Tag: spy

Alias: season five

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★★★
“And they all lived happily ever after. Except for the ones who didn’t.”

Our once-favourite TV show walks off into the sunset – literally – and we are confirmed in our belief that it is very, very hard to keep interest in a series going past the third season. Especially if you’re creator JJ Abrams, who was missing, presumably making the very Alias-like Mission Impossible III; he didn’t even return to write or direct the season finale. It was, on the whole, a credible stab at trying up loose ends: Rambaldi, the question of whether Sloan was good or evil, Syd’s relationship with her mother, and the real identity of Vaughan, about to be revealed at the end of season four, when he and Sidney were in a car-wreck. This led into the main arc of the series, a hunt for ‘Prophet 5’, a shadowy organization intent on the usual things shadowy organizations want. As opposed to, say, the Alliance, the Covenant, K-Directorate, SD-6, etc…

There was also Garner’s pregnancy, which was written into the show, but obviously interfered hugely with any action sequences. Gone were the days when every episode would include Sydney running; in the first half of the series, we were lucky to see her in any kind of motion at all. As an alternate, we got Rachel, in a similar position to that once occupied by Sydney – believing she worked for the government, but actually not; she got sent on assignments in Syd’s place. With Vaughan also out of action for most of the series, another new agent, Thomas Grace, joined the team, but the kindest thing you could say about either was that they were forgettable. The aim was, presumably, to have them replacing S+V, but with the show ending, they became irrelevant.

Rather more successful was Renée Rienne (Élodie Bouchez), an interestingly ambivalent freelancer who straddled the line between working with Sydney and opposing her. We were also pleased to see the return of Anna Espinoza, a classic enemy from early on who, in an unsubtly rehashed plotline, gets turned into Bad Sydney. Enthusiasm for the show wasn’t helped by a long hiatus after Thanksgiving, but things rebounded as the show galloped towards its conclusion where the bad guys largely got their come-uppance. We’re sorry to see the show end – it leaves primetime TV without an action-heroine show – and there will be a little void in our lives as a result. But we’ll always have the DVDs of Series 1+2.

Star: Jennifer Garner, Michael Vartan, Victor Garber, Ron Rifkin

Mr. and Mrs. Smith

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★★★
“Patience is required, but decent fun when it gets going.”

Just imagine Jennifer Aniston watching this film: every time Ange appears on the screen, or gazes lovingly at Brad, Jen shrieks maniacally, “Die, sluuuuuut!” Such thoughts will keep you entertained during the sluggish first hour – you’ll need them, while you wait for the characters to realise what we know from the start: Mr. and Mrs. Smith are both assassins, now targeted by their respective agencies. For that is when the fun finally starts, not the overlong lead-up, where Brad + Angelina can only sustain the plot’s conceit (that – tee-hee! – they don’t know each other’s real jobs) by abject stupidity that flies directly in the face of their characters. She’s supposedly a top-level assassin with 300+ kills to her name, yet doesn’t notice hubby’s Batman-sized lair beneath the potting shed? Puh-lease…

But, must say, I enjoyed the action, which is directed with imagination – for example, Jolie abseiling down a building using only her handbag, provoking a rare “Wow!” from this jaded fan. Jolie is just right: it’s difficult to imagine the other options (Kidman, Zeta-Jones, Blanchett and, um, Gwen Stefani) doing as well. And the sniping banter between husband and wife has a particularly enjoyable sense of irony when its punctuated by… er, actual sniping. Some might say this both glorifies and trivializes the whole issue of domestic violence – and watching them brawl their way round the house before, naturally, tearing each other’s clothes off, it’s hard to argue. Yet at its best, this takes the “War of the Sexes” to a whole new level (she works for an agency that’s mostly women; he, for one that’s largely guys), and that angle could certainly merit more exploration.

We don’t know whether the Smiths are “good”, “bad” or independent contractors, an interesting approach (we have no moral compass beyond their actions), yet disappointing. For another weakness is that the villains are merely faceless minions, when the genre needs a Big Bad for the climax – the obvious one here is the people that ordered the terminations. Liman, whose Bourne Identity was also about a killer with a contract on his head, might appreciate this more than most, and word is two such endings were shot, just not used. Still, I suspect that the sequel – likely inevitable, given this was one of 2005’s top ten at the US box-office – could very well be more fun than the original. At least we’ll have all the tedious set-up out of the way.

Dir: Doug Liman
Stars: Angelina Jolie, Brad Pitt, Vince Vaughn, Kerry Washington

D.E.B.S.

