Critical Condition: Get Shorty

Get Shorty | SoHo, 9.30 Tuesday

➢ “Charming, addictive and an eye-opener of impeccable quality … Creator and writer Davey Holmes absolutely understands the DNA that made [Elmore] Leonard’s book work, and yet creatively reimagines his own scenario where thieves and Hollywood intersect for a combination of violence and humor. It’s a tonally difficult balancing act that, in the span of the first three episodes, never falters.” — The Hollywood Reporter.

➢ “Media studies students writing about TV’s growing cultural influence may care to note that this remake of a movie, which parodies the culture of film and looks better than a lot of tales you might see on the big screen, is, of course, a television show. And Get Shorty certainly does enough to have Leonard fans sticking around for more ‘Action!'” — Entertainment Weekly.

➢ “The series takes as its jumping-off point the same book that was the basis for the 1995 movie starring John Travolta and Gene Hackman. But be advised that a title card here reads, ‘Based in part on the novel by Elmore Leonard,’ and ‘in part’ really ought to be highlighted somehow. This is a different story with different and reimagined characters; a point-by-point comparison of film and TV show, or TV show and novel, is even more irrelevant for Get Shorty than it usually is for such adaptations.” — New York Times.

➢ “Get Shorty has a dry, macabre sense of humor, one which approaches the film’s. But as is too often the case with both remakes and new cable dramas, there’s otherwise not much of a reason for the hourlong to exist … A movie about movies — or a show about movies — succeeds when it is itself sharper and funnier than most other fare available, when it can spin circles around a basic B-plot. Get Shorty, the show, looks and feels a lot like everything else — expensive, but flat.” — Variety.

➢ “Get Shorty, a dark and satisfying 10-episode series, makes a persuasive case for recycling. Based primarily in spirit on the 1990 Elmore Leonard novel, the series is a fine upgrade from the almost forgettable 1995 film version.” — The Washington Post.

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