TRAVELERS * MINDS EYE * ALL SOULS * FOLIE A DEUX
THE PINE BLUFF VARIANT * THE END
Directed by William A. Graham. Written by John Shiban and Frank Spotnitz.
RATING: **1/2
In 1990, a pre-X-Files Mulder is investigating an unsolved case from 1952 in which occurred a series of killings in which the victims internal organs were removed. The original suspect vanished before he could be arrested. Mulder interviews the agent who worked the case at the time, Arthur Dales (Darren McGavin), who relates a story which involves connects to the alien conspiracy, Mulder's own father and high ranking government figures like Roy Cohn and J. Edgar Hoover...and the birth of The X-Files. This episode seems a lot like that short lived series Dark Skies, with one big difference...this one isn't half bad! There's a lot of compelling elements to the story, most notably the time and setting, in which the appalling communist witch hunts created a country full of mistrust and hatred. That was a rather shameful period of American history, and all the conspiracy theories and paranoia makes for the perfect setting for an X-pisode. Like 'Unusual Suspects' earlier in the season, 'Travelers' sheds some light on the X-Files' past and Mulder's involvement. The inclusion of William Mulder, played here by Dean Aylesworth, is both clever and logical. It also goes further to show that he was a more noble figure than other conspiracy-related characters we've seen over the years. The casting of McGavin is great, playing Dales as a world weary, cranky yet still sympathetic man who has tried to distance himself from all the shady dealings as much as possible. Of course, no one was more happy with the casting as Carter himself, who, as we all know, saw McGavin's cult series Kolchak: The Night Stalker the inspiration for The X-Files.
Despite these merits, 'Travelers' just doesn't quiet come together. The problem lies in the script, which is a little hard to swallow. Sure, everyone knows that Roy Cohn and J. Edgar Hoover we two of the most scheming and mistrusting public figures during that period, but I don't buy their key involvement with the creepy experiments just to fight the Red Menace. Plus the basic structure and style really does seem a little too much in the vein of Dark Skies (which I only saw a few episodes of), and doesn't seem to really capture a real 50s vibe...aside from the anti-Communism feelings. Although the (briefly seen) creature is effectively yucky, it isn't exactly a cutting edge creation. It's a third cousin of monsters like The Thing, and an almost identical twin of the one in The Hidden.
'Travelers' is a well intentioned and fairly entertaining show that, alas, doesn't quite hit the mark we would have liked.
Directed by Kim Manners. Written by Tim Minear.
RATING: ***
28 year old Mary Glenn (Lili Taylor) is the prime suspect in the murder of a drug dealer. She is found in the dead man's apartment, hands covered in his blood. It seems like a perfect bust, with one problem. Glenn has been blind since birth. Investigating cop Detective Pennock (Blu Mankuma) suggests that the girl may have some kind of sixth sense, but Mulder soon begins to suspect that Glenn is somehow seeing the killer's actions. Glenn denies this, and even goes as far as claiming she was responsible for the murder of the drug dealer, and subsequent female victim. Meanwhile, the true killer (Richard Fitzpatrick) has become aware of Glenn and her ability to see his crimes.
'Minds Eye' is one of the most subtle shows of the series, one that doesn't have any big scares, gruesome makeup or flashy special FX. Instead, it relies on the strength of it's key guest character, and the actress who portrays her. In one of the best casting moves ever by the producers, Taylor is handed the especially juicy and three dimensional role of Glenn. Taylor, who wowed critics with her performance in I Shot Andy Warhol, and recently did terrific work on Six Feet Under and the underrated (and woefully short lived) Deadline, brings so much to the proceedings that she bagged a well deserved Emmy nomination. Glenn is sympathetic throughout her frightening ordeal, yet manages to be less-than-huggable, thanks to her abrasive manner, throwing insults at anyone around her. But Mulder manages to bond with her, and she allows herself to be honest and open with him. Duchovny is wonderful in his scenes with Taylor, and it's great to see something deep development with a one episode character. I also liked Mankuma (who's credits include The Stepfather and the RoboCop TV series) as the detective, who gets some good material to work with. Some of the best X-Files have ended on bittersweet notes, and 'Minds Eye' comes up with one that really works on several levels.
While the basic scenario is not particularly interesting on paper, rich characterizations and acting elevate this episode to a higher level.
