6.6 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Mike Klein is an idealistic writer who tries to navigate his TV pilot down the mine-laden path from script through production to the madness of prime-time scheduling - all while trying to stay true to his vision. Along the way he has to juggle the agendas of a headstrong network president, volatile young stars, a pregnant wife and an ever-optimistic personal manager.
Starring: David Duchovny, Sigourney Weaver, Ioan Gruffudd, Judy Greer, Fran KranzDrama | Insignificant |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 4.5 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 4.0 | |
Overall | 4.0 |
There was once a time when Jake Kasdan was a very promising director. 1998’s “Zero Effect” was a marvelous debut, defining Kasdan’s love for strange characters and sly comedy, doing a terrific job reworking the detective movie. Kasdan would go on to oversee painful stuff like “Bad Teacher” and “Sex Tape,” and he hit the box office jackpot with “Jumanji: Welcome to the Jungle” and “Jumanji: The Next Level,” but, in the mid-2000s, a Jake Kasdan offering was a welcome proposition, including 2006’s “The T.V. Set.” Channeling all his frustrations and experience in the television industry, Kasdan crafts a simple but effective overview of the hellacious creative process required to make a pilot, pulling back on outright farce to linger on the misery of frustration as a single idea for a show is sent through a system designed to ruin everything interesting about it. The lived-in quality of “The T.V. Set” is remarkable, allowing Kasdan to deliver a therapeutic endeavor with some decent laughs and an engrossing understanding of industry ego and stupidity. It’s a clear vision for satire, only there appears to be extraordinarily little exaggeration in play, making the picture wonderfully direct in its honesty.
The AVC encoded image (2.35:1 aspect ratio) presentation for "The T.V. Set" offers a viewing experience involving certain cinematographic limitations, with the feature shot digitally, participating in the HD movement of the mid-2000s. Detail is acceptable with some softness, presenting appreciable decorative additions inside executive rooms and domestic settings. Facial surfaces are satisfactory, with a clear view of nuanced reactions to bad news and skin particulars, including bushy facial hair. Studio settings are dimensional. Colors are adequate, with a slight reddish push throughout. Skintones lose some natural appeal at times. Costuming brings out a wide range of primaries, as does network signage and art. Greenery is lively. Delineation is acceptable.
The 5.1 DTS-HD MA sound mix isn't aiming to overwhelm, focusing attention on dialogue exchanges, which retain crispness throughout, handling broad acting and muted jabs. Scoring is equally clear, with sharp instrumentation and position, expanding to the surrounds. Atmospherics are simple but effective, offering a sense of outdoor activities and room tone. Low-end isn't challenged.
"The T.V. Set" follows "The Wexler Chronicles" through its problematic editing phase and testing, with Kasdan giving viewers a look at how shows are made and frequently destroyed. He doesn't overplay the agony, with Duchovny perfectly cast as an ailing man going through a torturous professional experience that requires him to internalize everything. Weaver is equally enjoyable as a professional phony, with Lenny a force of nature who sells the promise of creative freedom, only to insert her ideas whenever possible. "The T.V. Set" doesn't do anything more than observe the perversion of "The Wexler Chronicles," with Kasdan wisely streamlining the story to best explore the ordeal, absorbing Mike's loss of control as he tries to offer a heartfelt show in the age of "Slut Wars." The picture supplies an excellent overview of the production process, and Kasdan wisely stands out of the way, losing sustained jokiness to play up the real absurdity of the network television experience, resulting in one of his best efforts.
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