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Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: The Killing

More and more, movies seem like short stories and TV shows seem like novels. It took two ‘seasons’ (actually, each is a half-length season) for the murder mystery program, The Killing, to reach its highly satisfying conclusion. Set in Washington State, it is stocked with more red herrings than Seattle’s Pike Place Fish Market. But if you sit down over a weekend and watch the whole two seasons at once, it is a wonderfully involving mystery with rich character development and nearly constant suspense. You know they aren’t finding the killer in the second episode, but that doesn’t stop you from thinking that they have.

The Killing: The Complete First Season, opens with an outright spoof of the opening of Twin Peaks and then proceeds along much the same lines, minus the close-ups of traffic lights, as a Seattle cop, played by Mireille Enos, continually postpones her retirement to investigate the murder of a high school coed. Sure enough, like Twin Peaks, at first the coed appears to be innocent and pure, but eventually it appears that she was hooking on the side at a nearby casino. Originally broadcast in 2011, thirteen 45-minute episodes (the last episode runs 48 minutes) are spread to four platters. Each episode represents a day in the investigation, and it seems like each opens with a new suspect that just has to be the one who did it, only to close with the focus shifting to someone else. Indeed, much to the consternation of fans but in keeping with its witty storytelling, the entire season ends just the same way. At the same time, there is a mayoral election approaching and the victim is discovered in the trunk of a car belonging to one of the campaigns. Enos is a little vague as the heroine, both as a detective and as a single mom, but Joel Kinnaman is terrific as her stoner partner and the program, as it leaps from suspect to suspect, is highly addictive. There is a substantial amount of time devoted to the grieving family, and the program does a good job at charting the arc of that grief. It also is always raining, which is different from the real Seattle, where it is always just drizzling (it actually rains more in New York), but is great for moody murder mysteries. Agnieszka Holland directed one of the episodes.

Each platter has a ‘Play All’ option. The picture is presented in letterboxed format only, with an aspect ratio of about 1.78:1 and an accommodation for enhanced 16:9 playback. The color transfer looks fine, despite all the dark and rain. The 5.1-channel Dolby Digital sound is quite good, with a strong dimensionality and some nice directional effects. There are optional English, French and Spanish subtitles. The final platter contains a passable 17-minute production featurette (as usual with shows set in Seattle, most of the program was shot in Vancouver—and the cast members, including Enos, occasionally mispronounce local names), a 5-minute blooper reel and 13 minutes of wisely trimmed sequences, although there is one nice segment where the younger brothers of the victim get into a fight, and a little more elaboration to the season’s final minutes. The first and last episodes are also accompanied by commentary tracks featuring a couple of members of the cast and the crew. They talk about the aspects of the show that they feel are unique, a few of the challenges that confronted them (Enos was pregnant during some of the shoot) and how everybody wants to know who the murderer really is. “We were sworn to secrecy. We swore an oath of secrecy and I believe it’s only the writers in the room who know who the killer is and we had to talk to each other about keeping our faces passive when we spoke to cast members and people in the beginning would try to get it out of us. It’s like, ‘I’m sorry. Pain of death. I cannot tell you.’”

Demonstrating a bit of a lack of faith, Fox released The Killing The Complete Second Season directly onto the Internet as a Fox Cinema Archives title. Spread to three platters, there are another thirteen 43-minute episodes, and each platter has a Play All option. In keeping with the cost-cutting manner of its release, however, the sound is dialed back to a standard stereo mix that is not as pleasingly dimensional as the 5.1 mix on First Season, and there is no subtitling or captioning. The picture quality and format are commensurate with First Season. There is one special feature, a 5-minute video that was ‘shot’ by the victim.

First and foremost, Second Season, originally broadcast in 2012, picks right up where First Season left off, and brings the story, by the end, to a fully satisfying and resolute conclusion. Secondly, the rain continues. Some viewers may feel the story is stretched out, but that just makes the final few episodes leading up to the end all the more nail-biting, and the atmosphere along the way all the more succulent. The writers have a tough juggling act, telling the story in just four weeks or so, because the characters go through so much—one character is even shot and paralyzed, but is up and about in a wheelchair a couple of days/episodes later. The background of Enos’ character is developed a bit more, and she seems more comfortable in her part than she did in First Season, as her character’s desperation becomes more frustrated—her performance is outstanding in a psychiatric ward sequence.

 

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott