VerbalKint-2

*** There are no spoilers until later in this review, and they are clearly marked. ***

If internet rumours are to be believed, Paul Haggis has had this project in the works for the better part of a decade. Those rumours also imply that the box office and critical success of both Million Dollar Baby and Crash has made it much easier for him to find a home for this series about four Irish brothers living in what appears to be Hell's Kitchen, NYC.

I don't put much stock in those rumours, and feel Paul Haggis is being given too much credit for this project. And by too much credit, I mean he's being given ALL of the credit. That's due in large part to NBC's early promotion of the show (which will not premiere until mid-season) having Haggis' name stamped all over it. Not to mention the fact that just about everyone who's heard of this show knows its title is a reference to an Irish family, several of whom were viciously murdered in 1880 in a Southwestern Ontario (Canada) township not far from where Haggis grew up.

Paul Haggis' influence is certainly felt in the pilot episode of this series, which he directed and co-wrote. But the influence of co-writer/creator Bobby Moresco is also very apparent. It's clear that his knowledge of Hell's Kitchen (where he spent his childhood) and the consequences of power struggles between organized crime syndicates in that neighbourhood (Moresco's brother Tommy was murdered there in 1983) provided the perfect setting for Haggis' present-day Donnellys.

For the record, I'm not saying that Haggis hadn't been working on this for a while. In all likelihood, he had. But I do believe that this project found its legs when Haggis and Moresco worked together on Crash. I imagine a conversation between Haggis and Moresco where Haggis presents Moresco with the story of the real-life Black Donnellys and the idea of updating it from the 1800s to the present day. In turn, Moresco is reminded of the Westies, an Irish-American gang from his Hell's Kitchen childhood who often clashed with mafia families.

Those elements combine to form the basis of this new drama, set to take ER's time slot (10pm Thursdays) in January, 2007. NBC clearly has high hopes for this show. And after seeing the pilot, I can see why.

*** SPOILERS BEGIN BELOW ***

Told in narrated flashbacks, but never tipping its hand as to the eventual fates of the characters involved, the pilot buzzes along at breakneck speed. The narration is from a third-person perspective. That person is "Joey Ice Cream", an apparent petty criminal who knows everything and everyone in the neighbourhood. The kind of guy you go to if you want to know where the bodies are. And that's exactly what two detectives want to know.

We're given brief glimpses of the Donnelly boys' childhoods, insight into what made them the young men they are today, but mostly we're told how the brothers came to be, in Joey's opinion, the protectors of the neighbourhood.

Tommy Donnelly (Jonathan Tucker) is the brother with the most going for him...the one who stays out of trouble. Most everyone in the neighbourhood knows he's the one who could make something of himself, or "get out", as Joey Ice Cream puts it. Holding him back, however, are his brothers Sean (Michael Stahl-David), Kevin (Billy Lush) and Jimmy (Tom Guiry), whose constant scheming mean Tommy spends more time keeping them out of jail than pursuing his gift (Tommy is a talented artist).

A plan hatched by Jimmy, Kevin and Sean is necessitated by a five-thousand dollar gambling debt of Kevin's. Against Tommy's advice, the three criminally-inclined brothers kidnap an Italian gangster named Louie Downtown. Unfortunately for the Donnellys, the Italians catch wind of the fact that Louie was snatched by three Irishmen. The Donnellys are instantly implicated by Sal Minetta (Mark Margolis). Minetta's right-hand man Nicky Cottero (Kirk Acevedo) is dispatched to make the Donnellys pay. What follows changes the shape of the family, and in turn the neighbourhood.

*** SPOILERS END HERE ***

The show feels gritty and natural. The writing is perfectly suited to the characters (in as much as network television allows such dialogue to be realistic), as are the actors playing those characters. The show obviously needs a strong lead, and Jonathan Tucker as Tommy is superb. He appears mature beyond his years, which of course the role requires. To this point, most of the other actors are, in relative terms, background...only there to support the story of Tommy's defining day, but they're all solid. I look forward to seeing them all develop.

In a season with an abnormally strong crop of new shows (the pilots of both Studio 60 on the Sunset Strip and Shark were very strong), The Black Donnellys appears to be the best of the bunch. Haggis' reworking of a notorious Canadian feud combined with Moresco's perfect setting has me wishing we could skip the next four months. January simply cannot come fast enough for me.

