Reviews

Well, at least we know what all Fiona's screaming was about in the trailers we've been watching for several months - arguing with Sam (surprise). The writers just don't seem to ever let Fiona grow up and become a true member of the team. She's back to her tiresomely old gritching, moaning and arguing again and Sam nearly comes to fisticuffs with both her and Mike in order to prevent them from ...(spoiler). Luckily Jesse was there to back him up.

Frankly, in my opinion, this season has gotten the entire franchise so screwed up that we don't know from one episode to the next what the show going to turn in to. It's gone from a protagonist who is clearly the good guy, altruistically helping the world, to one who is merely "hanging on" week after week. Matt Nix claimed that he wasn't going to make this into another continual "man behind the man" show but it is EXACTLY what he has done. Card's only connection to Anson simply has to be that he was somehow on Anson's list. Which makes him one of the "Organization" – a man behind the man.

Actually this episode wasn't really any worse than all the rest this season (which I rated higher) but I gave it a seven this time because even though the directing and acting are just as good, I'm becoming weary of the whole premise of the show changing every time I turn on the TV. I know that USA network is mandating that all their shows back off on the episodic nature and become more serialized; but, messing with the shows basic structure might have been fun for a few episodes (and it was definitely time for Anson to go) but now you almost don't know what you're going to see when you turn it on. To me, it's becoming very self-centered and convoluted.

You didn't really think that Fiona's prison exit strategy of becoming a CIA asset wasn't going to come back and bite her in the butt did you? And with the two worse screw-ups the CIA has to offer no less! After the Fall of Sam Axe (and pretty much every other episode they've been in) I had forgotten just how much I disliked the characters. They must tap some subconscious resonant chord with me because I can only watch their buffoonery for so long before I have to hit "pause" on the TIVO and take a break.

Fortunately for Fiona, she had Michael who knew just how dangerous the idiots were and could see to it that she was protected; unfortunately for us, we had no such protection. Sure the episode needed a villain but those two characters are some of the worse that the writers have given us. However, it is great to have such a greater depth in Fiona and Sam. She really showed us her stuff in this one. And, there are some great "one-liner quotes" and "voice-overs" if you were paying attention (if not Google Burn Notice Secrets).

As you watch it, however, If you get to thinking that you can already figure out the ending and can skip forward - believe me. You can't... so don't!

A great episode which showcased all the Burn Notice character's strengths. Absolutely no one whined or argued with Mike the whole episode. Jesse just did his job, was grateful that it wasn't as hard as what Michael had to go through and offered to help again – wow, what a change! But, the greatest change for good was Fiona. She stood her ground to Michael without whining like a spoiled adolescent; but, still got in a dig or two in a respectful, adult manner. Sam had less action this episode but was full of wisdom and kept things on tract with the (surprise, surprise) timid and weak-minded FBI agent. Michael was, well… Michael is as Michael does!

I do have to take issue with a couple of inconsistencies the writers seem to be misdirected on. We all saw Nate getting shot. He looked stunned then staggered back to reveal a well demarcated hole in a metal sign that definitely wasn't the size of a sniper rifle shell! Unless it had a 50-cal head taped to its tip! Additionally, the writers had Fiona tell Mike that Nate had volunteered for the job due to a deep seated desire to help the world. "That's who we are," she claimed. Rubbish! That's not what watching 87 prior episodes of Burn Notice have taught us. We can believe that it IS what Fiona is about; but, if Nate volunteered, it was because he saw his brother doing something that he wanted to be involved in. His deep-seated "need," if he had one, was to prove something, or himself, to Michael. That would be the thing the writers could use as an excuse for Madeline to "blame" Michael about - who, by the way, we haven't seen since the funeral.

What a treat it was to finally meet Sam's long-term girlfriend Elsa (at least the longest we know about) and even her spoiled-brat son Evan. We can instantly understand why the relationship clicks. A "closet" adventurous spirit because of her highly-focused business sense and accomplishments, Sam is just the kind of guy she would be attracted to. And being a "broke-no-nonsense," "get things done," tough-minded gal who admires Sam's experience and common sense, she is the kind of gal Sam can respect enough to really like. Understanding Evan isn't difficult either, given what we know about his parent's success and "driven" nature.

