RUSH * THE GOLDBERG VARIATION * ORISON
THE AMAZING MALEENI * SIGNS & WONDERS
Directed by Robert Lieberman. Written by David Amann.
RATING: **1/2
Mulder and Scully are on the case of a murdered deputy, and his flash light was the murder weapon. However, the force which it killed him was virtually impossible, and the young suspect, Tony Reed (Rodney Scott) has no prior run-ins with the law. Both agents believe him to be innocent and covering for the real killer, and Mulder comes up with a theory on the killer: someone who is able to move faster than the eye can see. On further investigation, the sheriff's (Die Hard 2's Tom Bower) own son Max (Scott Cooper) becomes the prime suspect, and his gift is seemingly connected to a mysterious cave on the outskirts of town. Not half bad episode doesn't really have anything new in the way of plot or characterizations, but does still provide a few visual thrills. The powers aspect of the plot is never really explained; is it supernatural or scientific? The cave is there, but we don't know why. The three key characters, Tony, Max and the latter's girlfriend Chastity Raines (Nicki Lynn Aycox) are never really developed. We don't know why the nasty Max has such an interest in the mild mannered Tony, or why he'd involve in the mysterious cave and it's effects. The relationship between Chastity and Tony is also half-assed. As the climax nears, there's a suggestion that they secretly like each other, but we've learnt absolutely nothing about her character prior to this, such as why a decent girl like her would be with a psycho like Max.
The best moments come from watching the superpowers in action. The first highlight is the murder of a high school teacher in front of the students, with an especially effective shot of a chair rocketing towards the camera. One tense moment comes from when Max is prepared to murder his own father. The highlight of the whole show is the terrific finale between Max, Tony and Chastity. With arresting Emmy-nominated slow motion visual effects, and a tragic resolution, it wraps the episode up nicely. Plus there's the first of two appearances for Mulder and Scully's FBI tech whiz buddy Chuck Burke (Bill Dow), so that's a bonus point right there.
Ultimately, 'Rush' is a pretty forgettable episode, but worthwhile nevertheless.
Directed by Thomas J. Wright. Written by Jeffrey Bell.
RATING: **1/2
Quiet, unassuming Henry Weems (Willie Garson) seems to be the luckiest son-of-a-bitch in the world: he was the sole survivor of a plane crash years ago, and now, working a poker game, survives a thirty foot drop off a building at the hands of notorious mobster Jimmy Cutrona (Ramy Zada). Mulder learns of this surprising feat, and he and Scully attempt to convince the man to testify against the kingpin. Weems is more than a little reluctant to make a stand, yet, ultimately finds he has no other option. One of the more low-key episodes of the seventh season, 'The Goldberg Variation' has a light touch and a nice sense of humor. Like 'Hungry', it's subtle and restraint, but unlike that previous episode, it's a little too lightweight and just doesn't make any overall impact. Once it's finished, you realize that nothing happened. Aside from Mulder's comical attempts to fix a leaking sink, and it's unexpected aftemath, there are no real laugh out loud moments. The show also suffers from a lack of drive. By the time we to get the climatic showdown between Weems and Cutrona, there's just not enough drama built up to to generate real suspense. Garson (familiar for his work on Sex And The City, not to mention the earlier X-pisode 'The Walk' ) is charming as the unnaturally lucky mob target. His performance is subtle, gentle and completely sympathetic. His relationship with the gravely ill boy in his building, Richie Lupone (Shia le Beouf) is quiet effective, and is actually the heart of the script. The displays of Weems' good luck are often effective, such as a memorable moment in which a poor sap catches a bus...or rather, the bus catches him.
Still, this is a cute little episode that should keep the audience entertained...instead of riveted.
Directed by Rob Bowman. Written by Chip Johannessen.
RATING: ***
Imprisoned death fanatic Donnie Pfaster (Nick Chinlund) somehow manages to escape from prison by simply walking out the door, yet no one recalls seeing him leave. Our agents investigate, although Mulder has concerns about Scully's state of mind, as Pfaster emotionally and physically abused Scully when they first clashed years ago (in the acclaimed first season episode 'Irresistible'). They quickly learn that Pfaster had some unexpected help from inside the prison...the chaplain (Scott Wilson), who has a form of mental power, and has taught it to Pfaster himself. A rare episode of the season that goes for real chills instead of laughs or conspiracy-related pretentiousness, 'Orison' works as one of the creepiest. 'Irresistible' was one of the highlights of season two, and one of the most intense hours the series ever produced. Although this one isn't as intense or as compelling as the original, it's a good piece of work. The main reason for the episode's success is the character of Pfaster himself. After all these years, it's refreshing to see the character is still unsettling, and Chinlund (probably best known as killer Billy Bedlam in Con Air) does a hell of a job fitting back into the role. He's certainly one of the best villains the shows ever threw at the audience. The character of Reverend Orison is fairly interesting, and there's a revelation about him that adds another dimension to the proceedings, even if it's not entirely believable. Scott Wilson, who's many credits include In Cold Blood and The Right Stuff, does a good enough job, although it's almost borderline caricature performance, with his righteous speeches scattered throughout. Anderson rises to the occasion, with Scully shaken from having to deal with Pfaster again, yet determined to do her job professionally.