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★★
“Teenage lesbians! With guns! How could they go wrong? Well…read on.”

As Kim Possible proves, there’s certainly scope for a high-school action heroine who has to save the world from evil. Unfortunately, here, the potential largely gurgles down the plughole, in favour of a smug, self-satisfied romantic comedy, that manages to be as bland as a film about teenage lesbians could be. Amy Bradshaw (Foster) gets a perfect score on the test hidden within the SAT, and is recruited into a spy academy; there, with her classmates (Good, Ritchie and the always amusing Devon Aoki), she carries out secret missions, wears plaid skirts and agonises over her relationship with her boyfriend.

So far, so good. Then, by unlikely plotting, she meets and falls for evil mastermind, Lucy Diamond (Brewster), and decides to quit school for Lucy. But does the road of true love ever run smooth? This, unfortunately, is where the film goes off the rails entirely. While I’ve no problems with homosexual love stories – okay, especially where the protagonists are cute and female – Robinson abandons wit for a series of cliches, causing nothing but slow boredom. Originally a ten-minute short, it doesn’t appear any additional ideas went into the script, meaning it’s good for about ten minutes of fun. Logic is all but non-existent, even in the “ironic” D.E.B.S. world: for example, the teachers can teleport around, but at the end, are unable to get past a locked door.

The action isn’t too bad initially, with a sprightly shootout in a restaurant. However, that’s your lot, save the “daring” lesbian angle. Though, being mainstream cinema, it’s just a couple of clothes-on kisses, and bad, unconvincing romance is no fun, regardless of a character’s orientation. This aspect is so po-faced and politically correct – it is, clearly, supposed to be taken Very Seriously – that proceedings come to a grinding halt, while what appears to be the director’s iPod on shuffle plays as a witless soundtrack. Look! An Erasure song! How appropriate! ‘Cos, y’know, they’re gay. Kill me. Kill me now. Then bring me a copy of Naked Killer.

Dir: Angela Robinson
Star: Sara Foster, Jordana Brewster, Meagan Good, Jill Ritchie

Alias: season four

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★★★
“Fourth verse – same as the first.”

Poor Alias. Shunted from its Sunday slot to make way for Desperate Housewives – which proved successful beyond SD-6’s wildest dreams – this season felt as if JJ Abrams was more devoted to his second child, Lost (again, the owner of bigger ratings). By the end of the season it was Sydney, Jack, and their associates who found themselves both lost and somewhat desperate in TV-land, despite much-improved viewing figures – largely a result of following Lost, which got about 30% more audience.

Replacing the arcane beauty of Rambaldi and complex plans from the middle ages, was what seemed like an endless string of long-lost relatives and associates from the more recent past. Careless of Sydney to lose all these, wasn’t it? And somehow we went back to Season One: Sloan running operations, with Sydney sure he’s up to no good somehow. Abrams said it was a return to the core concept of the show, but it felt more like a shortage of ideas.

Not to say there weren’t moments; most tied to Sonia Braga, Isabella Rossellini and Lena Olin, a triumphant trio of femmes fatales whose scheming reached Shakespearean levels. [spoilers!] Sophia framed Irina for putting a hit on Sydney, and got ex-husband Jack to shoot Irina – only, was it really her? [end spoilers] In lesser hands, this could have been one step above “and it was all a dream”; these three magnificent actresses undoubtedly saved the day.

What the series lacked was any real enemy for Sydney, up until the later episodes. Anna Espinosa made a welcome return, but the show felt like it was marking time at best, with a final “twist” that seemed to have been made up at the last minute, and showed little evidence of advance thought. Plus, all the action scenes continue to be infected with the jump-cut editing that made it impossible to tell what is going on.

There was, however, just enough to keep us around for season five. Perhaps the biggest surprise – and the one with most potential – was the deft touch showed by Garner behind the camera; the episode she directed was one of the series highlights. Given the disappointments which have been her movies to date, might this show a possible direction for her future career?

Star: Jennifer Garner, Michael Vartan, Victor Garber, Ron Rifkin

Kim Possible: The Secret Files

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★★★½
“A semi-random grab-bag of bits and pieces. Coherent – no. Amusing – most definitely.”

