Pound4poundireland Scorecards from October 2015

Victor Emilio Ramirez 114-114 Ovill McKenzie, officially a DRAW, Ramirez retains Cruiserweight title

Tommy Langford 98-92 Cristian Fabian Rios, officially UD

Antonio Orozco 95-94 Humberto Soto, officially UD

Tom Stalker 96-94 Craig Evans, officially a DRAW

Luke Blackledge 114-114 Lee Markham, officially Blackledge by UD, Blackledge retains Commonwealth Super Middleweight title

Jack Catterall 100-90 Jarkko Putkonen, officially UD

Lee Selby 115-113 Fernando Montiel, officially UD, Selby retains Featherweight title

Aron Martinez 97-93 Devon Alexander, officially UD

Kohei Kono 113-111 Koki Kameda, officially UD, Kono retains Super Flyweight title

Andrzej Fonfara 118-110 Nathan Cleverly, officially UD

Tureano Johnson 119-107 Eamonn O’Kane, officially UD

Matthew Macklin 95-94 Jason Welborn, officially UD

Sam Eggington 117-110 Dale Evans (rematch), Eggington retains British and Commonwealth Welterweight titles

Leigh Wood 99-91 Josh Wale, officially UD

Gavin McDonnell 120-108 Jeremy Parodi, officially UD, McDonnell retains European Jr. Featherweight title

6 thoughts on “Pound4poundireland Scorecards from October 2015

  1. P4P list must be the right place to open up a discussion on True Detective, no? 😉

    Like yourself, I found the series growing richer in the later chapters. The Crowley-directed work stood out, pulsed with a life not knowable by Fast and Furious-level directors, and his finale was a corker. Pity he wasn’t there to do the whole bloody season — this lack of a singular directorial voice being a fundamental mistake.

    Only praise from me for Farrell and McAdams. Vaughn I’m ambivalent about. I like him, but his mannered delivery sits awkwardly alongside naturalistic acting. What he conceives of as character, I read as paint-by-number acting. The lack of chemistry between him and Reilly made their scenes sometimes feel like line readings. I give him credit for that death march scene, though.

    As far as story, Pizzolatto’s multiple storylines freighted the work with more, I think, than it could bear. The McGuffin was of almost no interest. Too many underdeveloped faces, names, points of reference; clunky procedural baggage when we really don’t care. Price of admission…

    For me the best stuff was emotional and interstitial — a ceiling stain leading Vaughn to a Proustian memory of being locked in the basement. The newly hooked up Farrell and McAdams each recounting their blasted past. Farrell pleading with his ex or desperately trying to connect with his half-autistic son. Confessional material like this, a Pizzolatto virtue, made the interrogation frame narrative last year work so well. The many action sequences this time around: meh. I preferred McConaughy’s nihilist going on about the meaninglessness of life.

    There’s more, but I yield the floor to you.

    • I completely agree that the lack of one directorial voice hurt this series. One can only imagine what Fukunaga would have done with the material.

      I too enjoyed Vaughn’s final scene, thought his performance was wildly hit and miss, and that, ultimately, he was miscast. The role of Frank called for the greatest emotional range of any character this season, from jocular verbosity to spousal affection to ice-cold menace, sometimes within the same scene. So, while his choices worked for me some of the time (the scene behind the bar with Osip, followed by torching the casino, for example, as well as the ceiling stain monologue), on other occasions, he was woefully, as you say, mannered.

      It’s difficult to pull off Pizzolatto’s dialogue and make it seem believable (especially when that’s obviously not Pizzolatto’s intent), which makes the performance of McConaughey in season one all the more remarkable. I enjoyed Farrell but didn’t connect with McAdams’ character.

      The opening 3 episodes were all mood and no substance, but I mostly enjoyed the action scenes that became more prevalent later on. The shootout in episode 4 gave the season the jolt of energy it needed, in my opinion. The use of music was another highlight, and the one-note character of Paul and Kitsch’s dud of a performance were a lowlight.

      Ultimately, despite its flaws, I enjoyed the season, particularly the mostly excellent final episodes, and feel it was a respectable follow-up to a first season that is surely among the best ever made for television. Hopefully, there will be at least one more, but I’d put some money on Pizzolatto eventually ending up directing feature films.

  2. I, too, hope he does another.

    We are pretty much on the same page regarding merits and faults. It looks like popular opinion, going by Metacritic, was rather harder on the season.