Pfaster's character is more than a little ambiguous; We really don't know what he truly is. Back in 'Irresistible', there's a memorable moment in which Scully witnesses Pfaster's appearance change into several people, including Jesus Christ. Plus we briefly saw the memorable demonic representation. We get the same thing here, this time seen by Orison. All this leads one to question what Pfaster is. Is he a deranged human or something more supernatural. Were the demon-like flashes just hallucinations caused by Scully's mental trauma and Orison's psychic abilities? Is Pfaster an embodiment of evil...a demonic "legion"? Like Lucy Butler on Millennium, he's an intriguing mystery.
The episode ends with a powerful climax (which takes up a quarter of the episode) as Pfaster attacks Scully in her home, and leads to a resolution that it's pretty shocking, potentially character-changing and yet bleakly satisfying. Although not quite the classic 'Irresistable' was, 'Orison' is a damn fine sequel.
Directed by Thomas J. Wright. Written by Vince Gilligan, John Shiban and Frank Spotznitz.
RATING: ***
Magician Amazing Maleeni (Ricky Jay) provides his audience with a dazzling trick...he makes his head turn around 360 degrees. Unfortunately, Maleeni's head falls off not long after! Mulder thinks this is a result of the magic trick gone wrong, but Scully thinks it was simply a murder. The first person they talk to is Maleeni's heckler, a magician himself, who Scully thinks may have killed him. And there's also a local hood, who Maleeni owed thousands of dollars to. But the truth may lie with Maleeni's identical twin brother, who also has experience with magic. Soon, the agents find themselves caught up in a brilliant and outlandish scam that proves that the hand is quicker than the eye.From the great prologue to the funny fade out sequence, 'The Amazing Maleeni' is a charming piece of work. Director Wright proves that he can shift gears from tense, suspenseful horror ('Millennium') to a witty caper yarn early in the same season, and unlike 'The Goldberg Variation', he keeps things moving at such a great pace. What makes the story flow so well is that is the rare X-pisode of this period that doesn't go over the top and broad, unlike, say, 'Fight Club'. This show is remarkably subtle in it's approach to making the audience laugh. It's a refreshing change of pace.
Concocted by three of the series best writers, the script is very clever and keeps us guessing thanks to a neat twist every few minutes. What's more, this is an episode that doesn't just use magic as a general framing device...it is indeed on display every few minutes. The show is littered with slight of hand tricks, but it doesn't come off as unnecessary or filler. Jay (a favorite of David Mamet and Paul Thomas Anderson) and Levit, real life magicians, give wonderful, good natured performances. Jay has a terrific, mundane style of dialogue delivery, which adds a lot to his scenes. Anderson and Duchovny also appear to be having a blast, and even get to do a few feats of magic themselves.
Light and supernatural-free, 'The Amazing Maleeni' is one of the best humorous episodes of the season.
Directed by Kim Manners. Written by Jeffrey Bell.
RATING: *1/2
The agents arrive in a small Tennessee town to investigate the death of a young man inside his car. The body is riddled with snake bites, yet no snakes are actually found. The victim is also an ex-member of a local snake-handlers religious group calling themselves the Church Of Signs & Wonders. The head of the church, Reverend Enoch O'Connor (Michael Childers) is the key suspect, and it's learnt that he had issues with the deceased, along with the victim's girlfriend Gracie (Tracy Middendorf). Gracie herself has left O'Connor's following for the town's more mainstream church and it's beloved Reverend Mackey (Randy Oglesby). The agents soon learn of a war of the faiths, and Grace appears to be the ultimate prize.
This is one of those X-Files episodes that deals with religious faith, but unlike 'All Souls' and 'Revelations', this one just doesn't have bite (no snake pun intended). There are a few interesting dialogue exchanges, and the script does make a few valid points about religion, and how it's judged by those not associated with it. There's also some icky, well done makeup FX scattered throughout. Unfortunately, the majority of this one is just plain poor. The biggest problem for me is the depiction of O'Connor and his followers. They're portrayed as stereotypically unhinged in the sequences where they're practicing what they preach. These pieces are further hurt by Manner's swooping camera movements, making it all seem way too over the top. That's the only way to describe the character of O'Connor. Childer's performance is so cliched and overwrought he comes up as more laughable than disturbing. More successful is the role of the respected town preacher, nicely played by Oglesby, but the revelation near the end somewhat undoes the good work. The story just doesn't hold together, and by the time we get to the Mulder in peril climax, it's not really interesting. And Mulder's escape from certain death is half assed, to say the least.
Another key flaw for me is that snakes just aren't scary, and as a result, 'Signs & Wonders' ends up as a forgettable case file, especially after the two terrific previous entries.
THE TRUTH IS DOWN HERE