Lili Taylor on 'Minds Eye': "That was a great experience. It was like doing a feature film in 10 days. I had three days to do [research into blindness]. That's hard, because it's technical stuff...you've got to have a certain level of believability, or it's just not going to work. So, I ran over to the Blind Institute in LA and worked with a woman there who was great, and thank God, I felt that did the trick. I found [X-Files] to be like an independent film, because the show and its creators have a lot of integrity. Kim Manners was fantastic. I also felt that the vision was free...no one was telling him what to do."
Directed by Allen Coulter. Written by Frank Spotnitz, John Shiban, Billy Brown and Dan Angel.
RATING: ***1/2
Scully is asked by family priest Father McCue (Arnie Walters) to help out following the bizarre death of the adopted daughter of a couple of his church goers. The girl, who was retarded, confined to a wheel chair and stricken with several deformities, was seen walking down the street outside her house, and then was found dead, kneeing, frozen and with her eyes burnt out. Scully, still haunted by the death of Emily, finds herself forced to deal with her own ghosts and beliefs, and even had visions of her deceased daughter. With assistance from Mulder, Scully learns that the victim is one of four sisters, each whom have the same physical conditions, and two of them meet the same fate. A radical, possibly fanatical, priest (Jody Racicot) is a suspect in the deaths, which Mulder believes isn't supernatural. Scully, however, becomes convinced she's in the middle of a spiritual battle between good and evil.
One of the very best episodes this season focuses on Scully, and Anderson rises to the occasion (again) with an emotional performance. We've seen the hard-boiled, ultra-professional FBI agent often, and when we get a chance to show what lies beneath the surface of Scully, Anderson always displays how talented an actress she truly is. The events in the 'Christmas Carol'/'Emily' scenario hasn't really been addressed since that two parter, so it's good, and crucial, to see Scully dealing with the shattering fallout. Religion has been tackled several times before on the show, but this the best one yet. And when it directly effects one of the leads, it's a bold endeavour for all concerned. The theory of Seraphim and how the angel is supposed to have spawned four human children is captivating.
Director Coulter, who these days is helming terrific episodes of such critical darlings The Sopranos and Sex And The City, never lays a heavy hand onto the scenario. He catches the right balance of emotional drama and classic X-Files suspense. Other major bonuses are the rich and striking cinematography of Joel Ransom, and another fine Mark Snow score. Even the potentially silly four-faced man FX sequence comes across well because it has a logical and eerie place in the script.
Low-key, thought provoking and haunting, 'All Souls' is highly impressive piece of work.
Directed by Kim Manners. Written by Vince Gilligan.
RATING: ***
A telemarketing worker (Brian Markinson, who previously appeared way back in season one's routine 'Born Again') claims something freaky is going on in his workplace...the boss is a bug-like monster who is turning his employees into zombies! When he wigs out and takes hostages, Mulder goes in to negotiate and talk sense into the man. Yet after the worker dies in the standoff, Mulder sees something that makes him believe the story. Suddenly, Skinner and Scully begin to doubt his sanity. This is fascinating episode, and almost a superb one. The entire concept...a work place turning staff into mindless drones...is very satirical, and the first half of the episode explores this well. The sequences inside the telemarketing building are exciting, especially when the creature makes it's briefly glimpsed appearances. Markinson (making his second X-appearance; he was in the routine first season filler 'Born Again') is convincing distressed throughout his portion of the show. It would have been easy to play him as a raving wacko, but he makes the poor sucker sympathetic and grounded in reality.
For me, I did have a problem with the fact that Scully and Skinner quickly come to the decision that Mulder has flipped out. After all they're been through, you'd expect Scully to have a little faith in her partner. I mean, geez, how often is Mulder wrong about anything? But despite this gap in story creditability, the episode keeps it together thanks to a suspenseful, shadowy climax. The whole entry is extremely well crafted, with superior cinematography, sound FX and editing. The creature itself doesn't look too hot in still photos, but in the show itself, it's filmed wonderfully, not really letting the viewers get a good look at it. The blurred speed keeps it quiet eerie.
Character flaws aside, this odd episode is still a fine piece of work.
Directed by Rob Bowman. Written by John Shiban.