With no substantial leads on Nate's killer yet, it gave Sam enough space to help Elsa with Evan's "behavioral problem." Unfortunately, it was more than just his behavior - way more - and ended up showcasing both Sam's and Jesse's skills (and eventually Mike's) just to keep them all alive. Perhaps the most telling event of all was the novel approach Sam came up with for "family counseling." Rebecca had disappeared; so Mike and Fiona dogged her trail until what just may be the most novel ending a "bad guy" who he was chasing has ever shown on the series.

Mike is clearly shaken and affected by Nate's death. His whole family (what's left of it) is. Madeline isn't even returning his phone calls. As would be expected, he has become much more serious (if that were possible) and cautious - should we say "normal" - in his relationships with his team, especially Fiona. Fiona has matured and, although still largely driven by her OWN desires, is much less of a nagging shrew - whew, finally! We know the stages of grief, we know Michael is going through it, we know that it alone could provide hundreds of pages full of "soap-box-drama" screenplay... AND we are mightily grateful that, for once, The BN writers aren't inflicting that on us. What a great season so far! It's hard to believe that it's almost over.

As a Burn Notice viewer one should always pay attention to the title. In this case "Shock Wave," unbeknownst to us at first, is intended to convey meaning far beyond this episode's action. A recent interview with the creator, Matt Nix, confirms our previous observations that the series is changing -- according to him, deliberately so. Well... from what we've seen, yes and no.

The director Renny Harlin did a masterful job on the episode with active and unexpected camera angles, editing, pacing and choice of music - possibly the best yet in the series. He even compensated, mostly, for segments of weak screenplay. Oh, the overall plot and premise was true to form and even exceeded the complexity and innovation that we've learned to expect. It's just that the translation into the screenplay sometimes comes across (to a US audience) as unbelievable - or at least hokey and contrived. A US audience doesn't believe that one character loves another just because the writer needs them to and tells us they do - we need to see it, it needs to be set up. A US audience expects legitimate authorities to be above dishonesty and champion fairness (unless we are shown reason/necessity in the plot).

Fiona, Sam and Michael were about as "on their own" as they have ever been in the series. Fiona and AYN completed what most of us have been anticipating all along. It was nice to see how it actually occurred even if we had to overlook the hokey dialog/premise of the MI-6 and State Department characters. Michael and Pearce's segments gave us great twists and turns with another "Anson chase" all over Miami. I just wish they'd hire another writer who knew how to do the exposition needed without all the whining/contradicting/arguing - and I'm certainly becoming weary of the arrogant-manipulative-shrew character type they seem to readily apply to their female characters.

Sam and Barry's segment was sheer delight! They make a great comedic relief team who play off each other masterfully and the running beer can gag-line just fit Sam's character to a "T". I'd personally like to see more of Barry, Sugar and even Seymour.

With the several changes for good this season, why do we feel a sense of foreboding or uneasiness over where this is heading? Perhaps it's because the writers aren't only tweaking the characters a bit (mostly for good as far as I'm concerned) but they are messing with the "premise" and "structure" to a greater extent than we are used to with a show we like. We expect Michael to be "burned" and could be worried about how they are going to need to keep him burned. We expect Fiona to be able to assist with the "underworld" but as a "CIA asset" who now has an actual criminal record? Sam is, and always has been, "honest, dependable, capable Sam" and can take up some more slack - but where? And who is going to be the character that Matt says is going to be angry at Mike for the rest of the season - my bet is Madeline. And of course there is a HUGE "elephant in the room" that I can't discuss under IMDb penalty of "spoiling." Watch the episode and you'll know immediately what I mean. Matt says that the end of this season will put us (and I guess Michael, Sam, Fiona and the rest of them) in a "place that no one expected" - lets keep our fingers crossed that they don't mess with it so much that it's no longer #1 on USA Network.

Fiona not participating in the Burn Notice action so much this season has actually improved the series a great deal. The characters are more believable, expanded in depth and there's less time for what I call the "soap-box drama" whining, tantrum-ing and touchy-feely fluff. Perhaps the writers could have accomplished the same thing with the character still in the active mix; but, they didn't. The great thing about doing it this way is that we still get to see Fiona once in awhile, the writers still get to use their relationship/dilemma as plot points and we still get the faster action, more complicated plots and improved character depth.

