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The McG Ouevre

By Matthew Yglesias  

"The McG Ouevre"

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Chris Orr was not a big fan of Terminator: Salvation:

What’s missing is much of anything that could be plausibly described as fun. Director McG–best known for his work on music videos, commercials, and the Charlie’s Angels movies–paints his post-apocalyptic landscape in a palette of sand and steel, as if color itself had been bleached from the world. But in contrast to The Dark Knight (one of the obvious models for this reboot), he fails to imbue his grim vision with any depth, texture, or complexity. A slender, silly movie that is upfront about its silliness (say, Star Trek) can be a giddy pleasure; a slender, silly movie that presents itself as an unflinching portrait of human endurance is setting itself up for failure.

I keep hearing McG’s music video work referenced in negative reviews—see, e.g., Smash Mouth’s annoying years-old hit “All Star”—but in my view the quintessential McG work was the short-lived Fox cop show “Fast Lane”. It was about a small crew of sexy undercover narcotics cops (two dudes who I forget, with Tiffany Amber Thiessen as the boss) in Miami, who worked out of some kind of giant barn full of awesome stuff they’d confiscated from bad guys. The show was terrible, but damn stylish. This scene has Mischa Barton and “Pictures of Success” by Rilo Kiley:

I can’t really stomach the way the Terminator franchise has inconsistent treatments of time travel paradoxes.

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