This compilation puts together four episodes – three from the first season, plus another at the time exclusive to the DVD. It’s hard to see who this is aimed at: if you’ve not seen the series, novices may find elements, such as Ron’s naked mole rat, kinda bizarre (trivia note: the rat’s squeaks are by Nancy Cartwright, who also does some loser called Bart Simpson). On the other hand, fans will have seen almost all the material, and would likely far rather have seen a complete Box Set rather than semi-random episodes. They’re not even particularly highly-regarded ones: the TVTome viewers’ poll ranks only one in the Top 20. However, it’s still the smartest thing on the Disney Channel, and easily kept the GWG viewing panel (ages from 19 to forty-coughhackwheeze) entertained.

The first episode, Attack of the Killer Bebes, is the best, I’d say. Ron wants to be a cheerleader, while Kim’s dad is kidnapped by the evil Dr. Drakken, who has built three fem-bots in order to…er, do something. It illustrates the central idea of KP – Kim’s Sisyphean struggle to balance home, school and fighting evil – with beautifully surreal moments, such as Drakken’s quest for a phone-book to prove that Possible is a common surname. Downhill, the second ep, works less well; it’s too group-huggy, teetering on the edge of sickly. But the concept of D.N.Amy, a toy collector and crazed bio-geneticist intent in making live version of her plush pals, is enough to keep things interesting.

Third is Partners, where Kim is paired with the class genius for a science project, while Drakken and D.N. Amy team up, with the following immortal exchange:
D.N.Amy: ”But I’m all about cute and cuddly!”
Dr. D: “Have you ever tried vicious and bloodthirsty?”
D.N.Amy: “Do you think I’d like it?”
Finally, tucked away in the special features, there’s Crush: how it all began, though with surprisingly little insight into Kim’s origins as a superheroic teenager. She springs, fully formed, taking on Drakken’s giant robot and asking her crush, voiced by Breckin Meyer, to the dance. Overall, it’s a cute package, but you’d probably be better off starting with A Sitch in Time, and waiting (hopefully…) for that Season One box set.

Star: Christy Carlson Romano, Will Friedle, John DiMaggio, Melissa McCarthy

Alias: season three

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★★★
“…In Which Sydney Experiences The Mother of all Hangovers.”

Where is Sydney, and what have you done with her? We might have been forgiven for uttering this cry at the end of season three, which exited not with a bang, but a whimper. “We need to talk.” That’s pretty much what Jack said to Sydney after she discovered, apparently, that her entire life had been a CIA operation. This was hardly a surprise, if you remembered Project Christmas from earlier on, Jack’s plan which tested first-graders – including his own daughter – for spyworthy attributes. The news that the show wouldn’t restart until January 2005 thus provoked little more than mild disappointment.

The deficiencies this time were particularly obvious when viewed alongside the first on DVD. The twists and turns back then were far superior; in series 3, the main ‘surprise’ was Vaughn’s wife being a Covenant agent. Again, this was no shock once we realised nothing would be allowed to get permanently in the way of the Vaughn-Sidney relationship. That this over-extended soap-opera plot thread was allowed to be the focus of the third series (along with everyone bar Sidney appearing to know where her missing two years went) is evidence of shortcomings in the writing department.

Can I also make a plea for Rambaldi to be retired honourably? He’s been rolling along for three seasons now, and any surprise value long since evaporated. We have become jaded by stories involving Rambaldi’s shopping list or whatever, which absolutely must be located by the good guys before SD-6/K Directorate/The Covenant get their hands on it. This is beginning to feel like The X Files, where Chris Carter never did provide “the truth” which was supposedly out there.

alias3Moving away from the storylines, also apparent is a big drop in the quality – and quantity – of the action. The battle between Sydney and Lauren in the final episode was a blur of two-frame shots, edited together so as to leave the viewer with little clue about what was going on. That’s not the tingle of excitement, it’s the beginning of a migraine headache. Again, one can compare and contrast the first series; it may or may not have been Jennifer Garner doing the stunts, but you could at least see them.

Okay. Let’s take our foot off the show’s throat for a minute, and talk about what it did well. The central characters remain the show’s strength, and the relegation of Will to a minor role was a definite plus – he had become an irrelevant distraction and a spare wheel. All the major players, however, showed they could still surprise us; can anyone deny a shudder when Jack Bristow gave Vaughn a set of keys, and told him where he could dispose of Lauren’s body?

If you’ve read these reviews previously, you’ll know we adore Marshall, and once again, he managed to steal just about every episode he was in. Fatherhood doesn’t seem to have changed him much; it’s just a shame we missed the past two years of his life too, which would likely have been most amusing [Marshall fans will get a kick out of the Alias video game, in which he has some classic lines.]