This episode takes up where the previous one left off: Rebecca's dilemma with her brother needs solving; which, of course, it is -- somewhat. I say "somewhat" because, forgive me, although I thoroughly enjoyed the episode as a television drama, I can see so many flaws in the con that Michael pulled this week it's hard to overlook. IMDb won't let me disclose spoilers in this review under threat of being "burned" (blacklisted); but, once you have seen it, just ask yourself: "How many ways can you think of that Anson could undo what Michael accomplished?" And how easy would it be for him to do it? None-the-less, Card does keep his promise to help see that Fiona gets out of prison like the trailers told us - but, of course, with a price. There's no surprise that both she and Michael comply, but the writers had her do it just a bit too cavalierly to be compatible with the way she has established her character over the past five years. And what about Nate's dialog. Sure it was comedic, sort of. But, complaining about the "ride" in Jesse's car?!!! This was clearly either: poor directing or editing - not using the "take" that was said sarcastically; poor writing - so anxious to fall into the lazy exposition of whining that they ignored Nate's character; or, poor acting - not delivering the lines in a light-hearted, sarcastic manner like was intended. However, the dialog for the character Card – and the way he plays it – is absolutely great! He is in every way the knowledgeable mentor to Michael and he brooks no guff. He'd make a great permanent member of the cast if they can get him to do it.

I really like where the production has changed this season and hope it continues when/if Fiona actually rejoins the team on the outside. This one's plot just seems like the weakest this season, that's all.

Incredibly, the USA network's claim to be "heating up the summer" just keeps getting more and more intense as far as Burn Notice is concerned. I've checked, the writers they list were there last year and the directors are the same; but, there must be a whole cadre of un-credited writing interns because just about the only resemblance of this years characters to last years is in name only! Michael is more goal oriented yet open minded, more intense but less "agitated," more single-minded but more open to help and suggestions. Sam is incredibly more assertive in his capabilities and is providing the "moral compass" for the whole cast – even the bad guys. Fiona has stopped being a "soap-box-opera" cliché and become a star in her own right; and even Madeline takes on a mission alone when Michael is unavailable. What has happened? The story lines are more robust. The normal two plots have become three and sometimes four being cut together. The pacing seems to have sped up to near dizzying heights with more chases, more explosions, more incidental characters, more convolutions and more locations. We likes it!

It's not giving anything away to say that in this episode the gang (sans Fiona who has her own problems) goes after a dirty guard who tried to have Fiona killed for some reason. And it doesn't take a genius to surmise, from Rebecca in the trailers, that Anson was behind it all and was probably in "clean up mode" using his new "padawan" to do it. Michael's spy-craft voice-over as she took Sam hostage, was sheer mastery when he compared "being taken hostage" with a "blind date," advising the captive to: "actively listen, stay positive and make a connection." We would have been surprised if the attempts against Fiona's life in prison HAD stopped. And, what's not to like about Madeline taking on an assignment in Michaels absence and Fiona getting a new friend to trust her?

There is a term in the movie industry used when a work, or portion of a work like the script, is common, standard, repeatable, predictable... "derivative." This third episode of season six was ANYTHING BUT derivative. In fact, right now I'm scouring my previous notes on scripts but I'm pretty sure that we die-hard Burn Notice fans have not seen anything as convoluted, unpredictable and complicated as this episode; nor, provide 60 minutes of such unmitigated, nail-biting cinematic enjoyment! As Dorothy told Toto - "we're not in Kansas any more"; which thing we already knew if we were paying any attention at all to the first two episodes. Everything Michael does now seems to have a "Fiona" component to it - including taking a cruise with Jesse and Agent Pearce, who without cinematic attribution would be the closest this hour got to being "the client." Sam is still being a true master of tactics and Fiona is showing us how absolutely brilliant she is at getting out of tight spots and defending herself - and she gets to meet the warden personally as well as talk to Michael.

The only predictability in this whole episode was the whining and argumentative nature of Madeline and Nate. Although there are other methods to use, it seems that starting an argument is this series writer's favorite method of delivering a segment of exposition. None-the-less, both characters are "version 2.0" and really stepping up their game now that Fiona is no longer available for operations. And the bad guys? Well, those that we've been dealing with so far this season are even "badder" (and not in the good way). The title may help you figure out the "spoilers" which I can't write here in the review; but, not if you think this is Kansas.

