of The Law (Brian Firenzi) on national TV. Having beaten the best gamer in the known world, Brian is given a full scholarship into VGHS. Following the typical high school agenda, VGHS touches up on everything from crushes to bullying. It explores what life could be like if video games where taken seriously. And let me just say, it has a flawless execution.

Without spoiling anything, I’d like to point out one of VGHS season 1’s triumphs: its clever twist on cliché and cheesy moments. Where most series fail miserably, VGHS hits the mark. The viewer is always enthralled and kept guessing. Sometimes it does go over the top—Ted Wong (Jimmy Wong) I’m looking at you—but it pulls through.

VGHS nailed its cast perfectly: everything from hardened youtubers like Freddie Wong to move stars like Zachary Levi. But beyond the enchilada of love (Ki Swan played by Ellary Porterfield and Ted Wong), there’s the truth heart of VGHS: Brian D’s spat with The Law. The show revolves a great deal around them; their hatred on screen is perfect and gives games someone to love and hate. It’s up to you who you pick. Yet each character gets a chance to be in the spotlight. They don’t feel bland and pointless; they’re alive! At the end of the day Brian D doesn’t go to school with a bunch of bots.

All the drama, jokes and awesome rivalry aside, there’s still one aspect of that outshines them all, VGHS’s execution on video games. Heralded by Freddie Wong, special effects master on Youtube, VGHS centers on a virtual reality feel, yet it’s not. I know it’s confusing. Truth be told that as your watch Brian D gun his way through a battlefield he’s not really inside the game. It’s just a clever way to add the video games into the mix. After all, it is called VGHS, or would you rather see him tap keys and click his mouse? In my opinion, VGHS nailed its first season. The only beef I got with it, and it’s not a big one, it’s its lack of other gaming types. They only manage to cover a handful in season one like rhythm, racing, fighting, and FPS.

All in all, VGHS deserves your free time. Give it a shout and maybe you’ll get a scholarship.

                         Keep it Neeky.