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By: Cathy Huang
I recently had the pleasure of watching McMaster Musical Theatre’s production of The Drowsy Chaperone. Having already read the notorious play’s Wikipedia page beforehand, I was somewhat prepared for the song, “Message from A Nightingale” going into the show. I was not prepared, however, for just how offensive it would be. The number featured two white cast members in traditional Chinese qipaos (dresses) and chopsticks in their hair, something Chinese people don’t actually do, and another white cast member in a plain green dress and a rice paddy hat.
A musical meant to parody musicals in the 1920s — racism and all — written in 1998, and still performed to this day, does little to actually spark discussion about racism towards Asian people. If you read the program, you’ll see that the director chose to respect the source material rather than the actual minority group he would be hurting. I would like to know how he and the production team handled this with the “utmost care,” and how he thinks “Message from A Nightingale” will “provoke discussion rather than offense.” More importantly, how he thought he, as a white man, was in any way qualified to speak on the complicated and varied experiences of Chinese people.
As the red lanterns and cheap dragon kite descended from the ceiling, I figured it couldn’t get any worse, but then they started singing. The song began with terrible accents and ended with references to Chinese foods and replacing ‘l’ sounds with ‘r’s once the emperor, played by yet another non-Chinese cast member, waltzed on stage. Instead of having the few Asian cast members play Asian characters, white people were selected. If you’re wondering, yes, this does make it more offensive. Maybe they weren’t comfortable playing those roles, but then again, maybe this song should never have been included in the first place.
After McMaster School of the Arts’ decision to put on Lady in the Red Dress this year, a play that highlighted the racism Chinese-Canadians face specifically, it seems a glaring oversight to have consciously kept this number in the production. A brief mention of China’s long history by the main character, Man in Chair, is not only insufficient for facilitating a discussion about a topic so complex, it’s not even relevant to the stereotypes presented in the song. The number was inessential to the plot of the musical, and could’ve been replaced by literally anything else.
But as uncomfortable as the number made me, the more unsettling thing and the reason I nearly walked out of the theatre was how hilarious the audience seemed to find it all. As soon as the Asian-sounding music began, they were chuckling. By the time the emperor appeared, they were howling. I’d been laughing up until that point but in a room full of people, I had never felt more alone in my entire life. I was somewhere between wanting to cry, vomit, and start screaming at everyone either involved or just sitting there and laughing. And that’s a lot like what fighting racism as an Asian is like in Canada. No one takes you seriously and white people dismiss you and non-Asian People of Colour alike because they don’t think your struggles are valid. To you they’re still an expendable joke. From Fu Manchu and Mr. Yunioshi to Drowsy and recent remarks made at this year’s Oscars, the entertainment business has clearly demonstrated how little it cares about us, and how little progress we’ve made in the anti-racism movement for Asians.
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By: Joe Jodoin
Remember three years ago when some over-the-top Die Hard rip-off came out of nowhere, and it actually turned out better than the last couple Die Hard movies? Well that movie got a sequel, full of more of the same mindless action. London Has Fallen is a fun throwback to the simplistic but entertaining action movies of the late 80s, early 90s period of cinema. Think of the classics with Schwarzenegger, Stallone, or Van Damme, full of graphic violence and cartoony explosions. This film will at least provide a short period of escapism for action lovers, but not much else for other audiences.
The story follows Islamic terrorists who carry out an attack at the British Prime Minister’s funeral, in order to kill most of the world’s leaders, including the American President. The only man who can protect the President is Secret Service Agent Mike Banning, and the two men travel around London fighting countless waves of terrorist bad guys. The plot is incredibly unrealistic and silly, but serves to create many over-the-top fantastical action sequences.
Olympus wasn’t a movie that I thought needed a sequel, and London isn’t a movie that needs to be seen, but it’s a movie that can be enjoyed if you’re bored on a summer afternoon.
Gerard Butler does a decent job in the lead role, but has to play a very cliché character with no great lines. Aaron Eckhart plays a boring and wooden prime minister, and Morgan Freeman’s role solely involves sitting in a chair and speaking in a monotone voice. However, because the action takes the spotlight, none of these strange decisions are bothersome. It never became mind numbing or boring, and despite a complete lack of emotional investment, I was having fun watching it.
