Category Archives: Jessica Jones

Jessica Jones S1 E13 Review


After thirteen episodes, Jessica Jones brings Jessica and Kilgrave to a final bloody confrontation. I’ve been continually impressed with the way this show has slow-burned its story-lines, and builds to an extremely emotional and personal climax.

I love Rosario Dawson, and was thrilled when her name popped up in the opening credits. But Claire’s role here winds up cluttering an already stuffed final episode. Like in Daredevil, Claire spends most of the episode stuck in the hero’s apartment, mostly serving as a soundboard. It’s too late to give Claire an arc of her own, so she mostly serves as a soundboard to wrap up the arcs of Jess, Luke, and Malcolm.

Kilgrave is completely over Jessica at this point. He’s hellbent on expanding his powers so he can control her again. While I still don’t much care for this story-line, I do love Kilgrave’s emotional state. He’s the bitter ex, wanting to hurt and deny Jessica the way that she hurt and denied him. David Tennant’s look of rage as he makes out with Trish while watching Jess is one of the eeriest, best moments with the character. I mentioned it elsewhere, but I love that Kilgrave isn’t a Hollywood psychopath, but has natural, sympathetic emotions taken to an unholy extreme. But I’m disappointed that for all the talk of Kilgrave expanding his powers while looking down at a city full of people, it only pays off with a couple dozen people at the dock.

And can we talk about the docks? What the hell is Jessica’s plan here? Trish arrives to be a distraction why? Kilgrave immediately spots Jess and the cops spray her location with bullets. And once Kilgrave has Trish under his control, how does Jessica know that he’s going to get close enough for her to grab him? The whole plan is totally nonsensical to me. Were Jess and Trish just winging it, hoping to get lucky? And why the hell did they dress up what is obviously a bank as a ferry station?

But despite all the flaws, there’s still so many good things in this episode. Jessica being hunted in the hospital is a killer setup and wonderfully executed. Kilgrave’s woe-is-me monologue as he stares down over the city is delightfully melodramatic. Claire’s total lack of surprise when she discovers that Luke has already slipped out. Kilgrave uses the phrase “anal crumpet.”

Though Jeri’s defense of Jessica at the police station doesn’t have the visceral impact of snapping Kilgrave’s neck, it’s probably the most important scene of the episode.

And the climax, though leaden with plodding plotting, is an incredible thematic conclusion to everyone’s arcs. In the end, Kilgrave’s giddiness when he thinks he can control Jess again proved that he never loved her. He’s willing to force Jessica to choose him because he’s convinced she’ll “love” him some day as well. But when forced to profess her love for him, Jessica turns it around; instead, she professes her love to Trish, paying off a beautiful moment set up earlier in the episode. The show elegantly contrasts the two relationships. Love isn’t about what you get, or how you feel; love is sacrifice, doing what’s best for the other person, even when it hurts you. It’s something that Jessica and Trish know from experience, and something that Kilgrave will never understand.

After thirteen hours spent with Jessica, I never want to leave the dingy apartment/office of Alias Investigations. Jessica Jones is the most fully-realized, well-developed character in the MCU. I’m absolutely gobsmacked byMelissa Rosenberg’s accomplishment in this series. This is probably the best genre show since Buffy the Vampire Slayer, and without question the greatest superhero show ever made.

Though it strains to wrap up so many dangling story-lines, it never loses sight of the big picture. Jessica Jones is a wonderful story, expertly told, and sticks the landing with confidence and verve.

So out a possible five stars this season as a whole gains:

✪✪✪✪✪

What did you think of Jessica Jones and do you look forward to the expanded series as it features Dare Devil, Jones, Cage and Iron fist before they come together as the Defenders?

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Jessica Jones S1 E12 Review


“AKA Take a Bloody Number.” If you saw episode 11, you know the action picked up in a huge way as the season draws to a close.

It starts with Jones putting out Luke Cage as he burns. You may recall he was forced by Kilgrave to blow up his bar with him in it and be sure Jessica watched. They make a break for it before the cops get there, and the two of them find their way to her apartment where they commiserate about Kilgrave. Now that Cage understands what it is like and that Jones is now free partly because of what she did to his wife, they have something of an understanding.