There were also some interesting guest stars this season, led by Isabella Rossellini as Sydney’s aunt (on her mother’s side, natch – though between that and the sudden appearance of a sister, she has an entire new family to deal with). Quentin Tarantino also came back, and another cult director appeared, in the shape of David Cronenberg, whose understated approach was a marked and refreshing contrast to QT.

The ratings for the show remained mediocre: even the finale was seen by only 7.7 million viewers, down from an average 9.7 and 8.9 through seasons one and two. A change in the way Nielsen measure ratings means it’s difficult to make comparisons, but this suggests a vague disenchantment among more fickle, casual viewers, without a huge loss of the core fanbase [and certainly, we remain some way from a Buffy-esque turn-off for the series] The ABC network also underwent a shake-up, with the president and chairman of its entertainment division departing. With them will hopefully go the cringeworthy product placement, in particular for the Ford F150. As if it weren’t bad enough to have to sit through the adverts.

Still, a fourth season has been commissioned, although as mentioned, it’s not starting until January – the fall sees Desperate Housewives instead, which isn’t the reality show it sounds like. Mind you, perhaps it would be best for the network if it were, given ABC’s dreadful track-record with drama. See the awful Karen Sisco and the entirely pointless Stephen King’s Kingdom Hospital – and we loved Lars Von Trier’s original – for details. Roll on January, and let’s hope for a return to the form and content which made the first two seasons of Alias such a refreshing, energetic delight.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin

Kim Possible: A Sitch in Time

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★★★★
“Somewhere between Alias, Buffy and The Powerpuff Girls lurks Kim…”

“I’m working with a man named Monkey Fist. My evil career is so in the toilet!” Thus complains one villain in the first Kim Possible movie, a relentless barrage of sight gags and dry humour likely to amuse those of any age, whether regular viewers or not. We probably fall into the latter category, having a natural aversion to the Disney Channel [if you’ve seen the Lilo & Stich series, you’ll understand], but KP is a show likely to pause our channel surfing. Kim is a teenage girl who spends more time saving the world from a range of bizarre bad guys and gals, than the usual pursuits involving the bathroom, phone or mall (if our daughter is anything to go by). Her parents are remarkably cool about these extra-curricular activities. In this edition, the bad guys team up to grab a time-travel device and alter the future so they can rule the world. It’s up to Kim and friends to restore things. [Should mention the title is as given, “sitch” being Kim-speak for situation, as in “What’s the sitch?”]

It does remain a Disney show, hence the irritating musical interludes and, while the action is fast and furious, no-one ever gets hurt – though the sequence where a naked mole-rat comes out of a kid’s trousers is frankly freaky. But assisted by a stellar supporting cast (Elliott Gould, Michael Dorn, Dakota Fanning, Michael Clarke Duncan, Vivica A. Fox and – slightly less stellar – Freddie Prinze Jr.), this is a great parody of the whole genre: as one character says, “Time travel – it’s a cornucopia of disturbing concepts.” The tongue-in-cheek self-awareness is a delight, both heroes and villains having a refreshingly world-weary attitude, cheerfully admitting the paradoxes inherent in the story. Even an evil, golfing, kilt-wearing Scot comes over as endearing rather than insulting – Mike Myers, please note. The expected fluff blends with some surprisingly dark moments, such as the “Re-education Center” which seems right out of 1984. This is what the Tomb Raider movies should have been like.

Dir: Steve Loter
Star: Christy Carlson Romano, Will Friedle, Richard Gilliland, Nicole Sullivan

Alias: season two

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★★★★
“The Family That Slays Together, Stays Together…”

I’ve literally sprinted through from the living-room, where the two-hour season finale has just finished, leaving an aching void in our Sunday evenings that will remain until the third season starts in the fall. It was hard to see how the second series could live up to the first but, with a few relatively minor misgivings, it’s safe to say that the show has.

alias2Would have to admit that the start was somewhat slow. It was hardly a surprise to discover that most of the characters who were “dead” at the end of the first series made a miraculous comeback in the second. It’s exactly the sort of thing you expect from shows like this, and you wonder why they even bother. Indeed, much of the first half of the series was too predictable, revolving around the can-or-can’t Sydney trust her mother dilemma. No prizes for guessing the right answer there either.

