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House Of Cards Season 4 Review, part 5 + New Tricks (2003 - ?) 9x03 + The Musketeers 3x09 Reviewed

Chapter 52
Underwood is not quite so superbly malevolent and Richard III-ish anymore, but you can’t help but root for him. The kidnappers dare nurture ambitions. Conway yells. The kidnappers do stupid things badly. Conway is creepily pathetic. Underwood wears his satanic mantle with great confidence. Nobody has anything like morals. Conway is less mannered and his preternatural confidence cracks. Underwood’s fake warmth and folksiness isn’t on display.

Claire projects a powerful confident image. The bad guys are just cleverly observed archetypes. This was not emotionally engaged. Conway has no admirable qualities. Hammerschmidt’s article leaves Underwood much-maligned. Underwood’s old response pattern kicks in. Hammerschmidt views the POTUS unfavourably and talks in portentous fashion and thinks he is fully in charge of his own narrative. This was okay but had no vivacity or bounce. Nobody has essential compassion. Yates lurks non-compellingly.

Leann has assertiveness. Yates has unabashed reverence for himself. Tireless scourge of bunkum Hammerschmidt thinks he has done a demystification of Underwood and makes scathing intimations. He thinks he is leading an inexorable onslaught by being a dissenting voice. No emotional punches land. This is a patchwork narrative that is not ingenious and stirring. Underwood seems desperately weary as things go catastrophically badly. Hammerschmidt overlooks Lucas murdering Meechum. Dark moral territory is explored. The Underwoods plot and there are more icy looks and searing deadened dramatics. Roll on season 5.

Best Lines:
“So what is the story? That I’m some sort of psychopath?”

“The people we should’ve kept closer.”

“How are we humiliating you?”

“They didn’t know.”
“They have to know.”

“I don’t even have unrestricted access to the residence.”

“Don’t get weak on me.”

Queen and Country
The cops reopen the case of a foreign office diplomat who apparently killed herself after personal and professional tragedy. She left behind a deaf boyfriend and a twin sister. An old uni friend stole the job the dead woman should have had and she is only a missed presence in some lives. Other people treat the investigation as a fearful inconvenience. This was not expertly paced and has no inventiveness.

Discontinuance of the investigation is promised by the FCO. The evil FCO boss is full of vile energy and the friend is a liar. And she is not the only liar. People have faux-sincerity and an irresistible style of confrontation. The FCO types have secreted vitriol and offer banalities. Harsh truths emerge and the murder mystery is resolved with dreary ordinariness. This was okay.

Best Lines:
“Then you took it away from her.”

“Why turn against her?”

“Insidious line of questioning.”

“How big’s your hole?”

“Someone buy you a lolly?”

“I’ve been his shag buddy.”

“Last time I saw you, you were being thrown into the back of a van bound for the Scrubs.”

“Massive status anxiety.”

The Prize
This has no aphoristic force. The baddies carry out a sustained act of revenge. This was not lastingly memorable or gloriously entertaining. Louis and Treville have no greater narrative clarity. Anne of Austria has coquettish amusement until she becomes a widow. Louis and his incurable cough of death causes no amusing chaos. Character was not allowed to develop independently of story. Louis dies. Treville has lingering discord and no clear rationale.

Season 3 = ubiquitous sense of disappointment. There is a lack of period feeling and everything feels artfully false. The Bourbon regime is a deeply unjust contaminated regime. Treville is a kneebiter. The foursome are his honoured idiots. This was not even mock realistic. Constance has no calm belonging. There is no sombre tone. Anne of Austria is plainly unforgiving and has raucous disapproval. Refugee woman pops up. Treville is made regent.

Anne of Austria wears ugly things in mourning and has a prickling sense of discomfort. Treville is a truly terrible man. He’s dishonourable and troubling and tarnished. There is lachrymose nationalism, no intrinsic moral purity and less and less solidarity. The foursome have no sincere passion or weary grace and little obvious purpose. Demagogic Treville consecrates himself in meandering and laboured style.

There is no respect or consideration. Porthos is an attention basket. Nobody is a ethicist just a sneering git with no moral ground. This was not potent or suggestive. The baddies are hard and relentless. The Red Guard are ill-treated and so are disturbing receptive to new offers at a critical juncture. There is trite sentimentality and unjust undoings. Women are stupid and this was not uniquely bleak.

Treville is hopelessly misdirected. He causes disunity and chaos. Gaston is compellingly nasty. The foursome act ungraciously. More women are quite stupid. Gaston expresses anger about stuff. There are endless recriminations and naked ambition. Has Feron been buried yet? How does the baddie have gold? Louis XIV prances. Aramis and Porthos have no respect.

There are no notions of decency and no immediacy or authenticity. Truth is told which gnaws at the narrative. The foursome have undergone protean changes in personality and are maddeningly undependable. Gaston is arrested. D’artagnan and Louis XIV are in peril. There is death and this okay ep was not a terrific feat of plotting. Treville finally gets what has been coming to him. There is a dark and horrible sequence and this was mechanically efficient.

Best Lines:
“These are my defenders?”

“Who’s paying for all this?”

“No one is protected here.”

“Civil war is coming to Paris.”

“Get off! Get off!”

“I owe you nothing. You have no morals or conscience”

“Next time I’ll just let you die.”

“It’s too late for forgiveness.”

“What happened to one for all?”

“Never stop wanting.”

“Too stupid to see it.”

“It will all be mine anyway.”

“D’artagnan’s whore.”

“There’s nothing to stop us.”

“Goodbye Louis. It’s my turn now.”
Tags: house of cards, musketeers, review

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