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...might be expected to be a devout follower of Religulous. But I can't fully believe in it. Maher and Charles, the director of the Borat movie, should have come up with a rowdier, more penetrating exposé than this one. The film registers decently on the amuse-o-meter, and its offensiveness has a tonic value, but it's deficient in shape, propulsion, urgency. Look at almost any Michael Moore movie, and you'll find the sharp personality and editorial skills that are missing in Religulous...
...true unsung heroes for the Crimson. “They’re simply the heart and soul of our football team,” said junior running back Cheng Ho. “Whatever we do offensively strongly correlates with their performance.” While the O-line may not be the guys in the end zone or in the highlight reels, they’re the ones who work behind the scenes, setting blocks, opening holes, reacting to blitzes, and picking up linebackers. Every move they make, whether it may be a pancake block or a missed...
...prison, the wealthy can shake their heads at the undeserving poor with no place in our society. We begrudge them cigarettes and cell phones, alcohol and drug use, unmarried sex, and even their ability to have children, forgetting King Lear in Act II: “O, reason not the need!... / Allow not nature more than nature need, / Man life’s as cheap as beast’s.” Instead, let’s look to Act III: “Take physic, pomp; / Expose thyself to feel what wretches feel, / That thou mayst shake...
...manages to miss. On NBC's My Name Is Earl, by comparison, Jaime Pressley's Joy may be a moron, but she's an interesting one, with a kind of admirably feral greed. Blair's Kim is just a cartoon idiot. ("It's over!" she declares about her marriage. "O-V-U-R!") If you can't even make your characters believably dumb, you've got problems, and while Shannon does her best with what she's given, the mother-daughter dialogue plays like bad Oscar-presenter patter...
...fall's most promising import is also the most potentially susceptible to this problem. The premise of ABC's Life on Mars (Thursdays, 10 p.m. E.T.; debuts Oct. 9) is ludicrous but irresistible: New York City cop Sam Tyler (Jason O'Mara) gets hit by a car and does a reverse Rip Van Winkle, coming to 35 years ... earlier. Inexplicably trapped in 1973 (he awakens wearing a collar with the wingspan of a 747), he returns to his precinct, tries to get his bearings and eventually finds himself working on a case directly connected to the one he was working...