The recovery began when ABC handed Alias the coveted post-Superbowl slot (though once the score in the game reached 34-3, its impact on ratings for Alias became doubtful). Still, it proved a pivotal episode, giving Abrams a chance to reinvent the show, and introduce it to a whole new audience too lazy to change the channel (due to overconsumption of beer and nachos, probably). This was apparent in some rather clunky back-exposition, and also an opening which featured Sydney in two sets of lingerie – a shameless, gratuitous piece of shallow exploitation, clearly designed to appeal to nobody but the gridiron fans. :-) They probably mistook it for another Victoria’ Secret commercial…

Luckily, there was a lot of actual content, too: The CIA moved in to take SD-6 down, and from then on, no longer was Sydney struggling to maintain her secret lives. The show would become a quest for Sloane, trying to stop him before he…well, no-one was quite sure what he was up to, but it never seemed likely to involve puppies and flowers. This episode also marked the start of an increasing body-count with one character murdered and replaced by an evil doppelganger, while later on, two spouses would also bite the dust.

With the Rambaldi story making a welcome reappearance, the season picked up steam, helped by cool guest stars: Rutger Hauer, Danny Trejo & David Carradine (a Buddhist monk!) – we just needed Udo Kier and we’d have been in cult heaven. Apparently lost in the duplicitous double-crossing was the action element, a disappointing facet. For example, not until the last 10 minutes of the two-hour season finale did Sydney get in some serious butt-kicking; we wondered if this was connected with Garner’s apparent weight gain. Too much comfort ice-cream after her recent break-up? Perhaps; though if she’s pregnant, you heard it here first.

With so many threads too, the story arcs seemed disjointed: in some cases, you’d go for weeks without hearing anything, before an abrupt reappearance. However, a continuing strength was the development of the supporting cast, with Sloane switching from evil mastermind to sympathetic antihero, even within the course of a single episode. Dixon, too, enjoyed a spectacular character arc over the second half, going from committed SD-6 employee to a borderline psychopath, whose obsession with catching Sloane surpassed even Sydney’s.

Our favourite episode of the season had beloved uber-geek Marshall going on a mission to London with Sydney. It combined action, humour, drama and pathos to great effect, ending with one of the best cliffhangers the series has yet managed – admittedly, we speak as big Marshall fans, and look forward to the character receiving a spinoff series. Hey, if it can happen to a mopey vampire, anything’s possible.

Fortunately, the Vaughn/Bristow romantic angle that begin to lurk, iceberg-like, towards the end of season one, has been played subtly enough that we are mostly able to ignore it. More remarkably, the Will/Francie relationship managed to become a genuine plot thread, thanks to a startling twist which raised the hairs on the back of our necks every time they shared a scene. Let’s just say that Francie isn’t the woman she used to be. :-)

Despite ratings that generally remain disappointing – it ranked only 92nd in prime-time shows – Alias was still renewed, a decision for which ABC can only be commended. However, they still seem uncertain about how to promote the show. Here we are, two seasons down, still waiting for the first to arrive on DVD – they could learn a lot from Fox, which got a huge boost to the ratings for the second run of 24 from the first’s availability on disc. [By coincidence, both Alias Season 1, and 24 Season 2 are scheduled for DVD release on September 2nd, 2003]

So where do we go in Series 3? We still have the Rambaldi machine; assembly now complete, but expect further machinations as they piece together the instruction manual, and discover they need a 240/110V convertor. :-) It looked for a moment like we would be missing one major character (who finally Got The Point), but sounds like he’s okay. However, the main thread appears to be Sydney, and her efforts to recover from what could simply be the mother of all hangovers – I mean, I sometimes wondered how I got home, but at least I usually woke up on the same continent. Funnily enough, I suspect there might be rather more to her blackout than one too many Babychams. The truth probably lies somewhere between that, and abduction by aliens, but we’ll have to wait until autumn to find out.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin

Fatal Justice

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★★
“Doesn’t deliver what the cover promises – though, how could it?”

Half a point added for the lurid sleeve, an absolute classic of exploitation, that certainly lurid-ed us (“us?” says Chris – okay, me…) into purchasing, even as I knew it would disappoint. And I was not, er, disappointed in my disappointment. There’s a slight hint of Alias about the plot, in which an agent (Ager) with a penchant for wigs, discovers her father (Estevez) is in the same organization, and that she might not have been working on the side of the angels. It diverges sharply when she is ordered to kill him, along with a training camp for assassins that badly overstays its welcome. [Though it has a decent start, where the would-be hitmen have to cut the patriotic bull and admit they just like killing people.]

