Homicide Life on the Street - The Complete Seasons 1 & 2 (1993) Review

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(More customer reviews)Back in the mid-1990's, I was connected with an organization called "Viewers for Quality Television," or "VQT." It was a group of people championing television programs, especially dramas, that didn't get much attention from the Emmy's, but should have.
"Homicide Life: Life on the Streets" was one of our shows we fought for. While NBC stuck with it, often halfheartedly, for several years while erratically scheduling it alternately in good time slots (following the Superbowl one week, then not showing it for several weeks), then moving it to a different night every couple of months, e.g. January 1993 (Sunday), Feb-March 1993 (Wednesday), then keeping it off the air until January 1994 (Thursday), and then moving it after a few months in October 1994 (Friday), it was doomed to fail, but we watched it anyway...hoping that we'd get to see another episode.
The characters were an odd collection of people who cared about what they did, and we as viewers cared about them: Ned Beatty as Stanley (the Big Man), Richard Belzer as Munch, Daniel Baldwin as Beau Felton, Andre Braugher as Frank, and Yaphet Kotto as Lieutenant Giardello (Gee).
SPOILER ALERT! I could write ten pages about wonderful moments from this show: The "small talk" of Stanley and Munch. The pain Frank felt after the death of Crosetti in December 1994. the shooting of Felton, Kay Howard (Melissa Leo) and Stan in January 1995. The warmth of the snowball fight at the end of one show in December with Christy Hyde singing "Have yourself a very Merry Christmas" in the background.
This was great Television that through the advent of DVD we'll be able to watch again and again. Which only goes to show you that in a world that often, from time-to-time, looks like it is going to hell in a handbasket, something wonderful, like these first two years of Homicide, come along.

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One of the most critically acclaimed shows in TV history, Homicide: Life on the Street reinvigorated a tired genre by focusing on the grueling work of solving murders instead of an endless succession of bloody crimes and car chases.Inspired by David Simon's Edgar Award-winning account of Baltimore homicide detectives and brought to television by writer Paul Attanasio (Gideon's Crossing) and director Barry Levinson (Analyze This, The Perfect Storm, Oz), Homicide boasted a powerhouse ensemble cast featuring Ned Beatty (Network, Deliverance), Yaphet Kotto (Alien, Midnight Run), Richard Belzer (Law & Order: SVU), and breakout star Andre Braugher (Frequency, Gideon's Crossing).Now this Emmy and Peabody Award winner debuts on DVD with this collector's set featuring all 13 episodes from the first two seasons of Homicide: Life on the Street.

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The Wire: The Complete Series (2008) Review

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(More customer reviews)On the basis of previous reviews, you'd never know that this series was on the verge of being canceled at least twice, that it never made satisfactory numbers for HBO, or that it was almost universally ignored by award committees despite its fervid following.
There's a number of things for the faint-hearted or first time viewers to know about The Wire before you jump in:
1.There is no denouement, no simple, clear resolution at the end of every episode ala CSI, NCIS, or any other typical police drama. On the contrary, The Wire is the epitome of the "slow build", it takes episodes to get started, much less finished. As in life, there are rarely any easy, clear resolutions at the end. Unlike the black and white worlds of network tv, The Wire is all gray.
2.There is not a simple, single story line. Rather The Wire is characterized by complex, multiple story arcs that can extend over more than one season. It demands (and rewards) concentration, rather than escape. Redemption and revenge are possible, but not in one episode or one season. The Wire requires patience.
3.There are no clear cut heroes and villains (this is the anti-"Heroes" tv show.) There are only human beings, all flawed. McNulty, a hero, is an alcoholic who cheats on his wife. Even Marlowe, the apparently soulless villain, grapples with very human issues of loyalty and pride.
4.Though there are great, fully realized characters (almost too many for escapist viewers to follow), and though to some degree Baltimore, the city, is a central character, the abiding presences in The Wire are Baltimore's institutions and organizations: courts, city government, educational system, labor unions, police, newspapers. Even gangs are seen as just another organization. Unlike any other show I've ever seen, The Wire demonstrates how institutions are built from a complex web of relationships and motivations and seem to have an existence independent of those who participate in them. And it does so in such a subtle way that it's not automatically obvious. It doesn't appear to be about institutions, but it is. That's subtlety.
That's only a start. There's more that makes The Wire a challenge for viewers: it's non-linearity (it's more like a spiral), it's bleak view of cities and urban institutions; the seeming randomness of so many events that impact lives, etc., etc., etc.
All that said, The Wire, for those willing to make the investment of time and attention, is a transcendent, moving experience. However downbeat it's subject matter, it is, in the end, a true work of art, a masterwork, and as such ultimately enobling and uplifting. And just a thrill to watch.


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In the projects. On the docks. In City Hall. In the schools. In the media. The places and faces have changed, but the game remains the same.

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