Posted 03 March 2008 - 10:57 AM
Posted 03 March 2008 - 12:08 PM
Here's a link about the flashback (there's only ONE in the entire show, and Simon wasn't a fan of it). My comments about the acting were in reference to how over-the-top Omar initially is (a vigilante! with a code! who is gay! and doesn't cuss!), and how 'stiff' some of the acting comes off, especially some of the supporting cast.
Posted 06 March 2008 - 09:17 PM
By Ed Burns, Dennis Lehane, George Pelecanos, Richard Price, David Simon
I have to say that I agree with this editorial and their approach.
Posted 07 March 2008 - 03:20 PM
Posted 08 March 2008 - 12:27 PM
They're FILLED with spoilers, so avoid if you haven't caught up to the fifth season. But they are ever so worth it.
Posted 09 March 2008 - 01:01 PM
"That was a day," Dukie said, trying to hold onto his childhood for one more moment. "You bought me ice cream off the truck. You remember, Mike?"
Michael, his childhood long since abandoned, closed his eyes in pain and said, "I don't."
But we did.
<a href="http://" target="_blank"></a> What made that scene so powerful -- what makes so many "Wire" scenes so moving -- was how it built on things that had happened before, sometimes long before. We saw the balloon fight that Dukie describes, we saw how young and innocent the boys and their friends were and the long chain of terrible events that led them to this moment where Dukie desperately wants to cling to that memory and Michael is so far gone he can't even remember it. (Or doesn't want to.)
Edited by smith_chip, 09 March 2008 - 01:02 PM.
Posted 09 March 2008 - 02:46 PM
I look forward to completing the series. Thanks to those who have recommended it.
Posted 09 March 2008 - 10:04 PM
I think it was a damn good cap on the series. Not one of the storyline wrap-ups felt fake, and I was satisfied with all of them, even though some were more 'real' than I would have wished. (I almost cried over the final shot of Dukie preparing the syringe.) And it never seemed too fake or cheery, with some tiny triumphs — Bubbles being allowed to come upstairs freely, Carver being promoted again — being most joy-covered than than some of the bigger ones.
Posted 21 March 2008 - 08:23 PM
Posted 22 March 2008 - 12:09 AM
I feel the same way. As much as I love Lost, I sometimes find myself thinking things like, "That dialogue would've been better on the Wire."
Posted 22 March 2008 - 02:45 PM
I'm totally with you on that statement. Here is how far I go.
I am watching the episodes which have commentary, and I even love the commentary. First off, the episodes I have watched, the writers have done the commentary. Secondly, the commentary is sparse, but what he says is really something to chew on. Thirdly, the writer explains his process, but is not chatty the whole episode. You have no idea how much it unnerves me to watch a commentary and hear the director, producer, actor, writer, or whoever talk about how good a particular actor looks, or just sit and pat each other on the back the whole way through. It is like hearing a sermon and then listening to the preacher sit back and say, "I really made a good point there." Self-congratulation and nonsensical chatter are the worst things about commentaries.
Even the episode commentaries are ten times better than any other commentaries I have watched.
Ahem, I just thought about that, and Criterion's commentary of Ikiru is fantastic, and it is by far the standard bearer in my book of good DVD commentary, but The Wire is definitely in the mix.
Posted 24 April 2008 - 02:03 AM
Also, I was rolling in laughter at Jimmy corrupting the crime scenes. It was the nervous laugher of thinking, "I cannot believe what I am seeing." Bunk's expressions remind me very much of watching Capra films where a passive character reacts to the outrageous words or actions of an active character. For example, the guy who overhears George and Clarence talk about suicide and heaven in It's a Wonderful Life.
Posted 16 June 2008 - 11:09 PM
He is up to week 3, and will post a new commentary each Friday. The discussion in the comments section is also enlightening. Even though I've watched all seasons but the last one several times, rewatching while reading his blog has helped me to see things that I had missed before. All the pieces matter.
Posted 16 June 2008 - 11:34 PM
Posted 17 July 2008 - 10:56 PM
Posted 02 October 2008 - 01:49 PM
Posted 02 October 2008 - 03:11 PM
Posted 02 October 2008 - 04:23 PM
To a degree, yes. I feel like the show really changed a bit starting with the second season, in a good way. As the show goes on, it gets tightened. But considered WHO is doing the writing, in some cases (Ed Burns, Baltimore cop for decades, and David Simon, Baltimore crime reporter...not to mention the very 'with it' Richard Price), I'm sure some is close to home. Or at least more so than Law and Order.
Also, BET significantly edited the episodes, from what I understand. But mostly just for sexual / over-the-top language stuff, I think.
Posted 02 October 2008 - 07:19 PM
Posted 03 October 2008 - 04:44 PM
Nick, I can understand your hesitancy, but the show really stands apart from the other HBO/cable shows with regard to that sort of thing. There's none of that nudity-as-set-dressing that people came to expect from THE SOPRANOS, and somewhere in the third season the show's sporadic nude scenes pretty much go away altogether. As far as violence goes, there are way, way more violent acts, and more graphically depicted, in a typical episode of those forensic shows. Yes, there's quite a bit of profanity, but I honestly don't feel that any of it is soul-deadening. And I think people talk like that. Before I was able to get the DVDs from my local library, I tried to catch a few episodes on BET, too. While I'm grateful they tried to syndicate the show, it was absolutely awful in that format, so I'm not surprised you hated it. One of the aesthetic and narrative upsides to the show running on HBO as I see it is the ability to avoid the choppy act-structure breaks necessitated by commercials and the unnecessary establishing shot throat-clearing coming out of commercial breaks, so the show isn't built to be hacked up like that. And apart from Simon and Burns, the show has employed people to read the scripts to make sure the black characters aren't speaking middle-aged white guy.
Give it another shot on DVD.
Edited by Russ, 03 October 2008 - 04:46 PM.