Ager can’t cut it as an action heroine at all, and the explosions and auto work come from stuntmen’s demo reels: note in particular the sudden colour change of the car driven by the heroine and her father. Estevez and Folger provide decent support, though it’d have been much better if someone – perhaps the guy who designed the sleeve? – had checked the script for painfully glaring plot-holes. My personal favourite? At the end, the heroine, in a blonde wig, gets a new ID from a supplier, who professes not to recognise her…even though the new ID has her blonde photo! Wouldn’t surprise me if “Gerald Cain” was a pseudonym for producer Fred Olen Ray, though it lacks the tongue-in-cheek approach which usually perks up his work. This film certainly needs something to enliven it.

Dir: Gerald Cain
Star: Suzanne Ager, Joe Estevez, Richard Folmer, Tom Bertino

Alias: season one

  By

★★★★
“Run Sydney Run”

“My name is Sydney Bristow. Seven years ago I was recruited by a secret branch of the CIA called SD-6. I was sworn to secrecy, but I couldn’t keep it from my fiancé. And when the head of SD-6 found out, he had him killed. That’s when I learned the truth: SD-6 is not part of the CIA. I’d been working for the very people I thought I was fighting against. So, I went to the only place that could help me take them down. Now I’m a double agent for the CIA, where my handler is a man named Michael Vaughn. Only one other person knows the truth about what I do: another double agent inside SD-6. Someone I hardly know…my father.”

“It’s everything you want, and more.” That was Chris’s opinion – I was kinda stuck for the right way to start, and as always, she delivered. As, indeed, Alias pretty much delivers, with a crunchy-yet-chewy first series that juggled drama, action and comedy to fine effect, twisting the plot frequently. One problem in TV drama is that you must allow viewers to tune in at any point and rapidly work out what was going on, and former Felicity scribe J.J. Abrams does so in less than 150 words – see above for the heroine’s monologue which opens each show.

The 22 episodes cover a struggle for control of medieval technology, Nostradamus-style prophecy, and other organizations (good and bad), plus Sidney’s missing mother, ongoing relationship with her father, and perpetual struggle to keep her friends from suffering the same fate as her late fiancee. Each episode contains elements of major and minor story arcs, propelling them alone, yet also stands up well on its own.

After a breathless start in which it seemed that Abrams used every conceivable plot device inside three episodes, he wisely moved into new territory. In particular the introduction of Rambaldi, perhaps the show’s most interesting character, who has actually been dead for several centuries. A Da Vinci-esque inventor, he left pieces of his inventions, and clues to their operation, hidden around the globe, and SD-6 are now on a scavenger hunt to find and utilise these, with Sydney their main operative. The CIA are doing exactly the same, also using her to stay one step ahead of SD-6.

alias1Garner is a good choice to play Sydney, a no-nonsense character who is never one to sit back when confronted with problems. She comes across as a well-rounded person with her own fears and doubts, rather than some kind of Bond-esque superspy. But perhaps the show’s greatest strength is the spectrum of supporting actors, who give the show depth when it could easily become a disjointed series of Lara Croft-like escapades. Marshall, SD-6’s “Q”, provides gadgets and geeky humour, while especial kudos are due to Ron Rifkin as SD-6 head Arvin Sloane. The man who orders the death of Sydney’s fiancee could easily have been a two-dimensional bad guy, but by the end of the show, you feel a great deal more sympathetic to his problems.

The influences are plentiful and obvious, most plainly Nikita and the (let’s be honest, rather lame) TV series which subsquently followed. There’s also a helping of Run Lola Run in there; creator Abrams listened to the soundtrack “almost incessantly” while writing the show, and has said, tongue in cheek, that he demands one scene of his heroine running in every episode. He certainly gets it, even if this does become a little predictable. The action quota generally is variable, but usually well-staged, with Garner doing more action than you might expect. And anyone that gets to beat up guest-star Quentin Tarantino wins my approval (at least it took him away from making more dire films!).

Though Sydney occasionally has romantic dalliances, she is somewhat unlucky in love – these men have an unfortunate tendency to die suddenly, and in one case, at Sydney’s own hands. This is probably a good thing, since I’m no fan of Unresolved Sexual Tension, finding it gets in the way of more important elements. Want romance? Go read Mills & Boon! This is an action series, after all, and I’d rather have Sydney kicking ass than going all gooey-eyed over, say, CIA handler Vaughn (Vartan). Their relationship is the subject of much fan fiction, but the ending of the first series would appear to have put the dampers on that department. [If you saw the finale, you’ll appreciate the particular viciousness of this comment]

Season one ended on a dramatic high with four characters potentially biting the big one, though no actual corpses were seen. Given this, and the twisty nature of the show in general, I think it’s safe to say a number of them will find a way to come back in the next series. I’m already looking forward to it.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin