The TV Set

Just saw this at Tribeca. Interesting, entertaining, often funny. Sigourney Weaver is exception. A Solid 7 -- as good as most independent films and insightful.

I would say that the only draw back are the visuals -- kind of bland photography. which should not detract at all from the films commercial appeal.

Jake Kasden is someone to watch. I also really enjoyed the Q& A after the screening. David D. is very funny. And seems to be expanding beyond the X-FIles persona that must be hard to elude.

Sigourney Weaver is so underrated as an actress -- she can do anything. seems to get better with age.

Hats of to the production team

Despite its short running time, "The TV Set" doesn't quite sustain its humor throughout. There are tremendous lulls in-between some very good jokes. There are a few really big laughs and the premise is awfully enticing. Yet, writer-director Jake Kasdan, who wrote and directed the very funny and hugely under-rated, "Zero Effect" (1998), cannot seem to keep things funny throughout.

The film, to be distributed nationally by ThinkFilm, is a rather rude awakening, albeit a funny one, to anyone who aspires to be a writer, especially a TV writer. Mike (David Duchovny) comes up with an idea for a TV series, only to find he is forced to compromise at every turn - from the lead actor to the tone of the pilot to plot points.

The first 10 minutes or so are very funny. But the film loses steam as it goes along, partly because Kasdan seems to want to make a 21st century version of "Network" (1976) at times. But trying to emulate Paddy Chayefsky is no easy feat. Chayefsky was unique and although Kasdan scores some points, he just cannot overcome these huge dull lulls when exposition takes over for comedy and the film just falls flat.

Sigourney Weaver as Lenny, the studio executive - incidentally, the role was initially written for Ben Stiller, so I suppose it's a blessing that he backed out because the man's not done a good movie in years and has ruined several potentially funny films - seems to be simply replaying her shrill, bitchy Katharine Parker from "Working Girl" (1988). Trouble is, villains need to be interesting and Weaver can't quite find what makes Lenny an intriguing person.

Judy Greer does the best of the lot. She has fine comedic timing, knows how to turn a phrase and realizes that good comedy requires underplaying a role sometimes. It's good to see Justine Bateman back in action, but she truly is wasted as the suffering wife. Ioan Gruffudd brings a semblance of dignity to the proceedings finding the right balance for a character conflicted by personal gain and artistic integrity.

Then, there's Duchovny. I realize he has an incredibly loyal following for whom he can do no wrong. Every performance, in their mind, is Oscar-worthy. (I am a huge Woody Allen fan, but I readily admit the man's made some turkeys. Duchovny fans, on the other hand, can't seem to quite grasp that he isn't all that good an actor.) Duchovny has the emotional range of Patrick Swayze, if that. You want to see how limited his range is? Watch Duchovny's crying scene in "Return to Me" (2000).

Duchovny has a few good moments in "The TV Set," especially reacting to what's happening around him. But, truth be told, he gives the same performance in everything he does, be it television or movies. There's no difference between his performance here and his turn in the wretched "Connie and Carla" (2004). It's impossible to differentiate one Duchovny performance from another. There's a smugness to him that can be appealing, and which occasionally works, but he desperately needs a broader range of emotions to turn him into an average actor.

Kasdan misses several opportunities to get in some great jokes. After a while, the film takes on a typical arc. You sense where the story's going. A couple of digs at TV work. After all, Kasdan has experience having good shows canceled. And some of his best jokes seem to lurk in the background. You have to pay attention, but they're good.

"The TV Set" isn't a bad movie. It just isn't as terrific as it could be or Kasdan wants it to be. He has a lot to say about the state of TV today - which is, with a few exceptions, rather execrable - but he seems to struggle trying to find comedy for his entire story. Writing comedy isn't easy. And Kasdan should be credited for coming up with this. I just wish this had been funnier. Come to think of it, a bit more of "Slut Wars" - written well, of course - might have helped.

I readily related to the central plight of David Duchovny's character - writing and submitting what we're to assume is a perfectly good, heartfelt and sincere script only to be asked to compromise it's most significant and defining characteristics in ways that change the entire premise of the story. With real world responsibilities, he's forced to choose between his ability to provide for his family and his artistic integrity. I think we've all been there in one way or another - those REAL compromises in life where either option requires us to face a devastating loss.

This movie was emotionally stirring as well as funny - a troubling funny, a dark funny, where the real laughs are in the subtext - the absurdity of the whole ordeal.

David Duchovny's performance was, imo, perfect. I actually prefer him in more overt comedic roles but he owned this character in all it's deadpan glory.

I think the most surprising performances were from Judy Greer and Sigourney Weaver. I knew Judy did good comedy, but the subtle approach she applied to this character was flawless. Like Duchovny, she was funny without ever seeming like she was actually trying to be. She didn't play the character funny, she played a funny character - if that makes sense to anyone but me.

Weaver, unfortunately, lands on the other end of the spectrum - as the most disappointing performance. She appeared almost desperate for a laugh in most scenes and her character never seemed to have center. Then again, people in Weaver's character's position tend to be over-animated, two-dimensional, self-ingratiating twits with no artistic vision. So, perhaps she played her character perfectly. Decide for yourself.

Extra props to Fran Kranz for his brilliant portrayal of a slightly psychotic bad actor, Ioan Gruffudd for being so damned likable as opposed to the typical "stuffy brit" stereotype found in most American movies...and finally, Justine Bateman and Willie Garson for breathing real life into their relatively small roles. Well done...

Bottom line: This movie touched me. I don't think we can ask for any more from our entertainment than that.

This movie is for those of us sorry schmucks who have worked our hearts & brains to the bone, only to be told by some soulless corporate suit that our creative efforts are not required.

What, me bitter?

"The TV Set" is a great comedy/drama about a writer who realizes his 1 shot at success requires him to sell out to mediocrity. This paradox leads to some great acidic fun. The movie gets its power from a great script as could only be conceived by a person (writer/director Jake Kasdan) who has seen the spectacle in real life. It builds momentum through brilliant acting, as could only be pulled off by actors who've lived the nightmare in real life. Presented with moments of riotous satire (stick around after the credits to see a scene from the network's golden egg, "Slut Wars"), the humor is spot-on with great deadpan deliveries all around.

I don't usually harp on a film's casting, but in this case it was flawless, from the smallest roles (loved the wardrobe lady!) all the way up to Sigourney Weaver as the "soulless suit" who massacres the script, much to the applause of her corporate toadies.

INTERESTING TRIVIA: Sigourney's character "Lenny" was originally written for a man. But due to late scheduling problems they gave it to Sigourney. She insisted that no changes be made to her lines, and even the male name "Lenny" was kept. The result is possibly the funniest clueless exec you've ever seen. Pay attention to her, as almost every one if her lines is classic, such as: "This is not just an opinion here! We have the research from other shows. Suicide is, like, depressing to 82% of all people."

Omg I had to rewind that one and play it again to get the laughs out.

I will warn you, though, I wouldn't call this "uproarious" the way the DVD box advertises (I'm sure some corporate suit came up with that marketing angle). No, like any good satire, its power is in subtlety. No wisecracking punchlines, no slapstick pratfalls, no fart gags. Well OK, 1 fart gag, but you'll agree it really punctuates the point.

Jake Kasdan, himself a veteran of many ill-fated TV pilots, gives us a film that very few can claim to be: an honest & mercilessly uncompromising joyride til the end. It reminded me of the brilliant Christopher Guest satires of the entertainment industry: "Waiting for Guffman", "For Your Consideration", "Best in Show", and the king of them all: "This is Spinal Tap".

I thought this film was okay, but not great.

Certainly, it is a topic that can be mined for great comedy and social commentary. How does Hollywood, which has so many talented people in it, churn out such crap to put into our living rooms every night?

I think the producers here try to give us a behind the curtain look at that, but they don't really hit it with the edge that they could hit it with.

The plot is that Duchovny's character is a writer who creates a show about a lawyer who is touched by the death of his brother by suicide, and slowly watches as his original concept is bastardized by network executives. Network meddling turns a neat idea into a farce. First, they put in an actor the creator doesn't want, and his inadequacy ruins much of the chemistry. Then they change the premise, and finally the title.

The movie ends abruptly as the main character watches a clip for a show that looks nothing like his original idea.

It works on some levels, but on others, it kind of falls flat.

Sigourny Weaver is brilliant. Duchovny just doesn't work well in this role. You are supposed to get the idea of a man who makes Faustian bargains to get his vision on the air, and then has his vision destroyed. Duchovny's character never really expresses his passion for his original concept, so you don't care all that much when Weaver's character steamrollers him.

I find this interesting, because no doubt they cast Duchovny because of his name recognition. The premise is how a TV show can be ruined by bad casting when this movie was ruined by bad casting.