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    Blood on their boots

    The verdict on this week's Dallas: Guilty of perplexing subplots and not enough Larry Hagman

    Elaine Liner
    Feb 18, 2013 | 11:36 pm
    Emma Bell and Judith Light on TNT's Dallas.
    Emma Bell and Judith Light on TNT's Dallas.
    Photo courtesy of TNT

    There was blood on everybody’s boots in this week’s episode of Dallas on TNT. But the spatter that mattered was on the boots of the Second Mrs. Bobby Ewing, Ann (Brenda Strong). After Bobby (Patrick Duffy) tried to take the rap for the shooting of Ann’s evil ex, Harris Ryland (Mitch Pileggi), Ann marched in her sock feet to the police department and offered up her bloodstained footwear as evidence that she was the real shooter.

    Cut to a month later and Ann’s trial for attempted murder, with all the important Ewings and Rylands looking on (plus a guy on the jury who looked a lot like Louis C.K).

    This was Larry Hagman’s penultimate episode as J.R. Ewing and also marked his last, all-too-brief scene (only a phone call) with Ken Kercheval’s character, Cliff Barnes. After next week, the show moves toward J.R.’s funeral on March 11. (Hagman died last Thanksgiving.)

    This was Larry Hagman’s penultimate episode as J.R. Ewing and also marked his last, all-too-brief scene.

    Here’s what we saw in this week’s installment, titled “Trial and Error,” written by John Whelpley and directed by Millicent Shelton.

    Perplexing plot points: Scheming against Elena Ramos (Jordana Brewster), J.R.’s son John Ross (Josh Henderson) set up Elena’s truck driver brother, Drew (Kuno Becker), who was arrested and jailed in Waco for transporting stolen goods. Something about morals clauses will get Elena fired from Ewing Energies and clear the way for John Ross to drill on Henderson land. This makes Cliff Barnes happy. Snore.

    Is there a Dr. House in the house? The hospital where Harris Ryland was recovering from his gunshot wound looked a lot like the set where Dr. House practiced medicine, all sliding glass doors-y.

    Moments that make us miss Mr. Hagman: J.R. Ewing drinking coffee and scrolling through his iPad on the porch at SouthFork. J.R. counseling John Ross not to be so mean to people. J.R. barking at Cliff: “You go to hell, Barnes!” J.R. saying, “We dinosaurs are known to bite.”

    Best line not uttered by J.R. this week: “John Ross is as ‘Mack-a-valian’ as his father,” said Cliff Barnes.

    Best tweet from @RealJREwing during the show: “What's this garbage Cliff is feeding me? He says my son turned on me? That man's crazier than a bag of cats.” (Actor Kercheval live-tweets as @KenKercheval during every episode too.)

    Hair report: Awesome use of a plastic hair clip on the up-do of Sue Ellen (Linda Gray) during the courthouse scenes.

    Jesse Metcalf, playing Bobby’s son Christopher, kept his shirt on the whole hour. That’s gotta hurt ratings.

    The unbearable lightness of Judith: Actress Judith Light, still playing Harris’ suffocating mom, Judith, as though she’s Violet Venable in Tennessee Williams’ Suddenly Last Summer, took the witness stand at Ann Ewing’s trial. She told how Ann, hopped up on pills and booze, abandoned baby daughter Emma (now the grown-up and very doe-eyed Emma Bell) at the State Fair one hot autumn day.

    “Some people shouldn’t have goldfish, let alone children,” testified Judith, mouth pursed like she’d just sipped a vinegar cocktail. And why was this bitter harpy called as a character witness? Because she’s a character.

    Local face onscreen: Dallas stage actor Rick Espaillat had a nice moment as a forensic doctor testifying about bullet wounds.

    Smooch-fu this week: Not a pucker. And Jesse Metcalf, playing Bobby’s son Christopher, kept his shirt on the whole hour. That's gotta hurt ratings.

    Verdict: For Ann Ewing, guilty. They carted her off to the hoosegow at the end of the hour as Bobby whispered, “Everything’s gonna work out.” Easy for him to say. The episode itself was guilty of vague subplots, some held over from last season. Shouldn’t Christopher’s ex, Pamela Barnes (Julie Gonzalo), have had those twins by now? She’s barely showing.

    Still praying for: More original Dallas characters to return. Victoria Principal as Pam Ewing. Maybe holograms of Miss Ellie and Jock. J.R.’s funeral scene reportedly brings back black sheep Knots Landing spin-off brother Gary Ewing (Ted Schackelford) and J.R.’s child bride Cally (Cathy Podewell) for cameos.

    Coming up: TV Guide says Deborah Shelton, who played “Mandy Winger” on Dallas for three seasons in the 1980s, might be due for a visit to Southfork soon. And Sue Ellen might be canoodling with Gary at J.R.’s funeral.

    ---

    New episodes of Dallas air on Mondays at 8 pm on cable’s TNT, with frequent reruns. You can also play Rise to Power, a Dallas video game on the TNT web site.

    Jesse Metcalf and Julie Gonzalo as Christopher Ewing and preggers Pamela Barnes.

    Photo courtesy of TNT
    Jesse Metcalf and Julie Gonzalo as Christopher Ewing and preggers Pamela Barnes.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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