A wonderful (and surprisingly faithful) film adaptation of the Andrew Lloyd Webber musical (which I saw three times in Toronto in the early 1990s). Yes, several changes were made from the stage version, but there wasn't a single one that I didn't understand the motivation behind. I think the story is actually stronger on film than it was on stage because of those changes.

Amazing performances by Gerard Butler as the titular Phantom (whose voice sounds better in theaters than it does on the soundtrack album released earlier this month), Miranda Richardson as Mme. Giry and especially Emmy Rossum, whose voice is perfectly suited to the part of ingénue Christine Daaé. (but whose diction is slightly lacking).

Also surprising in this film was the restraint shown by director Joel Schumacher, a man perhaps best known for destroying the Batman movie franchise. He seems to have matured greatly in his last few films (Tigerland and Phone Booth are good examples), and this is almost certainly his best film to date. The movie is visually stunning but character-driven. The visuals are never allowed to completely overwhelm the story, which has previously been a huge fault in Schumacher's work. Restraint, as I said earlier, is the key here.

I will absolutely be seeing this again soon.

Steven Spielberg's Minority Report is an incredible movie, though it has one flaw: there's way too much to soak up in just one viewing. I'm going to have to see this one again, and again, and again...

It'a a really great detective thriller with twists and turns all over the place. Funny, shocking, terrifying and thought-provoking all at once, this is one movie that lives up to the hype.

Spielberg is truly a visually gifted director, and he once again works brilliantly with photographic genius Janusz Kaminski...you'll be amazed by how this film can appear simultaneously beautiful and disturbing, which is also due in large part to VFX wizards Industrial Light and Magic.

Editor Michael Kahn does his usual sterling work as well...I walked out of the theatre, looked at my watch, and said "that movie was two-and-a-half hours long? It didn't feel anywhere NEAR that long." I think that's pretty much the highest compliment I could pay him.

Cruise is always believable as Detective John Anderton, who is being hunted by former colleagues of his from the Washington, D.C. Pre-Crime Unit of the Police. Add in great performances by Colin Farrell as the bad guy, Max von Sydow as the aging Pre-Crime Director Lamar Burgess and especially Samantha Morton as Agatha, the most gifted of the three "Pre-Cogs" who anticipate murders and communicate them to Anderton's crew so they can be stopped before they happen.

Also memorable is Lois Smith in a small but important role. She steals the scene from Cruise, which is saying something given Cruise's incredible screen presence. Peter Stormare impresses similarly in another scene.

So far, this is THE best movie of 2002. Smart, funny, thoughtful, and most of all exciting, Minority Report succeeds in all the places that most summer blockbusters fail.

Minority Report is the future of movies. 10/10

I should let you know that, as I write this review, my brain is still reeling from the complete sensory overload this movie inflicted on me. It's slow to start but once it gets going, the excitement doesn't end until that final iris-out to the credits.

I should also warn you that if you are not a fan of the Star Wars saga, there's very little in this movie that will change your mind. It's a film for the fans of the saga

***MILD SPOILERS BELOW***

The movie opens with a bang (literally), and for that I was thankful. Then it lags a bit, with the dialogue focused on the politics surrounding the attempts on Padme's life. It's at this point you'll think Lucas will make all the same mistakes he did in Episode I: The Phantom Menace. But once the chase through Coruscant begins, it's all classic Star Wars until the final battle on Geonosis.

I was reminded very much of The Empire Strikes Back in this movie...not just because it is darker, or because it is the middle chapter. It's the pacing and the storytelling that makes it feel more like ESB. In Episode I, the two Jedi meet Jar-Jar on Naboo, who accompanies them on their journey to rescue Amidala, who then (along with her faithful guards and handmaidens) tag along with the Jedi and Jar-Jar to Tatooine, where they meet Anakin, who goes with them to Coruscant, then they all go back to Naboo. Episode I was much too linear, and the characters all seemed to be together at the same time, hoping to accomlpish the same thing. In ESB, Luke was off on Dagobah while Leia, Han, Chewie and the droids were on Bespin. In Episode II, each character has separate missions and motives, and it makes for a much more interesting story.

The acting was much more solid in this film than in its immediate predecessor. Ewan McGregor IS Obi-Wan Kenobi now...the role truly belongs to him. Hayden Christensen is strong as Anakin, his subtle looks providing the depth his character requires that the sometimes-ridiculous dialogue can't. His first dark-side experience is a truly frightening one...you'll realize just how on-the-edge this young man is, and how little it will now take to turn him into an agent of evil. Natalie Portman is merely adequate, but the writing is at fault there...her character isn't given much room to grow on her own. Samuel L. Jackson was excellent as Jedi Master Mace Windu, whose powers are only rivaled by Yoda. And Yoda's performance, strictly CGI now, is without a doubt the strongest in the film. It's frighteningly good stuff...Rob Coleman's animation team deserves a Best Actor Oscar for their work. I know it sounds ridiculous, but it's true. Yoda's performance is brilliant.