    Pizzolatto’s danger is being too subtle, that is, too literary, for the mass audience. He’s a text man yoked into the visual arts. (For money rather than love?) Worse, his cultural reference points, his sense of story and language, pre-date Star Wars. Over here, that’s the kind of thing you can be sent to Guantanamo for.

    So what he was able to pull off in the dialogue-heavy first season with dual talking heads was significant. He got a mass audience to listen, not merely watch a very theatre-like piece. And, as you point out, through dialogue that’s hardly speakable. (An HBO fondness. Cf. the brilliant Deadwood, a tooth-loosening feast of language.)

    One aspect I’d like your view on: the show’s view of the perverse. Last year he gave us the serial killer embedded within the power structure, with organized religion as a side dish. Not exactly barnstorming, but a view of corruption I find at least socially relevant.

    This time around: Helmut Newton motifs with castration-centric land deals. OK, perhaps the last part is fair play in an age of vicious capital crises, but I found it all a touch desperate. And I couldn’t answer fully if this was because Pizzolatto failed. Or, as seems just as likely, degeneracy is simply an overplayed hand in western pop culture. Haven’t we seen it all a million times? Is there a US mayor, California land developer or slick Russian moneybags who we *don’t* expect the worst of? (Here I could add: the comic relief segments around the mayor’s house were pretty tepid; not only is American life much, much stranger, but the Internet age has laid it all out for us ad infinitum. Banality piles up, needs windows and elevators installed…)

    What could have been gained by jettisoning one or two subplots and/or characters? Going back to Deadwood, which, ironically, is even more crammed with folk: I think it works because it doesn’t break faith with the viewer, insisting from the start it will be about a place and the lives in it — kaleidoscopic, novelistic. Its magnification of the same themes Pizzolatto is after is much grander, and maybe because the procedural baggage doesn’t get in the way. Milch had done enough serial TV to know its limitations and to reject them while looking for a different form.

    • Critical opinion was always likely to be negative, and that’s a discussion I had with friends prior to season 2 beginning. A new cast, new story and new mood was always going to frustrate those who were hoping to get the ‘same meal’ as they’d enjoyed in season 1.

      I haven’t seen Deadwood (have heard only raves, and look forward to devouring it someday), but certainly season 2 was bogged down by the distracting “procedural baggage”. I hate to sound like a glib network executive, but it’s important to care about the characters, good or bad, sympathetic or otherwise, but I couldn’t give a shit about most of those in this TD offering. For example, I was glad when Woodrugh was popped in the back: good riddance, Mr. Kitsch!

      I like the Helmut Newton shoutout! Obviously a theme which runs through both seasons is the corruption inherent in the power structure & the notion of impunity. The land corridor is developed, and the Chessani/Childress family legacies continue. Justice is relative and limited.

      Whatever about the plot machinations Pizzolatto used to get to his point (unless you’re talking about The Wire, a serial killer narrative with occult overtones is probably going to be more compelling that a staid land deal plot), it’s a grey-area view of the world that one doesn’t often see in an American visual media dominated by a ‘Star Wars/bad guys get their comeuppance’ narrative. In an ordinary show, the mayor, cops and Osip (predictable figures of corruption, sure) would be held accountable or killed and that would be the moral victory; in True Detective, this just delays the inevitable and new opportunists fill their shoes.

      This impresses me, as does the remarkable ambition Pizzolatto demonstrated in both seasons.

      • “Justice is relative and limited.”

        Just so. Good troublemaker, our Nic.

        The culture is starved for good, critical drama about life as it is now. With P. and now Sam Esmail on the scene too, it’s a slightly better moment for TV/film here than in many years.

        LOL @ goodbye Mr. Kitsch. I will lay you odds P. didn’t have enough time to let the material for season two marinate. It feels rushed, batter-fried in key areas, while I think the first piece was slow-cooked for some time before it came to HBO. He has complained about the workload and pace. This just isn’t his natural territory (and that, paradoxically, is why he’s so good for it, unless and until he learns to grind it out like other hacks).

        Btw, second season of The Leftovers has started promisingly. It carries over mainly the problem/theme from the first arc, and can be watched as a standalone.

        How is your film editing coming?

      • It’s coming along slowly but surely, other distractions in life getting in the way, but I hope to have it done before the end of the year.

        I think you’re right about season 2 feeling rushed, and that may also be the reason behind season 1’s slight decline in quality after the incredible peak of the first 5 episodes. He got the series deal based on the scripts for the first two episodes and had to write the rest while the production was ongoing. It’s tough when you don’t have a writers’ room to fall back on!

        Looking forward to a film festival screening of Malick’s Knight of Cups next weekend

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