Next up we see a phone call between Jones and Trish while Trish is still in the hospital. This is the first time we hear the name IGH. This becomes relevant later on, and will likely be a big part of a second season should it happen. The call ends as Trish’s mom comes to visit her, and argument between them ensues. This whole dynamic adds to the story when you connect it to the flashbacks.

At this point, Jones and Cage start to hunt Kilgrave by retracing where his dad Albert was. Kilgrave has Albert, so they are using that to hunt him. A little bit of investigation leads them to a local bio lab that Kilgrave has under his control, and they wait for him there.

We quickly jump back to Trish and her mom. Mom shows up at her apartment with information about the shadowy IGH. She actually has a file on them because, surprise, IGH was the company that paid Jessica’s medical bills after her car accident. And of course, mom teases that there could be more information about them at home, but she has to come home to get it.

Now it is back to Jones and Cage as they pursue Kilgrave’s courier from the lab. After a brief chase, the courier kills himself by putting garden shears in his mouth and falling forward. Straight nightmare fuel. We then also discover that once again Kilgrave is a step ahead of Jones, as his bag is empty. This is a recurring theme all season.

I don’t mean to gloss over some of the softer moments of the show, because there are some. And in particular, as Robyn and Malcolm’s relationship evolves and becomes more complex, you start to relate to both of them.

Jones and Cage trail Kilgrave to a club where he is practicing using a drug created by his dad that enhances his abilities. Just when you think the good guys have a leg up, Kilgrave plays the card that he still has control over Cage, and his order is to kill her.

The fight scene between Jones and Cage is action-packed. Clearly, Cage is stronger than Jones, and we finally get to see Jones going full strength for the most part. Seeing Cage going all Hulk Jr. it quite rewarding, and the end of the fight, when Jones has to stop him by shooting him with a shotgun at point blank range (with him giving the okay), it’s intense.

However, when she climbs onto his unconscious body, there looks to be nary a mark on him. I suppose the writers wanted to think of it as more of blunt trauma that renders him unconscious, which I am okay with. This episode was a great buildup to the season finale.

Wow its going to be tough to see this one come to a close, has an original series been done this well before?

What did you think of this episode and Which direction is the show headed in next?

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Jessica Jones S1 E11 Review


Episode 11, “AKA I’ve Got the Blues,” with a flashback to young Jessica just regaining consciousness after her family’s car accident. As Jess insinuated earlier in the series, the Walker family taking her in was a calucuated move on the part of Mrs. Walker to prop up the slipping brand of her daughter Patsy (who we now know as Trish.)

That memory is painful, but so is the reality of the present. Hope is dead after committing bloody suicide, and the members of the Kilgrave support group just barely escaped with their lives. Fortunately Kilgrave only told them to step forward so they aren’t still trying to hang themselves.

Jess quickly goes into damage control mode, telling the whole group what they’re going to say to the cops. Robyn doesn’t want to lie, but Malcolm rallies the others with some help from Jessica explaining that they can do their part to make sure others don’t get hurt or killed. As everyone gives statements to the police, Robyn decides to fall in line.

Trish tries to reassure her friend that trading Albert for Hope was a sensible plan, but Jessica replies that one is dead and the other is as good as dead. Despite what she’s been through, Jessica wants to head to the morgue to look for Albert, hoping for leads on Kilgrave’s location. They manage to use Trish’s connections to get past the morgue’s unwilling attendant, but the John Doe isn’t Albert. Afterward, Trish goes home to sleep, but Jess crosses more hospitals off her list.

She finally reaches the end of her search and falls asleep sitting by the door to an old morgue. In her half-sleeping deliria, she sees a man with a purple suit and quickly gives chase. That gets her hit by a car, and to top if off, it’s not even Kilgrave. Of course.

Back at work on her radio show the next morning, Trish gets a visit from Simpson. He offers an apology for his violent behavior, blaming it on Kozlov’s pills, and claims he quit.

Will says he wants to apologize to Jessica in person and asks if he can see her for dinner later. Trish agrees and leaves her assistant in charge of the show (with a rock flautist performing!) and goes to pick up Jess after getting a text message from her.