Even though the movie is technically a sequel to Olympus Has Fallen, this really doesn’t matter as the prequel is never referred to at all. Olympus wasn’t a movie that I thought needed a sequel and London isn’t a movie that needs to be seen, but it’s a movie that can be enjoyed if you’re bored on a summer afternoon and want to relax and watch some mindless action for an hour and a half.
Overall, the movie lacks sophistication and elegance, but it makes up for it in gleeful brutality. Be prepared going into this film that there will be many plot holes and countless clichés, and by no means is the movie well made. This is just a good cure for boredom. It isn’t a movie for everyone, but hopefully you will know what you’re getting into if you decide you want to watch it.
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When the list of nominees for the 2015 Cannes Film Festival came out, I was as excited for Justin Kurzel’s Macbeth as I was for Mark Osborne’s Le Petit Prince. Having closely watched both Roman Polanski’s 1971 Macbeth and the modernized 2010 British television adaptation, you’d think I’d be tired of the play by now, but Shakespeare’s Scottish tragedy once again proves itself a whirlwind of a masterpiece regardless of how it’s delivered.
If I had to describe the film in one word it would be “desolate.” The film begins in the silence of a haunting funeral, and while a battle cry eventually breaks the startling quiet, the monotony is never quite shaken off. For most of the movie, lines are murmured under breaths, sound effects are scarce and background music far in between, and the end result produces scenes eerily reminiscent of the earliest days of Soviet Montage. With scenes flashing by — shots of the three witches, brief flashes of the apparitions — without a single note or word in the background, Macbeth is almost suffocating in its dark and dismal emptiness as the strange sombre mood is maintained to the very end.
Director Justin Kurzel, however, uses the monotony in the first half to his advantage. As with the battle cry shattering the silence in the film’s first act, this pattern continues in its most significant scenes. A personal favourite is the subdued music that underlines Macbeth’s soliloquy as he walks, dagger in hand, to King Duncan’s room — music that escalates to a discordant peak as the stabbing scene plays out, effectively silencing the actors and drowning out the sounds of the struggle. By the end of the scene, the music fades, the film plunges back into its unsettling silence, and Macbeth’s bloody hands and King Duncan’s dead body soundlessly dominate the screen. The dissonance of quiet and sound reappears in the second half, when the loud cries of “Hail Macbeth!” are juxtaposed with the silence in between each cry. The startling juxtaposition frames the movie in a psychological context I haven’t seen in another adaptation, with Macbeth’s rapidly loosening grasp on reality spiralling blatantly out of his control with each sudden burst of sound in what is otherwise a silent scene. This time, it is not Macbeth unleashing the sounds of fury, and instead he is the one left in a suffocating, artificial silence.
With Ian McKellen, Patrick Stewart and James McAvoy all having previously tackled the controversial role of the thane-turned-king, Michael Fassbender is the last of the X-Men Professor X and Magneto quartet to take his turn at Macbeth. Fassbender’s Macbeth is fierce and savage, more unhinged than Patrick Stewart’s war period Macbeth and devoid of Jon Finch’s complex vulnerability in the 1971 film. This Macbeth is beast-like even in the deafening silence. By the last act, however, he is despaired and half-gone, his furious soliloquies that are usually spoken in rising volume are instead delivered barely above a whisper. The end product is mystifying, as rare as it is to see a Macbeth whose madness was not depicted to equal rabid screaming, and with this, Fassbender makes the role his and his alone. Alongside him is French actress Marion Cotillard, whose own Lady Macbeth is quiet but terrifying. She plays the role with a subdued, tender weariness, and her exhausted delivery seals the fatigued atmosphere of the film.