As for the action...well, need you ask how good the action is? It's Star Wars, for crying out loud. If you thought there wasn't enough action in Episode I (as I did), then the action in Episode II will suit you better. As I said earlier, the final 40 minutes of the movie are non-stop action, and it is far better than almost anything we've seen in the Star Wars saga, save perhaps for the pod-race in Episode I (two-headed announcers excluded). Yoda's abilities will have your jaw on the floor, and you'll never ask why he is called THE Master.

If you're a fan of Star Wars, you'll love this movie. If you're a fan who was disappointed with The Phantom Menace, your faith in the saga will be restored. If you're not a fan? Well, at least give it a try. You should be able to find something you like here.

Last summer, I enjoyed the privilege of viewing the pilot episode of Fox's "Dark Angel" well before it premiered. It grew to become one of my favourite series, and certainly the only intriguing drama of the Fall 2000 season.

The Fall 2001 season is almost upon us as I write this, and for me, the most anticipated new series is the one taking Dark Angel's old time slot: "24".

24 tells the story of one very eventful day over the course of the entire season. Each 60 minute episode will show the events of one hour of that day, and the events unfold as if in "real-time".

24's main character is Jack Bauer, deftly portrayed by Keifer Sutherland. Jack is a member of the Los Angeles unit of the Counter Terrorist Unit. His job is to prevent presidential candidate David Palmer (Dennis Haysbert, "Love & Basketball") from being assassinated. Unfortunately for Jack, his daughter picked that day to sneak out of the house. Jack's marriage also appears to be on shaky ground, and his being at work while his daughter is missing won't help that situation, to be sure. The clock is ticking... ...and I'm counting down the days until this series begins its run. The pilot contains a couple of surprising twists, and is definitely suspenseful. The acting is very solid, especially from Keifer Sutherland. The use of split-screen effects, though it reminds me somewhat of "Charlie's Angels" (and to a lesser extent, USA's "G vs. E"), is actually quite effective. Not only do they intertwine the multiple story lines, but sometimes show multiple angles on a single character or storyline. It is an effective transition between the various plots, and adds to the "real-time" feel that is the selling point of this show. I'm guessing the rest of the audience will feel the same.

Fox and executive producers Robert Cochran and Joel Surnow have created something that is truly different. Yes, real-time has been done before, but not on a fictional television drama. Yes, secret service anti-terrorist stories have been done many times before, but I can't recall any that were as ambitious as 24 is. Here's hoping the entire season will prove to be as intelligent and unique as the pilot is.

As I did last year with Dark Angel, I'm praying that 24 will be a success. And I hope that it won't be a one-season-wonder. I don't think it will, though. My guess is that 24 will be the water-cooler-discussion smash hit of the season.

Plot - A little weak, to be sure, but it's a summer action movie. I'm impressed that I got any plot at all, especially after seeing "The Mummy Returns." Uggghhhh...

Action - Awesome. Not there all the time (which is a good thing), but more than enough to keep my blood pumping. The action in Cambodia reminded me sooooo much of the Tomb Raider PC games (which is also a good thing).

Acting - Certainly not Jolie's finest hour, but she wasn't given much to work with. The scenes involving her father were touching, though I thought Jon Voight was at his weakest. Other characters are actually caricatures, which is typical for this type of movie. I did love the Hilary the butler, though.

Tomb Raiding - Not enough puzzle solving, with the exception of the final "tomb". That's my only complaint in this category. UNBELIEVABLE Art Direction / Set Design. I wish those places were real...they were both very beautiful and deeply mysterious.

All in all, I got what I was hoping for from this movie: big action, a small plot, a gorgeous heroine, and some laughs. Summer fun doesn't get much finer.

8/10

This movie immediately made it into my top five and has remained there now for six years...soon to be se7en. Sorry...couldn't resist. ;^)

The cast is a dream. Morgan Freeman's negative-but-wise Detective William Somerset is the perfect counterpoint to Brad Pitt's brash, hopeful Detective David Mills. Gwyneth Paltrow, although under-used, makes an impact as Tracy Mills, David's charming, beautiful wife. and Kevin Spacey as John Doe is the most memorable. The intelligent, quiet serial-killer has almost become a cliche lately, but Spacey's performance is menacing without ever having to appear as such. He just plain creeped me out.

