TOKYO VICE, s2 (2024)

in

If the narrative and temporal catch-up to Jake and Katagiri's meeting with Tozawa's right hand from the (MIchael Mann-directed) pilot in one of the last episodes of this season is any indication, I'll be more surprised if there's a third season than if there isn't – but what a fantastic ending to a great, underrated show and/or season: more amped up than the first, a steady, pulpier unfolding with great characters (this season belonged to Show Kasamatu's Sato and Rinko Kincuchi's – still one of my favorite actors, her role in Rian Johnson's THE BROTHERS BLOOM being a favorite – Emi and, to a slightly lesser extent, Rachel Keller's Samantha) whom I'll miss – yes, even Engelgort's Jake, whom, like nearly every other character at one point in the show, I wanted to punch (Engelgort's still the weak point of the show; I wish they had kept Daniel Radcliffe in the role from the unproduced film version) – dearly. Great show: if you didn't watch it, give it a binge. (**** / *****)

KIMI (Steven Soderbergh, 2022)

in

(****+ / *****) :: Nothing quite like Soderbergh putting on his genre hat – THE LIMEY, OUT OF SIGHT, and OCEAN'S 11 – and paying homage to his influences / inspirations while exploring modern (and timeless) themes in tight, taut, 90-minute packages: in the case of KIMI, Hitchcock's REAR WINDOW, De Palma's BLOW OUT, and Coppola's THE CONVERSATION (which I really, really need to revisit). Zoe Kravitz is exceptional and, until her turn here, I never imagined Rita Wilson as a company line corporate shill. More like this, please.