Line of Fire

Paige Van Doren (Leslie Bibb) and Todd Stevens (Jeffrey D. Sams) are FBI trainees in Quantico. They get assigned to the Richmond office headed by Lisa Cohen (Leslie Hope). Roy Ravelle (Anson Mount) is undercover in the local mob run by Jonah Malloy (David Paymer). Donovan Stubbin is the top lieutenant who vouched for Roy. Agent Sampson is struggling to balance family and work. The show opens with Agent Sommers and bookie Charlie killing each other during a foot chase. Sommers' partner Amiel Macarthur arrives late to the scene.

I really like this police drama. I especially like the back and forth between cops and criminals. It has the sensibility of a The Departed. Maybe a more compelling opening killing could stretch out the investigation for the whole first season. The show does lose me in episode eight. It's way too convenient to have Sampson's daughter taken hostage. It may be more reasonable if Sampson isn't right there. It doesn't help that the girl gets shot two episodes later and almost dies. They really have it out for that girl. The show needs to pick one story or the other. They can't have both. The last episode feels a bit orphaned like something that could be stuck into the schedule at any time. All in all, I love this show. I also understand its problem as a pre-binge show. There is too much serial element to be just a regular network cop procedural.

This show has alot going for it, and could have produced some very compelling television. But, it appears political correctness, and image enhancement are more important these days.

For one, the characters are unbelievable to the point of absurdity. In the most recent episode, the female special-agent-in-charge of the Richmond field office, visits a bar (which she, apparently, does every night), drinks herself silly, picks up a guy and takes him home and lets him tie her up during sex, without ever knowing what his name is.

The next morning, she cannot remember much about the encounter, including whether he used a condom or not. It turns out, the guy she picked up could have been somebody wanted for serial rape in Florida. She confesses all this to a high ranking official of the Richmond police department, himself a former lover. He tells her he needs her to recover the man's used condom in order to identify him. It turns out he wasn't the serial rapist.

Apparently, the high ranking official of the Richmond police department doesn't seem to be concerned that her behavior disqualifies her for her position, and could very well cause serious problems for the agents working for her. I watched all this, and felt she didn't deserve to carry an FBI agent's badge, let alone be placed in charge of a major metropolitan field office. She's a freaking barfly.

The absurdity goes on and on: A female agent physically accosting a guy on the street because her and her husband are late dropping their kids off - this agent cries at the drop of a hat, yet she's telling another female agent "I'd go through a door with you anytime" (what a ridiculous cliche to be dropped in here);, the "cute & plucky" little female agent disobeying orders at the academy to overcome her fears, and the all important victim-sympathy angle - her young husband was killed on 9/11 at the pentagon. I mean, nothing wrong with stuffing in as many 9/11 references to ensure success, huh?

My god, why don't you just hit us over the head with a sledgehammer and call it a day? What is the point here? The over-the-top machismo behavior exhibited by the females in this show is just laugh-out-loud ridiculous. What is someone trying to prove here? And why are they trying this hard? Television shows are supposed to entertain us. It seems as if someone here is trying to "educate" us. The whole premise with the female agents in this show is done based on someone's political agenda, and far too many television shows are taking this route.

And as for the undercover agent - "Roy"; any half-decent crime organization is understandably overly paranoid about being infiltrated by undercover agents. Yet, here we seem to have this guy pretty much just show up, with very little suspicion or distrust evident. Criminal types would have seen and smelled this guy a mile away. He seems to look and act suspiciously when he is caught in a difficult situation.

This had real possibilities; a great look and feel to it. There was some very entertaining and gritty television possible here. Yet this is all frittered away by horrendous writing ,laughable characters and an out-of-control, over-the-top political correctness.

Unless this shows undergoes a major overhaul, I'm pretty much done with this mess.

"That's that with that"

When this show came on it blew my mind. It was dark, gritty, and at first better even than 24. David Paymer was a classic cold-blooded villain and Leslie Hope was great against type of her 24 character, nail-tough.

In one episode, everything changed. It was when the FBI was pursuing a criminal pregnant woman, who ultimately abandoned her newborn in a dumpster. The baby was found alive and well and the episode had a warm, happy ending. No, I am no sadist who enjoys the sight of dead babies, but the whole point of a series like this is to show us what we do not want to see, along the lines of Saving Private Ryan.