What this version appears to lack in consistent cacophony, it nevertheless made up for with its diegetic elements. Scenes alternate between high contrast and low contrast, and the film does not hold back in the required depiction of brutality. Kurzel’s Macbeth is not hesitant with its visual design and symbolism is laid on thick. It plays with symbolic colours, from the dark blacks and browns of Macbeth’s scenes to the blood red saturation of the finale that ultimately defined the film for me. Death hangs above the narrative constantly, setting up for the intended catharsis Macbeth’s death is meant to trigger. As the film reaches its end, the music rises, and the colours become increasingly saturated, until the dark red credits start rolling on screen.
For all that the movie was remotely and desolately silent, it kept me on edge. I was always leaning in to see more and hear more, and with that in mind, I’d like to say Kurzel’s Macbeth delivered more than it disappointed. “It is a tale told by an idiot,” goes one of the most famous lines in the play, despairingly whispered in this one, “Full of sound and fury, signifying nothing.” What this adaptation of Macbeth appeared to lack in sound, it made up for in silent fury, resulting in a version that may be a walking shadow of the story, but one that definitely does not signify nothing.
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By: Joe Jodoin
As the first movie from Disney Animation since 2014’s Big Hero Six, Zootopia is a welcome return for the studio. The film possesses many of the same qualities as Disney’s other classics: top-notch animation, lovable characters and a powerful message for children and adults alike.
The film takes place in a world of anthropomorphic animals, and follows a young bunny named Judy Hopps. Judy has wanted to be a police officer her whole life, but after finally getting accepted to the force, she faces discrimination and exclusion from all her coworkers for being nothing but a cute little bunny. To prove herself a worthy cop, she sets out to solve a conspiracy involving 14 missing mammals, and enlists the help of a con artist fox named Nick Wilde to help her solve the case.
The brilliance of this premise is that it contains so much potential. It can work as an amalgamation of crime drama tropes, a parody of modern lifestyles in an anthropomorphized world and explore serious discrimination problems that people face in the real world. For the most part, Zootopia achieves all of these things, but also bites off more than it can chew.
The voice cast is incredible, featuring the voices of Ginnifer Goodwin, Jason Bateman, Idris Elba, J. K. Simmons and Alan Tudyk among others. Goodwin is the voice of Judy Hopps, and has a vast majority of the dialogue in the movie. She does an incredible job, and it’s almost impossible to imagine anyone else as the voice of Judy. The film definitely would not have been nearly as good if it wasn’t for her incredible vocal performance, in scenes that are both heart-wrenching and heart-warming.
The story is definitely more about what it takes to overcome discrimination, and the importance of treating everyone as equals, than it is about a conspiracy. The film satirizes racism with incredibly strong parallels between how different species of animals treat each other and how people of different skin colors treat each other. It also tackles sexism and stereotypes, arguing that a woman can do anything that a man can do. In the film’s third act, it goes even further, and shows how people can be discriminatory against a certain group without even realizing it because of how engrained stereotypes are in our collective consciousness. The way it confronts real world issues in such a blunt and powerful way is the main reason this film could go down in history as a Disney classic.
Furthermore, the attention to detail in Zootopia is astonishing. When Judy goes to a neighbourhood of mice, she looks like a giant relative to all the buildings. However, she looks tiny when at the police station, since everyone there is a larger animal like a rhino or elephant. The way the movie works with scale and environment is very clever. More highlights include scenes from the trailers, such as the sloth scene at the DMV, the godfather parody scene and a fox committing a con with popsicles and a fake baby.
Sadly, due to the film’s incredible scope and amount of potential, it can feel disjointed and jumbled, moving from one place to another every few minutes. It is normally a good thing when a film has a fast pace, but Zootopia moves so fast that it stumbles often. Some scenes will be working very well, but then will move onto the next scene too quickly. This takes away from some of the emotional impact that the film aimed to have, and also made it less funny as it was almost exhausting keeping up with everything that was going on. To put this in perspective, the villain isn’t even revealed until the last 15 minutes of the movie, and the whole climax, denouement and conclusion all occur incredibly fast. It would definitely have been more enjoyable if it was over two hours long, but that’s not the worst complaint to have about a movie.
Overall, Zootopia is a fun and original addition to the Disney cannon, and is almost impossible not to like. It has a great message that all kids should hear, tons of pop-culture references and a balance of character and heart. However, the whole isn’t quite as strong as the sum of its parts, making it feel like a minor disappointment.