Jess’ ribs are messed up, though she notes that she heals faster than most. She slips just a bit and says she can protect the “one or two” people she cares about before backtracking and saying there’s just one. Looks like she’s finally going to get some sleep, in any case.

Or at least another flashback. Young Jessica is in the bathroom trying to ignore another argument between Patsy and her mom. She breaks a hairbrush while cleaning out some loose hair, and in frustration she slams her fists on the sink, snapping it clean off. She also discovers that she can easily lift it overhead with one arm, startling Patsy when she heads into the bathroom to escape her mom — who hit her with a People’s Choice Award. The two girls make a deal to keep each other’s secrets.

That trip down memory lane ends when Jessica gets a text about another body at the morgue. Told that the body is from the CDC building where they were holding Kilgrave, Jess smashes her way into the closed morgue and finds the John Doe is burnt beyond recognition. Of course we know it’s Clemons, not Albert, and Jess soon discovers the same thing. They think it’s Kilgrave, but the truth is worse.

It also finds Trish quickly, because Simpson is sitting out in her hallway. He seems awfully interested in Jessica, and they argue about her, though some of Kozlov’s men soon interrupt. Simpson says he’s got this, taking two more red pills. Now in full-fledged nuke mode.

He takes out both guys with head shots and creepily answers Trish’s cellphone when Jessica calls looking for her. He lies to Jessica while cleaning up after his kills, and he also has Trish locked in her own gym. For her protection, naturally. The last thing we see is Trish smashing the door hinges with one of her free weights.

Jessica finds Malcolm waiting for her back at their building, though she’s not crazy about giving the support group an update on her hunt for Kilgrave. A knock on her door reveals Simpson, gun in hand. He scraps that plan when innocent people wander by, though Jess seems to realize something is off about him. Her sleuthing skills come to the forefront as she accuses Simpson of killing Clemons, and we’ve got ourselves a scrap. It’s the best brawl of the series so far, with Simpson’s red pills and Jess’ injuries making it an even fight.

Things look bad for our hero until Trish arrives, smashing Simpson in the head with a fire extinguisher. The woman barricade themselves in the bathroom, and while Simpson smashes his way through the door with a metal pipe, Trish considers taking the red pills herself. Will says she’ll kill herself without the blue pills to come down, then tosses them out the window. The newly enhanced Trish and Jessica are able to join forces to knock Simpson out. Unfortunately, Simpson was right, and Trish soon stops breathing. Jessica starts CPR and calls for an ambulance.

And also heads into another flashback, where her younger self discovers Mrs. Walker trying to make Patsy purge. Jess confronts Mrs. Walker, throwing her into a wall. Jess seems happy her secret is out in the open.

The paramedics struggle to save Trish since they aren’t familiar with what she took, but they’re able to get her back. Jessica yells at her friend for trying to play hero, but Trish says she learned it from Jess.

Malcolm is disappointed when the support group doesn’t show up, leaving him to get into a philosophical debate with Robyn about whether life is meaningless and if people can truly help each other. Depressing, though admittedly, Robyn has been through a lot.

Back at Trish’s apartment, we see Kozlov order people to take Simpson. Think that might come back to haunt the MCU at some point? Malcolm sees something going on through Jessica’s smashed door but decides against calling her. At Trish’s hospital room, she gets a text from someone else: Kilgrave, saying he ran into Jessica’s “boyfriend” and that if she hurries, she can say goodbye.

Frantic, she heads to Luke Cage’s bar, seeing him close the window before the whole place explodes. Luke stumbles out, clothes on fire, and she quickly beats out the flames. He’s alive, but … damn.

A whole episode without Kilgrave as we’re heading down the final stretch? Kind of a weird pacing choice, but still an entertaining hour thanks to the women battling Nuke and the insight we got into the history between Jessica and Trish. It’s about time Luke was brought back into the fold after sitting out the whole middle part of the series. This wasn’t my favorite episode, but it should set up one hell of a finale.

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Jessica Jones S1 E10 Review


Things are really heating up on Marvel’s Jessica Jones. Episode 10, “AKA 1,000 Cuts,” follows the whirling dervish that was “AKA Sin Bin.” The events pick up right after all hell breaks loose in the safe house, and Kilgrave is in the wind.