RATING: **1/2
Scully, Mulder and Skinner are part of an FBI task force on the trail of a Jacob Haley (Daniel von Bargen, whos credits range from Silence Of The Lambs to Malcolm In The Middle), a key figure in a militant terrorist group behind a series of recent crimes. The feds attempt to capture Haley in a D.C. park, but he flees. Mulder is in hot pursuit, with Scully closing in. However, Scully witnesses Mulder aiding Haley in his getaway, which he denies when Scully questions him about it. When Scully attempts to follow Mulder one night, she is taken from her car by a group of men are in fact government operatives. Scully is taken to Skinner and US Attorney Leamus (Sam Anderson, recurring ER player), who reveal that Mulder is doing undercover work. Because of some of his anti-government leanings, Mulder hopes he can win the trust of Haley, in order for him to bust both he and the group's co-leader, August Bremer (Michael MacRae). However, the stakes are raised when the terrorists unleash are horrifying, flesh eating bio-weapon.
'The Pine Bluff Variant' is a decent show that doesn't actually fit into the rest of the season. It's because of the lack of any supernatural or sci-fi elements...it just feels like it's not really part of the X-universe. It also feels like mere filler...as some episodes do as their season draws to a close. The biggest huddle for the show to jump over is the idea that Mulder may indeed have turned to radical extremes in quest for justice. There's no way Mulder would fall in with a bunch of cold blooded killers, and it's unlikely that Scully would fall for it either. But the script tips it's hand early, as we and Scully learn what Mulder's true intentions are. That might be for the best, but who knows...Shiban may have got in some interesting directions with the Evil Mulder concept...though it probably would have stretched credibility too far. The terrorist organization are rather thinly sketched...we don't really get to hear their beliefs or greater goals.
On the upside, this show does provide some truly exciting moments. In one scene, Mulder is taken to Haley and interrogated by a menacing goon (Douglas Arthurs), who nasty some cringe-inducing things with one of our heroes pinkies. Duchovny plays this scene extremely well...Mulder is pretty frightened, but tries to keep his cool...none too successfully. Another powerful moment occurs later when he is to executed by a couple of the bad guys. Very suspenseful moment, which pays off with one of the best plot developments in the show. The effects of the deadly bio-weapon are briefly yet effectively seen, most notably in the nasty movie theater slaughterhouse. These sequences are more successful than the forgettable bank robbery scene in which Mulder is forced to be a part of.
As stand-alone filler material goes, 'The Pine Bluff Variant' does well enough.
Directed by R. W. Goodwin. Written by Chris Carter.
RATING: ***
Young chess whiz kid Gibson Praise (Jeff Gulka) survives an assassination attempt (the assassin is played by Martin Ferrero, of Jurassic Park and Miami Vice fame), and Mulder believes that the target has telepathic abilities which saved his life. While working the case, Mulder comes into contact with old girlfriend, and current FBI agent Diana Fowley (Mimi Rogers), who Scully quickly comes to dislike. Meanwhile, the conspiracy crew are out to get there hands on the young boy themselves...including the very much alive-and-well Cigarette-Smoking Man. The season comes to a close, and leads into the motion picture, with this conspiracy entry that opens new doors and brings back the CSM with a vengeance. His thrilling return to the show is the best thing about this episode. CSM gets to show more range here than usual, and is given a number of knockout confrontations with various characters. Davis is in fine, wicked form here. Jeffrey Spender is developing into a fascinating, three-dimensional foil for Mulder, and his final scene has a big revelation that pays off in spades next season. John Neville again gives an intense showing as The Well-Manicured Man...and it's also the last time we'll see this great character on the weekly series.
The two crucial new characters introduced here are Fowley and Praise. Rogers (who worked with Duchovny in the theatrical release The Rapture years ago) and her character adds an interesting new wrinkle to the show, although she doesn't get a chance to really deliver the goods until the next season. She exists here just to piss of Scully by the looks of things. To be honest, I was never too keen on Fowley over those few seasons she appeared. Praise, however, was a very interesting recurring figure. Gulka is sympathetic and affecting as the mature, gifted child who knows that he's too important to ever be free...or safe. However, one wonders why this otherwise good kid seemed okay with having another man (his chess opponent) take a bullet meant for him. As a link to the movie, 'The End' doesn't really do much except in the final scene. But its a fine, character-driven episode, and a good way to wrap up the series.
THE TRUTH IS DOWN HERE