With each successive episode it lost its edge, the fate of so many good shows. In less than a season, really half a season, it went on the journey NYPD Blue took over the course of a decade, throwing in curse words and partial nudity to appear gritty, but really becoming all too soft. I loved the show, then I was glad to see it canceled.

Network: ABC; Genre: Crime Drama; Content Rating: TV-MA (for strong language and violence); Classification: Contemporary (star range: 1 - 4)

Season Reviewed: Complete Series (1 season)

Rob Lurie's 'Line of Fire' follows a war that erupts between the Mob and the FBI. The show has an interesting set-up to this: a foot chase between an agent and a mobster ends when a member of each side gets off a shot at the same time, effectively killing each other. Lurie is the hack movie director of corny fluff such as 'The Last Castle' so at first I was pleasantly surprised with this offering.

The groundwork is set for this to be a great show. The formula is familiar but the characters are solid and well developed. That acting is outstanding. David Paymer, a longtime favorite of mine, is terrific as mob boss Jonah Malloy. Paymer is given a catch phrase that perfectly fits the character: "That's that with that". Thanks to the show's short life it will surely become a favorite among cult TV quotes.

Everyone else plays 2nd fiddle to Paymer, but the strongest of which is Leslie Hope. Hope got a lot of flack for her damsel-in-distress role in the first season of '24' but now she proves without question what a great and powerful actor she really is. Had the show focused more closely on her and Paymer that might have been the fuel it needed to strike a fire. Leslie Bibb (an intriguing post-9/11 character) and Julie Ann Emery (in a nice little domestic role reversal) also stand out. There's also the closeted homosexual agent in the mix, now requisite in this type of show to give it the appearance of "edge".

'Fire' looks good and has a classy, if slightly off kilter, intro. Finally, I though, a good, adult crime series. One where the emphasis is on characters and their struggles and not a jittery camera. But, as much as I want to love it, 'Fire' never seems to get off the ground. I waited until the very end for the writers to dig in and feast on all this show's juicy potential. Suck the lemon dry. What's the point in having such great characters and great performances if you aren't going to do anything with them? Each episode is like a microcosm of the series. It will start out with a gripping premise and then wander off, get lost in itself and end up going nowhere. It's rejection of the "gritty cop drama" school of cinematography is refreshing, I like the languishing '70s look, but it's often too slow and unfocused to stay interesting. It started out great, it had everyone in the palm of its hand with deliciously evil characters, noble questionable heroes and premium cable language and violence (Did you ever want to hear "s***" on network TV?) and then lost its grip. A more creative technical staff could have tightened up the mountain of technical problems that made this show so dry and monotonous.

The final episodes (aired by ABC as a 2-hour event movie in a shocking display of respect toward the show) where actually quite good. Great concept, well acted, but like all of them, it meandered in the long middle act into ground so familiar I lost interest. Fortunately, my patience was rewarded and it ended with a bang. Literally. A round of applause is deserved for pumping fresh and impressive life into the time-tested car crash set-piece.

Oh well, we'll always have the catch phrase. Thankfully, it wasn't shoved down our throat. NBC could learn a thing or two. In 5 years people will be saying it and it will be an obscure reference to a 1 season series called 'Line of Fire'. That's that with that.

* * ½

"Line of Fire" is a real quality TV show about the FBI department in Richmont. The characters are very realistic and the cast is spot-on! The viewers get a look into the "everyday" life of normal federal agents, but also a very good sense of the life for an FBI agent who is deep undercover. It is a show that not only depicts the work lives of the agents, but also their private lives and how difficult it can be to keep those two things separate. I would like to give an example of another show in order to compare the two, but I cannot think of another show that comes even remotely close to this on! There are a lot of TV shows about different law enforcement agencies, however this one is one of the best and most gripping. It had me glued to the TV. The only thing keeping me from giving it 10 out of 10 is that there is only one season, which is a huge let-down when you get "addicted" to a show. However, I cannot blame the network for canceling the show if the audience were not big enough. I just have to wonder what else the viewers could want in a show...