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Official Person of Interest Season 1 thread

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  • BTN
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    #223246

    http://www.ew.com/ew/article/0,,20525101,00.html

     

    B+ review Ken Tucker

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    uncreativename
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    #223248

    The premiere is tonight.

     

    EPISODE 1×01 PILOT”

    A young prosecutor becomes a person of interest in the opener of the series following a presumed-dead ex-CIA agent (Jim Caviezel) and a billionaire software genius (Michael Emerson) who try to stop crimes before they happen.

     

    Discuss.

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    Cathy V
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    #223249

    I’m not sure I buy the premise of being able to predict crimes (the idea sort of reminds me of Early Edition, but at least that show didn’t even try to make the premise seem realistic), but I adore Michael Emerson and am game to check this out.

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    BTN
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    #223250

    metacritic is at 63 with one negative review . 9 pro 6 mixed.

     

    I agree with the thought that treating the machine as realistic will box the show in. Why can’t Finch create like time machines or advanced robots or weapons or something like what’s in Iron Man or something.

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    uncreativename
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    #223251

    I’m sorry but that was a complete bore.

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    Spenser Davis
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    #223252

    This pilot episode was extremely underwhelming. I really appreciated Michael Emerson’s work on Lost, but his performance here feels unenergetic and mannered to the nth degree. And Jim Caviezel is quite possibly the most boring crime fighter of the television season. Couldn’t he throw in a cocky grin occasionally? At least then we’d feel like he’s slightly more like the badass that he has the capability of being.

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    Ryan_Fernand
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    #223253

    I will start off by saying it is great to have Michael Emerson back on television.  Unfortunately, this was a major disappointment.  There was nothing at all to involve me in the case of the week storyline and the mythology storyline was way too much telling and not showing.  Also, I did not like the pace at all.  It was way to fast and we got no character development at all.

     

    Emerson was fine, but all he did was spit out exposition.  Caviezal was not a good lead and he really needs to change the voice he is using for the character (way too soft).  

     

    I will say there is some hope for this series.  It’s storyline has some potential and Taraji P. Henson was great in her limited screentime.

     

    Pilot=6/10

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    BTN
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    #223254

    fff

    What I did like was how the main characters of Finch and Reese would be talking about someone and than that person would walk right by them because it was new york city and lots of people go unnoticed all the time. They did that a few times. I could see how the setting could be used very cleverly and Reese can just be in plain sight- LIKE THE CAMERAS LOL- and just not be noticed. But there were the problems of this particular episode in how the story was rushed and Caviezel’s voice was weird and Emerson got a lot of exposition. Then you have the whole issue of the machine which is all the surveilence PLUS listings of all the people’s names with the social security numbers but Finch only gets the social security numbers because names would be too much??

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    Daniel Montgomery
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    #223255

    This premiere season I’ve seen some pilots that were so-so (“Prime Suspect,” “A Giften Man”), a few that were not very good at all (“Whitney,” “Free Agents”), and a few that have some real promise (“2 Broke Girls,” “Up All Night”). But I just caught up with “Person of Interest” and I haven’t seen a pilot this bad since “Hawaii Five-0” last year.

     

    I’m shocked by how bad it was. Shocked because it was created and written by Jonathan Nolan, who is not only not a bad writer but actually a pretty great one; he was co-credited with the screenplays of his brother Christopher’s best films (“The Dark Knight,” “Memento,” “The Prestige”). But it’s the writing that’s the main problem here. The first ten minutes are an endless stream of exposition that contains not a single word of natural, believable dialogue. We don’t hear characters talking. We hear producers and network execs at a pitch meeting discussing the plot. In just ten minutes we race from Jim Caviezel as special-forces-hobo to Jim Caviezel working for Michael Emerson doing something or other with a floofy machine that knows everything — except the stuff it conveniently doesn’t know for the purposes of the plot. In ten minutes, the characters helpfully recite each other’s backstories and describe the premise of the show they’re in, and then we progress into a mystery-of-the-week involving a lawyer (Natalie Zea) who is the subject of a plot twist so thuddingly obvious — and yet so hastily and carelessly executed — it would have been more shocking to have no twist at all.