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By: Joe Jodoin
This movie isn’t a groundbreaking artwork. It doesn’t subvert the audience’s perceptions of superhero archetype. It doesn’t even have a clever sense of humour or any breathtaking special effects. However, a Deadpool movie doesn’t have to have any of these qualities to be a success because that’s not why we love Deadpool. Deadpool is a foul-mouthed, juvenile sociopath, who takes nothing seriously and constantly breaks the fourth wall to let us know he is perfectly aware of what the audience is thinking. In that respect, Deadpool is exactly the kind of movie the character deserves.
I was first introduced to Deadpool just over 10 years ago, when I began reading X-Men comic books. He was never my favorite character, but he was the kind of character that provided essential comic relief through the use of meta-humor that I found myself craving when the drama of the more serious superhero epics got overwhelming. Right now we live in an age of Hollywood cinema where most audience members consider dark and grounded to be essential characteristics of a good superhero movie. The miracle of Deadpool is that it has arrived at the perfect time; not only to provide much needed counter programing from your typical superhero movies that take themselves so seriously, but it reminds audiences that superheroes also have a fun side, providing escapism through high entertainment.
Deadpool’s character has always been someone people either love or hate and it has been largely due to this controversial sense of humor.
Deadpool has received a generally positive response from film critics, but occasionally gets criticized for being the exact film that it ridicules. It has one of the most typical superhero origin stories ever conceived, with an upbeat but tormented protagonist, and a one-dimensional villain with no character development. There is the standard love interest, standard comic relief and sidekick characters, and standard cameos from other superheroes that some fans will recognize from other movies.
The storylines shows that this typical narrative is so overused because it works. The villain is underdeveloped so the lovable hero can get more screen time; the love interest gives the film heart; the comic relief calms you down after a brutal torture scene or a draining action scene. It reminds us that the reason superheroes exist is to provide escapism from daily life, and Deadpool is its ultimate manifestation.
The actors all do a fantastic job, espectially Ryan Reynolds, who was born to play Deadpool. He has previously tried to play other comic book characters such as Hannibal King or Green Lantern and has been perfectly serviceable, but his performance as Deadpool ranks among the greats such as Robert Downey Jr.’s Iron Man, or Hugh Jackman’s Wolverine. Stefan Kapicic as Colossus was another major standout of the film. The character of Colossus has already been featured in three other X-Men movies, but on none of those occasions was he ever done justice. In Deadpool, he is portrayed as a big brother-like figure to the other X-men, who also has a heart under his shiny metal exterior.
The movie’s lewd sense of humour is another defining aspect, although whether it is a good or bad thing will be up to the individual viewer. Deadpool’s character has always been someone people either love or hate and it has been largely due to this controversial sense of humor.
Overall, this movie isn’t perfect, but I loved every single scene. You can pick apart this movie for things like its cheap special effects, countless dick jokes, or lack of originality, but those are exactly what make this the perfect Deadpool movie.
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Upon looking up Sioux Falls on Facebook, I saw that the lead singer’s name is Isaac Eiger, which tickled me, given that I was just about to write this piece comparing Eiger to another Isaac, Brock of Modest Mouse.
Sioux Falls’ Isaac Eiger is flexible in his singing. He can both yell and “sing pretty.” This sort of versatility was described by Built to Spill’s Doug Martsch when discussing Isaac Brock’s singing style in the 2014 documentary, Lonesome Crowded West.
https://soundcloud.com/sioux-falls/sets/rot-fornever
Songs like “San Francisco Earthquake” on Sioux Falls’ Rot Forever are reminiscent of the Lonesome Crowded West era of Modest Mouse, specifically, the riff at around the middle-mark of the song reminds me of a similar riff in “Teeth Like God’s Shoeshine.”
Not all tracks are exact shadows of Modest Mouse’s work, though. While Brock does yell on his tracks, they aren’t necessarily aggressive in the way that Sioux Falls tends to be. “In Case It Gets Lost” is a prime example of this. In fact, this particular track is post-punk-emo enough to remind me of the tone of Brand New’s album, Deja Entendu.