The pacing of this movie is perfect. Detective work is a very slow, tedious process. Fincher's direction effectively portrays it as such. The show has a few fast and furious moments, but for the most part it moves at a snail's pace, which is appropriate given the subject matter. And the tension just builds and builds...something many movies try for but few achieve.

The screenplay is also wonderful. Conversations seem real, not forced as in most movies. In Se7en, the dialogue (and the acting) made me feel as though I was looking in on the lives of the characters rather than having those characters play out a story for me.

I, unlike a few people here, thought the ending was perfect. Those who disagree with me, think about it in the context of the real world. Maybe you didn't get to see what you thought *should* have happened, but you have to admit that you saw what most likely *would* have happened.

Also, let me rebut comments which deride this film as being unnecessarily violent or a gore-fest. There were only two scenes of on-screen violence in the entire movie. One involves a gunshot on a long lens, and the other involves a close-up but barely discernable blow with a tire iron. While we see plenty of blood and guts in other scenes, we do not see the acts of violence in the majority of them.

Se7en is a perfect 10 in my books.

When I first heard about this show, I believe my thoughts were something along the lines of one of L.L. Cool J's lines in the movie's opening scene: "Great...another movie from an old t.v. show." Having suffered through countless (and usually pointless) silver-screen updates of some of television's bigger hits, I was extremely skeptical.

So, into the theater I went, fully expecting to be disappointed. I figured the only saving graces of this film would be the fantastic figures of its three female leads. I couldn't have been more wrong. It had been a long, long time since I'd seen a film as fun, upbeat, silly and invigorating as this. Charlie's Angels was, without a doubt, the most entertaining film of 2000.

In a film without much of a plot, the performances are surprisingly good and fresh.

The Angels: Drew Barrymore as Dylan is the ultimate tom-boy, Lucy Liu's Alex is the definition of class and control, and Cameron Diaz lights up every frame she's in as Natalie, simultaneously graceful and ditzy.

Bill Murray is Bill Murray, which is a very good thing. His Bosley is very funny, and very charming. Sam Rockwell is a chameleon, Kelly Lynch comes off as an incredibly strong woman, and Tim Curry plays an excellent villain.

Which reminds me...the most unforgettable performance in this movie belongs to Crispin Glover as Thin Man. Without a single line of dialogue, he manages to steal every scene he's in. His mannerisms and expressions made me fully believe that he was Thin Man. The way he held those cigarettes...*shudders*

The direction is very good, especially for a first time feature director like McG. He draws influences from a lot of different films and filmmakers, but his style remains very unique. This movie is also well shot, thanks to D.P. Russell Carpenter.

What of the action? Well, you've probably already heard that it's incredible. And everyone who says that is absolutely right. The girls were apparently put through several months of intense strength, martial arts and wire training, and it shows.

I've given this film an 8 out of 10. The only places in which Charlie's Angels loses points with me are in the half-baked plot and the over-baked villains. Both end up being cliches, which may have been the point given the plausibility and originality of the plots and villains in the television series. Here, though, they only manage to slightly detract from this otherwise wonderful effort.

I wish I'd walked out of this stinker. Every single "joke" was telegraphed, and really not funny to begin with. I can stand obvious jokes when they're funny (i.e. "I knew that was gonna happen! Hahahaha!"). When they're not funny? I get the urge to leave.

I expected an interesting story, one that would make sense, and one that slowly revealed the events of Jesse and Chester's adventures the previous night. Instead, I got a "plot" that revolved around a transsexual stripper, a Heaven's Gate-like cult, some aliens, and a bunch of stereotypical jock types (anti-stoners, really...how original).

I kept telling my friend, "Let's hang around. Something funny is bound to happen." Man, was I ever wrong. Not even the outtakes over the end credits could save this stinker. From start to finish, "Dude" is a waste of celluloid.

Avoid "Dude" like the plague. Don't waste 90 minutes of your life like I did.

Jessica Alba stars as Max, a genetically "enhanced" superhuman living in post-apocalyptic Seattle, WA. When Max was a child, she and others tried to escape the military compound at which they were being developed/trained. Now, as a young woman, Max is searching for others of her kind, not knowing whether or not she was the only one to escape.