What we have at this point is Kilgrave on the run with Jones’ lawyer friend Hogarth under his control. She and Kilgrave made a deal that in exchange for Hogarth helping him escape, he would force her wife to sign the divorce papers.

This was, of course, a terrible decision, as Kilgrave has her take him to her wife Wendy’s house to fix his shoulder, and when Jones calls and blows their cover, Kilgrave orders Wendy to kill Hogarth with “death by 1,000 cuts.”

Oh, and Sergeant Simpson is back, and just as I predicted, has become Nuke. He shows up in the aftermath of the madness at the safe house, and only Detective Clemons is left. He’s trying to clean things up, but of course Simpson just wants to find Trish. Once Clemons tells him, Simpson quickly puts a bullet between his eyes.

The last episode also introduced Kilgrave’s oddball parents. In this episode, Kilgrave has made mom kill herself, but dad survives. He tells the group that Kilgrave’s power is from a virus, and with Jones being immune to his powers (did I mention that already?), believes with a sample of her blood can create a vaccine. So off goes daddy Kilgrave and Trish to work on that.

The action then returns to Jones’ apartment as Kilgrave is there waiting for her with an offer. If she gives him his dad, he will get Hope released. Kilgrave also tells Jones that she’s lucky she didn’t kill him, because it would have set off some final command that would have caused a rash of suicides. I call bull on this, as if it were true, it would have happened when Jones drugged him. Is this intentional or just another inconsistency in a show ripe with them?

Then the scene turns to the jail where Pam in locked up for bashing Wendy’s head in, and of course her attorney is Hogarth. But things take a turn, and you can see Hogarth turn on her for the sake of self-preservation. There is literally no one on this show that anyone can trust at this point. Just one giant lie after another.

The next scene goes back to Jones and Kilgrave in her apartment waxing poetic about their past and the 18 seconds that Jones was free of his control. He tries to use this as justification for his fantasy that she has feelings for him. She swears it was just a case of not having enough time to get away. She then points out that he made her cut her ear afterward just to prove her point.

The intensity really amps up as we return to the help group. Malcolm confides in the group that he helped dispose of Reuben’s body after Kilgrave made him kill himself, but his sister overhears and rallies the rest of the group to track her down to answer for what is going on. A fight ensues, and for some reason a 125-pound girl is able to knock her out with a board. Really? This whole thing is just so sloppy.

And of course Reuben’s sister then goes and pulls the tape off Kilgrave’s mouth. Nice move.

We then go back to Kilgrave’s dad and Trish working on the vaccine. But since nothing can go right for any of these folks, Simpson shows up as a ‘roid-raged maniac, and when he finds out the man is Kilgrave’s father, Simpson tries to kill him, hurting Trish in the process. She forces him to leave, but it’s clear Simpson is going to end up a serious player in this going forward.

With Kilgrave on the loose and Hope in his clutches, Jones’ only option is to bring him his dad. They arrive at the restaurant (Kilgrave’s favorite) to find the help group standing in nooses on a table while he eats with Hope next to him. Let me say again how brilliant Tennant is as Kilgrave, and how he just oozes creepy charisma.

Kilgrave’s dad is dosed with vaccine so when he orders him to come, you don’t know if he is faking or not. Hope kills herself to free Jones of the burden of keeping Kilgrave alive, and before rushing off, Kilgrave orders the help group to step off the bar. And once again we see Jones struggle to do something related to physical strength. She jumps onto the bar, but battles to pull the pipe loose from the ceiling to free them

The episode comes to an end with Jones promising Hope to kill Kilgrave. I suppose she will if she can muster up the strength.