The album itself is rather lengthy, running for seventy-three minutes. Sioux Falls has been criticized for the length of the album by Pitchfork, but I disagree. The songs don’t drawl on for an inordinate amount of time, they play out long enough to lull the listener into falling in love with them. I think that the length is characteristic of the band’s influences. All-in-all, I enjoy the lo-fi post-punk sound of Sioux Falls, and I think this album will be putting them on the map.
Rot Forever is the album I have been waiting for from Modest Mouse since 2007’s We Were Dead Before the Ship Even Sank. If only I could swap out Rot Forever for Strangers to Ourselves so that we can officially forget about the latter album and let it rot forever.
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By: Joe Jodoin
After its premier at the 2015 Sundance Festival, The Witch is finally out in theatres nationwide. I wasn’t looking forward to this movie very much, as I find most horror movies are poorly made in their reliance on jump scares, and have clichéd characters.
The Witch, however, completely blew me away. By relying on atmospheric horror, the film creates a depressing, unsettling environment that slowly builds tension and dread over its brisk 93-minute runtime.
The movie takes place in the 1630s, a time when people actually believed witches were real, and follows a family who is ostracized by their church and forced to make a life for themselves on the outskirts of a creepy forest. This proves to be a more difficult task than they thought, as all their crops mysteriously die, and their baby boy suddenly disappears into thin air. The family soon learns that a witch is behind their bad luck and they must find a way to survive its incredible torment.
The plot is very simple, but Robert Eggers’ direction is what makes it so special. The whole tone and atmosphere of the film makes watching it creepy, chilling, and quite unpleasant to watch at times. Be forwarned that this is not a movie that is “scary” in the typical sense of the word. It doesn’t make you scream or jump or be afraid to sleep at night. Instead, it just crawls under your skin and lingers on long after it ends.
Eggers also crafted the film with incredible attention to detail. All the sets, clothing and dialogue are accurate to the time period. A lot of the dialogue was actually taken from diaries and real life accounts of witches from the 1600s. This brought a realistic dimension to the story and made it very easy to become invested in the family’s wellbeing. However, the origins of the dialogue also made it difficult for a modern audience to fully comprehend it, which took away from my enjoyment of the film.
Despite that one flaw, The Witch has raised the bar for the modern horror genre. If more films followed suit, we could start to take the horror genre seriously once again. I would recommend watching The Witch if you want to finally see a film that subverts all horror clichés, while also presenting a dark and disturbing work of art.
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Grease has never been a favourite of mine. I like about two of the songs; I’ve never watched the John Travolta movie all the way through in one sitting; the plot is hazy and the themes it supposedly tackles are simply not there. In fact, as expected of a story set in a high school, the messages it sends out about social and gender hierarchies are disturbing. Its strengths have always been in how upbeat the soundtrack and how lively the dancing is, making it fit perfectly in the stereotype mold for musical theatre, but at the end of the day, that had always been it.
https://www.youtube.com/watch?v=QdS_yNe02vg
Nonetheless, I admit to being swept up in the hype that preceded FOX’s Grease: Live.
With a big Broadway name like Aaron Tveit starring as Danny Zuko and countless behind-the-scenes videos taking Grease enthusiasts through the rigorous process behind the production, I was hopeful and excited. By the time news was released that Hamilton director Tommy Kail was on board, I was more than ready for Jan. 31.
Unfortunately, all the things that FOX seemed to take pride in with their take on a televised musical — the celebrity-studded cast, the songs specifically composed for this adaptation, the interaction with the live audience, the set design split across the Warner Bros. Studios — are also the same things that ultimately ruined Grease: Live for me.
That said, the cast was good, but it did not impress more than it could have. While I’d loved Tveit since his Catch Me If You Can days, my appreciation for him as Danny Zuko was half-hearted. His singing did not disappoint, and certainly sparked an eagerness to see him back on the Broadway stage, but standing in the shadow of Travolta’s Zuko and with co-star Julianne Hough overtaking him every choreographed step of the way, his dancing fell a little flat. The opposite holds true for Hough, who despite being one of the best I’ve seen dancing as Sandy Young, gave a half-hearted performance during “Hopelessly Devoted To You.” Her cheerleading tryout scene opposite Heathers’ Elle McLemore as Patty Simcox, however, was by itself enough to establish her as the real star of the show for me, even if her singing was not quite as impressive as her dancing.