     

    The episode was all plot. No story, not characters. Almost every word spoken was to describe the plot. Any words not pertaining to the plot were used for cryptic exposition about “the machine,” which in this age of technology is actually an interesting premise for a show more serious than this. Here it all just sounds like goofy nonsense, a flimsy engine for a weekly procedural in which the gimmick is — and they all have to have a gimmick, like CBS’s woman with the memory (“Unforgettable”) or NBC’s woman with the hat (“Prime Suspect”) — we know the subject of the crime in advance but not the crime. And if future cases are like this one, with its preposterous action scenes, overwrought direction, and Taraji P. Henson in a role she is completely unconvincing in through no fault of her own because no one is convincing in any role on this show, I don’t think I’ll be missing much if I don’t watch this ever again.

     

    Relative to other CBS shows, this one didn’t perform that well in its time-slot, but it didn’t perform nearly as badly as it should have. I’m worried this show will be around for a while and thus maroon talented actors and, yes, a talented writer for years to come. Just consider how long Khandi Alexander was stranded on “CSI: Miami” in-between “The Corner” and “Treme.” And goodness knows how long Nathan Fillion will be stuck on the silly “Castle” show as long as its ratings are being propped up by “Dancing with the Stars.” Everyone on this show deserves better.

     

    Pardon this very long review. This is the first show of the fall season to inspire me to rant.

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    Spenser Davis
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    #223256

    No reason to apologize. I agree with everything you’ve said here. I especially like how you’ve called Emerson’s computer system a “floofy machine.” That seems pretty spot-on. There’s no better way to describe this drama, which tries to have a bit of a future twist but ends up just being a jumbled mess. Jonah Nolan and Co. don’t seem to realize: When it comes to futuristic mumbo-jumbo, there’s Sci-fi, and then there’s Ah-Hell-Nah. This show definitely falls into the latter.

     

    I read one review say that this was like a grounded superhero show. If that’s the case, someone get this series some kryptonite, stat.

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    Slam
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    #223257

    Couldn’t get through the pilot. I actually got up and started washing dishes without realizing it before just turning it off and deleting it unfinished. This marks the first pilot of the season that I didn’t at least finish.

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    Rob Licuria
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    #223258

    Phew, I thought it was just me. I couldn’t get through the first 20 minutes. Done. Dusted. G’bye…

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    Morgan Henard
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    #223259

    Poor Michael Emerson. He’s way too talented to act out writing this crappy. Side note: Natalie Zea could headline her own series.

    Grade: D

    –Morgan 

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    BenitoDelicias
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    #223260

    This one was just lame. They keep trying to make something special with these ideas and storyline and they can’t seem to see how limited and dumb they are. At least this time they got the casting right (were you kidding me with Undercovers last year J.J?). But for all the Michael Emerson praise we can pull out, this guy is basically playing the same character again. The slow talk, the mistery, the looks, the head tilt, the I won’t tell you what’s going on…

     

    Jim Caviezel is a strong lead, but none of it really matters when the show is just not that…inevitable pun…interesting.

     

    I remember on Alias there was a lot of mistery, but they carried on with the show regardless of the mistery and even though we knew there were things missing and we would find out later on, the show went on and it wasn’t all about “the secret”. I also loved that on this show we knew the secret but some characters didn’t, those were the fun J.J Abrams days. Now after lost, there’s nothing else he can do but “the secret”. It ruined Fringe for me even though apparently it turned into a great show. 

     

    Move on J.J, nobody cares anymore, you’re turning into M Night Shyamalan. And by the looks of it, Alcatraz won’t be any different.

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    Daniel Montgomery
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    #223261

    I think J.J. Abrams is less like M. Night Shyamalan and actually more like Judd Apatow. Both became cult figures thanks to projects they made themselves (for Abrams: “Alias,” “Lost,” “Star Trek”). And then they used that clout to produce projects of varying quality by other people. I’m not sure how much Abrams is actually involved in the production of this show, the same way I’m not sure how much Apatow was involved in junk like “Drillbit Taylor,” “Step Brothers,” or “Year One.” Either way, Abrams — and Apatow for that matter — needs to be a lot pickier about what he puts his name on. Because when a show like this is promoted as “from J.J. Abrams,” it only hurts him.

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