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Jessica Jones S1 E8 Review


Removed from the normal rhythms of New York, “AKA WWJD?” isolates Jessica and Kilgrave from the rest of the show’s major players in the suburbs, giving the series plenty of room to breathe and explore their characters. Going back to Jessica’s childhood home serves two distinct purposes: depicting just how insane Kilgrave is, and giving voice to Jessica’s biggest emotional scar, the car accident that killed her entire family (and in the comic books, gave her powers), the first time in her life she felt she did something horribly irredeemable. As she fights to forgive herself for what she did to her family, and what Kilgrave forced her to do to Reva, Jessica does exactly what a true hero would do: she tries to help Kilgrave, to turn his lame excuses of a terrible childhood (in his defense, those experiments did look pretty unpleasant) into the prologue of the story of a man who changed the world. Continue reading Jessica Jones S1 E8 Review

Jessica Jones S1 E7 Review


For six episodes, Jessica Jones has watched its titular character struggle to find her identity again, rebuilding her life in the aftermath of Kilgrave’s influence over her. AKA You’re a winner finally brought to light what that inner turmoil really was: guilt over killing Luke’s wife, leading Jessica down a road of self-loathing and punishment that led to the explosive scene between her, Luke, and one very unfortunate city bus. That scene, where Luke voices the very thing Jessica fears the most about herself, finally felt like Jessica Jones digging into the heart of its story, and as a result, “AKA Top Shelf Perverts” is free from the constraints of previous episodes, able to push the overarching plot forward while finally digging its nails into the existential crisis Jessica is facing.

Of course, this is also the hour where Kilgrave makes his grand entrance as the season’s big villain; he’s existed on the fringes of the season thus far, he’s been more of a psychological presence than a physical one. In “Top Shelf,” he makes his arrival in a big way, buying Jessica’s childhood home and forcing poor, weird Reuben to commit suicide in her bed before showing up at the precinct for a theatrical declaration of love. But “Top Shelf” is less about Kilgrave’s ever-growing presence in the story than it is Jessica’s horrible plan to try and snare him in a trap, and both stories work to the same end in detailing the deeper levels of emotional turmoil Jessica’s been dealing with – in turn making “Top Shelf Perverts” a tighter, more direct episode than the wandering, noir-ish hours preceding it.

There are other stories on the fringes – Trish and Will are getting a little more forceful during coitus, and Jessica’s making her boss’ divorce very difficult – but Jessica’s emotional plight is really the focal point of the episode, and deservedly so, capturing the thought process of a victim in evocative ways, both literally and figuratively. The entire hour is crafted around Jessica trying to put herself in the most secure physical prison she possibly can, in order to trap Kilgrave when he’d inevitably come to find her. What she doesn’t realize is how Kilgrave’s already placed her in that prison psychologically, with the daily selfies, murdering, and well-detailed mind control he had her under. Her obsession with him has mirrored his obsession with her, and the more and more depraved Kilgrave’s attempts to profess his love become, the more desperate Jessica’s attempts to prevent his influence are. Yet all she’s doing is isolating herself even further, proving his influence on her is stronger than ever. Even the strong wills of her best friends aren’t enough to change that, as this hour bears out.

Where it pushes Jessica to is a frightening place. Although I fully expect her to turn the tables on Kilgrave now that she’s in her childhood home with him, the effects of Stockholm syndrome are fully apparent in her treatment of him. Instead of just murder-punching him in the police department, she feels responsible for everything he’s done to her, and takes it upon herself to “finish” it – but first, she’s going to learn about why he is who he is. Her loss of identity isn’t going to be solved by her childhood diary – but she has that, and can at least look at the events and thoughts of her young self and know how her experiences shaped her. She doesn’t have that same information on Kilgrave, and it’s probably what will let her destroy him. Drugs won’t work, confessing to murder won’t work, so the only way to deal with him is, like he did with her, learn about who he was, and what makes him the man he is today (her exercises in remembering her childhood streets turn out to be a very carefully dropped clue, in this regard). Jessica may not love Kilgrave, but she’s trying to understand him, and that part of the victim process is uncomfortable as hell to watch, wonderfully captured by writers Jenna Reback and Micah Schraft in those final moments.

Increasingly, I’ve wondered whether Jessica Jones had a story to tell outside of Jessica’s experiences with men, depicting both ends of the sexual spectrum (that is, true love and rape), and I’m sure there are scenes of this show that fail the Bechdel test on numerous levels. But “AKA Top Shelf Perverts,” with the flashbacks into Jessica’s childhood and the depiction of her friends coming together to help her (even when she’s being an insufferable lunkhead), offer Jessica Jones something more than doomed romantic entangling’s and a woman defining her life by her attacker’s behavior as drives for its narrative, even as it brings the unstable creep fest known as Kilgrave closer to the show’s main characters and activities. It’s not necessarily a fix-all for the show, but refocusing itself on Jessica’s sense of self-worth gives this episode some extra punch in its most dramatic moments, potentially establishing itself as a true turning point for the show’s first season.