Vanessa Hudgens’ performance as Rizzo was incredible in its own right, especially with the passing of her father just the night before the show; the cast dedicated the production of the show to him. Alongside her as the other Pink Ladies are Keke Palmer as Marty and Carly Rae Jepsen as Frenchy, who both delivered where they needed to. Jessie J, Joe Jonas and Boyz II Men all cameo to perform various songs, and with household faces like Mario Lopez in the cast, there was no shortage of applause from the audience when it came to close—up shots, no dancing nor singing needed.
The production went where NBC’s live musicals have not gone before. There is a dazzling charm in the blending of theatre and television that FOX attempted to accomplish with Grease: Live, and it’s certainly different, if nothing else. It was big, it was flashy, the theatricality was impressive, it brought in ratings — and for a FOX production, that probably means they’d checked everything off their list. I am embarrassed to admit I expected more, possibly too much, for if they were willing to try new things, so much so that they would have a new song composed, wouldn’t this mean moving away from the soullessness of the original Grease? To my chagrin, apparently not.
The result of FOX’s attempt at a televised musical is a production that felt like one of Glee’s Super Bowl special episodes which I happen to appreciate more than despise, because it usually meant story and character progress (finally) and a lot of show-stopping songs. With the weaknesses remaining where they always were, and the strengths the same as they always were, my opinion of Grease stands.
Photo Credit: Kevin Estrada/ FOX
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My early explorations of music started in the stacks of the Hamilton Public Library around eight years ago, where I would arbitrarily pick out a dozen CDs to bring home. Bloc Party’s debut album, Silent Alarm, was probably the single most important discovery in these trips. To this day, Bloc Party’s early discography has solidified the UK pop-rock outfit in my shortlist of all-time favourite acts.
Bloc Party has gone through a string of hiatuses and break-ups following 2008’s Intimacy, but their career has unfortunately been overshadowed by the weight of following up on their rapturously received debut. Silent Alarm’s critical acclaim has loomed over Bloc Party’s career, despite the more matured, conceptual approach on their sophomore work A Weekend in the City and a collection of gems from Intimacy.
Now, Bloc Party returns without bassist Gordan Moakes and drummer Matt Tong in their fifth studio album, Hymns. Their new album is an hour of moody electronic sounds and an especially close and personal vocal performance from front man Kele Okereke, who discusses his relationship with his Christianity, hopeless romance, and loneliness. Hymns leaves me unfortunately, and expectedly, feeling lukewarm.
Even after several listens, there are few moments that really resonated with me. With the exception of the bland but upbeat leading single “The Love Within,” the entire project sits in a mid-paced electronic drone. Okereke’s beautiful vocal work, showcasing impressive growth in both his emotional and musical range over his decade long career, saves what is otherwise a complete write-off.
For long-time fans, Hymns will feel like a husk of what the band once was. Though Kele has grown as a singer, there are very few notable moments in the song-writing, and the religious themes of the album don’t particularly amount to any form of powerful revelation. It is especially painful to summarize lead guitarist Russel Lissack’s contributions as electronic drone, given how instrumental he has been to distinguishing the group among other mid-2000s indie rock-pop groups. Lissack’s guitar and melody work almost carried the inspiration and legacy of Johnny Marr’s work with The Smiths, and much of Bloc Party’s success was founded on that work. It doesn’t help that Tong’s precision complex and precision drum work is no longer part of the equation.
This is where I think the comparisons should end. It is clear that Hymns is the introduction of a new Bloc Party, and though this album still warrants a sub-par score, it is equally apparent that there is no desire for the group to return to their original form.
https://www.youtube.com/watch?v=V23fQ1KREcE
As much as I personally appreciate the group’s early work, it is important to recognize that comparing this new group to their previous work is a measure of a group’s history, and a measure of what has changed, and marks some deliberate artistic choices. Hymns will be panned by fans and critics alike as yet another project that’s not as good as Silent Alarm, which in my view, is an absolute cop-out.