Having seen the unfinished pilot (with temporary sound, FX, music, etc.), I have to say that this show appears to have a future. Max, a bike courier/burglar, is an interesting character whose abilities are sometimes a hindrance - she frequently (and inexplicably, at least in the pilot) suffers seizure-like breakdowns. Logan Cale, who broadcasts a pirate television signal called "Eyes Only" which exposes corrupt and immoral people, is impressed by Max when she breaks into his heavily guarded apartment. He tries to enlist Max's help in his fight against corruption in exchange for his help finding others like her.

Jessica Alba as Max is a good casting choice. She's sexy, seems smart, and can play both the tough grrrl and the innocent victim quite well. I'm looking forward to seeing how her character will be developed, as there seem to be a lot of possibilities for Max, and for the other characters in the show. Will Max find the others? Will her pursuers catch up with her? How will her relationship with Logan evolve?

I'm hoping this show survives, and I'm hoping that it's a hit. I mean, what are we going to watch on Fox when The X-Files and The Simpsons finally close up shop?

There's really not a dull moment in this classic Bob and Doug McKenzie film.

From the moment it started, this film had me in stitches.

Remember the burp which opens the movie? The Mutants of 2051 A.D. ("R-r-Radiation has made me an enemy of civilization, eh!")? The "flying" orange van, measuring tape walkie-talkie, the moths, "Good thing I'm still wearing that jock!", Mel Blanc as Mr. McKenzie, Hosehead the dog, the mouse in the beer bottle...all of these hilarious moments are in the first 15 minutes of this comic masterpiece.

But it doesn't slack off from there...the plot is cleverly adapted from Shakespeare's Hamlet, with Bob and Doug (Rick Moranis and Dave Thomas) somewhat in place of Rosencrantz and Guildenstern.

The McKenzie brothers visit Elsinore Brewery (get it?) to try to get a free case of beer. There, they meet Pamela Elsinore (Lynne Griffin), who has recently taken over control of the brewery after her father's mysterious death. The brothers end up working for the brewery, were they, along with Pam and former hockey great Jean "Rosie" LaRose (Angus MacInnes) stumble across the evil Brewmeister Smith's (Max von Sydow) plot to take over the world with his mind-controlling beer.

There are countless memorable moments...the hockey game ("That's no goal...they was in the crease, eh?"), chocolate milk, the parking attendant ("Six-fifty!"), drowning in beer, drowning in Lake Ontario, Doug's drivers license, the brothers in jail, and of course the dramatic finale at Oktoberfest in Kitchener. I could go on and on, but I feel like I've written 1000 words already.

My suggestion is that you watch this movie in 3-B (3 beers and it looks good, eh?), with a couple bowls of split plea soup and some toast and back bacon...hold the toast. Order!

Being a Tim Burton fan, and having known for a couple years that Burton would be directing this film, I was excited by the trailers which started popping up in cinemas months ago. I waited for Thanksgiving (which came and went the second week of October), and then I realized that I had to wait for AMERICAN Thanksgiving. Which I was barely able to do, by the way. After all, it's been more than 3 years since Mars Attacks!, Burton's last directorial effort.

Well, I must admit: Sleepy Hollow is worth the wait. From the moment the film started until the end credits rolled I was in absolute awe of the visual splendor presented in the movie. Even the gory scenes (and there are plenty) were visually stunning. I found my jaw was frequently dangling near the base of my neck, and many of the shots had me drooling.

The acting, also, is top drawer. I rather liked Depp's take on Ichabod Crane. He seems, at times, almost inept as a police Constable (almost like he should have been a teacher instead). Christina Ricci plays a good girl very well, totally hiding the bad-girl image I've had of her since The Addams Family. Miranda Richardson also puts in a good turn, though she's a bit under-used.

The story is excellent, though it sometimes plays like a Hammer Studios film, the effects are - for the most part - unobtrusive, and Danny Elfman's score is as stirring as anything he's ever written.

As for the flaws...well, the ending seemed to me rather abrupt, although right now I can't think of an alternative. I was also able to spot a couple of continuity errors, and to spot them on the first viewing is a testament to their obviousness.

8.5/10 - For the beautifully haunting images, good pacing and acting, and that unmistakable Tim Burton weirdness.

What the HELL is the Catholic church so up-in-arms about? Never in my life have I laughed so hard at a movie while being so thoroughly educated by it. This film is not at all anti-religion or anti-Catholicism. If anything, it gives religion a boost by infusing some much-needed comic relief into its often depressing messages.