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Jessica Jones, S1 E6 Review


Tensions are ever mounting as we reach the sixth instalment of  Jessica Jones Sometimes, it’s hard to remember that “Marvel’s” belongs in front of this show’s title, as this is radically different from any other Marvel series (or film). It’s closest cousin is Dare Deviland even that has distinct differences in the way the story is told. Other than occasional off-hand references to The Avengers and the Battle of New York, Jessica Jones feels like its own entity, and that is a great thing. “AKA You’re a Winner” demonstrates Jessica Jones as a mystery, and a character-focused drama, all built inside a world with super-powered characters. It just happens to star two or three of them.

On this episode of Jessica Jones: Luke comes to Jessica with a missing person case, hoping for her help. Soon after, she realizes he’s doing it because he wants information on his wife’s death. Jessica becomes torn between not wanting Luke to know what really happened that night, and not wanting him to hate her. Meanwhile, Kilgrave makes an above board (not supernaturally motivated) deal to purchase Jessica’s childhood home. Hope Schlottman is attacked in prison.

The last episode of Jessica Jones was exciting because of the thriller element. The series spent much of the episode pursuing Kilgrave in a high-stakes, kidnapping attempt. There was still plenty of tension in “AKA You’re A Winner,” but a different kind. Most of the tension in this episode was derived from Jessica’s role in the murder of Luke’s wife. Kilgrave remained mostly on his own for the B-plot, so most of the episode centered around Luke, Jessica, and the giant elephant that followed them into every room.

I would say this episode’s only detriment lies in that very thing. Jessica is a wonderful, complex character, and so is Luke. Mike Colter and Krysten Ritter are both excellent in their roles. Watching them team up was incredible and SO MUCH FUN. Yet, the one thing that bothered me is that Jessica obviously cares for Luke, and she was only pushing him farther away by not owning up to what really happened. I knew that he would be more upset about the fact she didn’t tell him sooner than the fact that she did it. To be fair to Jessica, she didn’t tell him about Kilgrave at all. If Malcolm hadn’t, the situation would probably have been worse. The pitfalls of having a heroine who doesn’t get close to people is that you can see those moments coming a mile away.

I loved Kilgrave’s solo plot in this episode. We have only seen him in small doses up to this point, but it’s really quite incredible how he had moments of trying to manipulate without using his powers, and moments in which he had to use his powers to make things work. The mystery is still the most compelling thing about Jessica Jones, and I really want to see why Kilgrave wanted her childhood home so badly. Kilgrave is so terrifying, but maybe that’s because we no virtually nothing about him except that he wields enormous power.

Overall, “AKA You’re A Winner” was still a strong episode, if slightly weaker than its two predecessors. The whole series is excellent, and exploring the Jessica/Luke relationship proved to be an asset to the series, even if it didn’t play out exactly the way I hoped it would. I guess the point is that characters are flawed, even those with superpowers. The balance between good and evil is more gray than ever, and that’s where Jessica Jones draws its true strength as a series.

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Jessica Jones, S1 E5 Review


Now, in the fifth installment of Jessica Jones, we are beginning to piece together the title character’s past and reconcile it with her present. “AKA The Sandwich Saved Me” explores more of Jessica’s past and her pursuit of Kilgrave in the present, while exploring various definitions of heroism and what it truly means to be a hero.

On this episode of Jessica Jones: In flashbacks, Jessica remembers her original journey into heroism, and how that led her to her first meeting with Kilgrave. In present day, Jessica tails Malcolm to gather data on Kilgrave before her strike. Trish and Simpson, now dating, assist Jessica in her nearly successful attempt at snatching Kilgrave. Hope gets into some trouble in prison.

Ultimately, I find this show fascinating. For a lot of people, they binge-watch a show because of the compelling overarching plot. I’m not sure that the Kilgrave story alone has enough juice to propel a show like this on a week-to-week basis. But that story is just the hook to keep people pushing “watch next episode.” Jessica Jones is really character-motivated, and the depth of the characters and their stories are what make up the meat of the show.