There are solid moments in the project, and tracks like “Only He Can Heal Me,” “Different Drugs” and “Living Lux” create a potentially perfect backdrop to that summer city night where you and a particular someone go out for drive. That being said, you’re going to have to keep a finger on the skip button a little too often.
Hymns is an unspectacular, but fairly inoffensive effort, and may even have some appeal to fresh ears looking for ambient and intimate electronic beats with a great supporting voice. There were enough charming moments, enough talent, and there is enough promise in this hopefully rejuvenated group that I am still looking forward to what the new Bloc Party has in store for us.
Photo Credit: Rachel Wright
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By: Hess Sahlollbey
Mired in controversy from the moment it was first announced, including a petition from “One Million Moms” to have the series removed from television, Lucifer is finally here. And while it’s not the first crime procedural to feature the occult, it’s definitely the most stylish thanks in large part to its title character.
Fox’s new series Lucifer is based off Mike Carey’s comic-book series, Lucifer. The Lucifer comic, a spinoff of Neil Gaiman’s depiction of the devil in The Sandman, was published under DC Comics’ Vertigo imprint. Much like Netflix’s Jessica Jones, Lucifer is inspired by the source material and isn’t a direct adaptation à la Walking Dead.
What if the devil got tired of reigning over all of hell and damnation and decided to take a vacation? That’s the basic premise of the show as we get to see how things unfold for him. Lucifer Morningstar (Tom Ellis) decides to relocate to the City of Angels and open his own piano bar called Lux. However everything changes for Lucifer when a friend from his past gets gunned down in his arms outside of his night club. He then teams up with Detective Chloe Dancer (Lauren German) to solve crimes and bring criminals to justice by using his supernatural powers.
If this all seems ridiculous, it’s because it is.
They managed to pull it all off by perfectly casting Welsh actor Tom Ellis in the title role. The writing of this character, combined with Ellis’ devilishly charming performance is what makes this series so great. Viewers begin to sympathize with the devil as his character slowly evolves and faces an existential crisis. He just oozes swagger and charisma and right away we learn that the big skill that’s helped him become such a success in our realm: he’s able to make people confess their darkest desires. This adds a fun motif to the show as people blurt out what they want or are thinking to him.
Lucifer is also a very stylish show. The direction is awesome and so is the soundtrack selection and set design. The opening shot of Lucifer in his convertible was perfectly set to Cage the Elephant’s devil-themed “Ain’t no Rest for the Wicked.” Combined with scenes of Lucifer in his bar drinking and playing the piano, the whole presentation really gives the viewer a good sense of who Lucifer is. It’s also very effective at setting the series’ mischievous tone.
However, as bold as Fox was to raise a little hell and have a series with Satan as the main character, I’m disappointed that they stuck to the case-of-the-week crime procedural format. The first case Lucifer solves is enjoyable, but the mystery was still paper-thin.
While it’s fun to see Lucifer use his supernatural powers to get what he wants, the secondary characters are shallow. Detective Chloe Dancer is still your typical no-nonsense tightwad who’s been paired up with a more eccentric character. Chloe may have a fun and unconventional back story, but I fear that her relationship with Lucifer may be played too safely as the series continues. Also bogging down the series is Archangel Amenadiel (D.B. Woodside) who occasionally pops up trying to convince Lucifer to go back to hell. His performance is stiff and a real detriment to the narrative. I can’t help but wonder if the show would have been better by simply having Lucifer gallivant in L.A. without all of the police work.
Taking into consideration the ongoing success of DC’s other comic-book shows, it’s safe to assume that they’re going to continue adapting more comics to TV. Lucifer proves that there is room for not just one more comic book—based show, but for an occult mystery show that is accessible to viewers. However the success of this show boils down to whether or not Ellis’ Lucifer can bring some light to the tired crime procedural genre and be a hit.
Photo Credit: John Fleenor/ FOX
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