Having read the script long ago (God bless the internet), I knew this film was not to be a typical Kevin Smith movie, or at least not typical in the tradition of Clerks or Mallrats. It was still very obviously a View Askew movie, but its complex (but clear) story and sense of direction was something that took me by surprise when I read the script. It was a nice surprise, though, because the story was so good:

Two fallen angels may unwittingly destroy the world by going against God's will and re-entering heaven thereby negating existence, which is wholly based upon the idea that God is infallible. The last known descendant of Christ is sent to stop them from succeeding. Who's ever written such an ambitiously original story? I can't think of one. And yes, Jay and Silent Bob are here. Snoogans!

To sum up, Dogma is an often hilarious, frequently enlightening story that deserves much more respect from the Church than it is getting. If the Catholic League wants to attack a film, they should pick on Stigmata. Man, did that flick ever stink!

Can't wait for Clerks 2: Hardly Clerkin', Kevin.

8.5 / 10

One question: does anyone else think the cloth is just pissed off at Smith for casting George Carlin as a Cardinal? Just a thought.

I don't normally speak in superlatives, but I honestly have never been more affected by a film than I was with Saving Private Ryan. I was near tears 5 minutes into the movie.

As the ramps on the landers dropped and wave after wave of Allied troops were immediately cut down by German machine-gunners, I sat in horrified silence. A single tear rolled down my cheek. That tear was followed by a dozen others. And as the terror continued in front of my unblinking eyes, those dozen were joined by two dozen more. I now understood - or at least had a better understanding of - why I never want to be involved in a war.

Spielberg's re-enactment of D-Day at Omaha Beach stands as one of the single-most brilliant pieces of film ever shot. It also shows cinematographer Janusz Kaminski and editor Michael Kahn to be two of the most inventive minds in their respective fields. Kaminski's shaky, newsreel-style hand-held photography and point-of-view shots and his willingness to use varying quality film stocks, over and under-expose shots and play with film speeds provide the opening battle with a total lack of visual continuity which fits in perfectly with the confusion Spielberg wanted to create. And Kahn's editing progressed the film through that confusion, making a story out of a mess of body parts and beautifully showing the push from the water to the ridge. His brilliant work on Captain Miller's (Tom Hanks) temporary deafness moments alone must have taken days, if not weeks.

For proof of the Normandy scene's authenticity, ask the veterans. Many sent Spielberg kudos (check the Trivia link for this movie), and many are known to have suffered horrible flashbacks after seeing this film. That's proof enough for me.

Oh yeah...the rest of the movie was pretty damn good as well. I still wonder how this film ever lost the best picture Oscar to Shakespeare In Love, which will be forgotten in 2 years (if it hasn't been forgotten already).

One final note: All those who complained about the mistaken identity of the old man in the opening scene, you were not being tricked into thinking he was Captain Miller (Tom Hanks). If you were being tricked, Spielberg would've had a shot of Captain Miller's eyes immediately following the extreme close-up of the old man's eyes. Instead, we see the beach, then a couple of shots of the landing craft making their way toward said beach. Wake up, people...this was not meant to fool you. You fooled yourselves.

9.5 out of 10, the half mark lost for the lack of representation of other Allied nations (U.K. and Canada, especially) on D-Day, and for Ted Danson.

You might be wondering what the novelty was for me in the first place. Well, being from Hamilton, it's very rare for me to see a show or movie based in my hometown. And I'll admit that was my initial attraction to "Power Play". Good writing and strong acting, though, have me hooked (no hockey pun intended).

Most of the characters are likeable in their own way, but two performances stand out. Gordon Pinsent as the somewhat-crazy owner of the Hamilton Steelheads, Mr. McCardle, is great and fast-paced comic relief. Dean McDermott is the other performer I most enjoy. As Mark Simpson, the soft-spoken captain of the Steelheads, his intensity and dedication to the team shines through. He's extremely convincing, and in my opinion under-used thus far (2 episodes have aired as I write this). Michael Riley is Brett Parker, the guy you love to hate and hope to love, and the character around which the show revolves and evolves. The frantic pace of his life is reflected in the pacing of the show. The hockey sequences are, for the most part, well represented. And to be honest, the hometown boy in me wanted to cheer on the fictional Steelheads franchise.

I really hope this show survives, and not just because it shines a spotlight on Hamilton, but because it deserves to. "Power Play" is that rarest of creatures; a well-made Canadian drama.