“AKA The Sandwich Saved Me” was no exception to that. It explored Jessica’s desire to do something better than herself, and to help people. Personally, I would’ve liked to see her fight crime in the sandwich costume, but there were at least some nice allusions to the “Jewel” character (though the Jewel mentions in the flashbacks make me think Trish might not make it out alive). This episode explored the meaning of heroism to various people and how they make a difference. Simpson has special ops skills, while Malcolm does something as little as flush his drugs. The scene at the end, when Jessica walks into the bathroom and sees the drugs in the toilet before she sends the pictures to Kilgrave, beautifully states that she doesn’t see herself as the hero. She seems to want to help people, but also inspire the heroism in others. That’s what makes Jessica such a compelling lead character.

Krysten Ritter is amazing, and the supporting cast is all wonderful, but I’m here to talk about David Tennant. We could all use a little more Tennant in our lives, yes? Jessica Jones quickly reminded me how easily Tennant can turn up the creepy factor, something I hadn’t really seen since Harry Potter and the Goblet of Fire. Kilgrave is a brilliantly written character, because he barely shows up at all in the first five episodes, and yet he’s absolutely terrifying. He has a really unassuming on-screen presence, but what he accomplishes in his own nonchalant manner makes Kilgrave terrifying to even think about. He’s not scary in a Grodd/Zoom/Kingpin kind of way, but in a Dexter sort of way. He makes you want to look over you shoulder everywhere you go. Tennant does a masterful job maximizing his limited (so far) screen time to perpetuate this feeling.

So far, I’ve liked what I’ve seen in Jessica Jones. “AKA The Sandwich Saved Me” was a wonderful exercise exploring heroism and what that means. I’m totally enthralled at this point, and I’m very much looking forward to continuing the series.

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Jessica Jones, S1 E4 Review


Four episodes in and Jessica Jones just keeps getting better and better. There was a lot of standout material in this instalment, showing the understandable after effects Jessica and Trish (and Simpson) were experiencing from what they’ve been going through.

For Jessica, that meant the worry that anyone could be watching her for Kilgrave. A fear that is actually very justified, given his abilities and what he does in this very episode, sending that little girl to deliver Jessica a message – her telling the girl, “I’m sorry this is happening to you” was a powerful, poignant touch.

Meanwhile, Simpson coming to Trish’s to try and make amends led to some great scenes. Because as much as she logically knew he wasn’t in control when he attacked her, how could she know if he was in his right mind now? The way they slowly began to bond, as she spoke to him through the door, was peppered with beats like her aiming the gun through the door at him or even just keeping the gun at her hand after she let him in and they seemed to really be connecting, that really stood out.

We also got to see even more about Trish’s past, and why she’s turned her back on being “Patsy” Walker, in a clever, dark take on her comic book origins. Trish proclaiming, “My mom blew half the jury” to get her a Teen Choice Award was a very Jessica Jones joke, as far as being a funny and decidedly edgy moment. And Trish having to apologize to Kilgrave on the air was a suitably uncomfortable and “gross” moment – one of many very well-played scenes by Rachael Taylor here.

Jeri gathering other victims of Kilgrave managed to mix humour with despair in equal measure, as we saw people clearly making up stories mixed with those who sounded disturbingly real, given what we’ve seen of Kilgrave. The man who spoke about abandoning his own baby on the street was especially chilling and once more solidifies just how horrible (and horrifying) Kilgrave is.

In the midst of this, Jeri’s line about how Kilgrave was wasting his “gift” and could “think bigger” was a chilling moment, insinuating Jeri could have an agenda far beyond that of a ruthless lawyer.

Jessica Jones just keeps getting better and better. This episode showed just how impactful Kilgrave’s actions had been, as Jessica, Trish and Simpson all worked to stay afloat in the wake of what he’d done, while we met others who’d come across him in the past. The supporting cast are all really coming into their own too, as we learned more about Trish’s past and got hints about Jeri and a revelation about Malcolm that changes things considerably

I admit, I’m hooked and for good reason!

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