The second episode drives home even more clearly that this is a whole NEW season with new rules - and a face-lift?. It is clear that Fiona no longer lives in the loft - it is reverting back to it's "wild and natural" state. The workbench is back where it belongs and it is clear that Michael is... let's say, "less controlled" as he threw it across the room after reading a letter written from her prison cell! With Michael begging for advice, Sam no longer can be just one of the "troops" and is letting his true abilities take action. That included pointing Michael toward an old favor he could call in from someone now high in the agency.

Jesse showed us what got him well known in his former counter-intelligence job dealing with cartels. Although, I must say, not without dealing with some more flippantly-evil terrorists than we have been used to dealing with on the series.

Even Fiona is a better character without anyone to "posture" for and her time being now absorbed by sheer "survival." She truly acquits herself well amongst the prison population, does have some privacy, being in a single cell for the "Worst of the Worst," and showed that she can be as innovative as Michael. Madeline and Nate seem less demanding and controlling, and more "back-story" is seeping out through the cracks.

If it weren't for a haunting premonition and concern that the tenor of the writing seems to be getting a bit more gratuitously "mean spirited" and the hint of some writing merely for "shock value" creeping in, we might be resting easy in an early presumption of a great season with a "number 7" close behind it. As it is, for now those of us die hard Burn Notice fans can feel as unsettled as Michael - what's happening to our world?

The long awaited season opener, yet again did not fit the mold of our past Burn Notice experiences. While the last iteration of "the Organization's" take down almost entirely occurred while we weren't watching; this season takes up mere seconds from where we left off - and what have they done with "our" characters? More unsettled than we've ever seen him, Michael became almost an entirely different character: moody, sullen, edgy, uncertain and impulsive. Sam was more in charge than we've ever seen him. He's always been the "moral compass" to the group; but now, with Mike's loss of direction, Sam pretty much saved the day first suggesting the plan then keeping Mike centered as they chased around Miami trying to foil Anson's get away.

And Fiona revealed a greater depth than she's ever been allowed to show - she's really not bad when the writers don't have her whining, manipulating and playing macho for Michael. Of course her confession now needs to be "vetted" by the feds – and who would be up to the task? Neither she nor Michael are without "government types" anxious to see them behind bars.

And even Jesse and Madeline revealed a side of them we haven't seen before. Both were self-sufficient in their help toward Michael, and at least one of them can still be a blackmail target for Anson. For my tastes, their new found competence is a very welcome change. Will this hold once we get back to dealing with "clients?" Anson, who shaved his mustache, was the only one who hadn't seemed to change; and, frankly, if it were up to me - we'd be done with him by now. Arrogant, condescending and still a classic sociopath he see's all his predicament as Michael's fault; which, we're glad to say: we hope so.

The long anticipated prequel to the Burn Notice series answered many of our nagging questions about the series and Sam Axe in particular; but, posed even more. Matt Nix (the writer) and Bruce Campbell (the actor) played the Sam Axe character true to the form we would expect of a former Navy SEAL, if anything even more so. Affable, caring, not taking himself too seriously -- but with a high sense of loyalty and duty as well as street savvy. For the most part, a "squared away" SEAL - except that most of those guys that I'm acquainted with are quite a bit more serious, and anything but easy going.

Unfortunately, not all the show's characters fared the same. Don't get me wrong, none were poor actors; just that, some were weaker than others. And, most were appropriate for the genre and situation; but, just as in the series, some were written unbelievably stupid, or uni-dimensional or repetitive. Matt does seem to have a bit of a penchant for writing controlling shrews as lead female characters.

The director, Jeffery Donovan (Michael in the series), and writer are apparently much more acquainted with crooks, thugs and terrorists than they are with anything military. Guns, bombs and thugs are portrayed with amazing accuracy but anything military (especially Navy) seems to end at the mere term: "Navy SEAL." Supposedly Mr. Nix relies heavily on spy consultants but no one associated with the show appears to have even served in the military. No attempt seems to have been made to even approximate the correct insignias, uniforms, badges or military law (J.A.G) processes.

None-the-less, the series isn't about the military, TV budgets aren't the same as movies, Jeffery is a beginning director, and Matt... well he's Matt, one of a kind. The character-driven story was so compelling that, if you didn't look too deeply, or become annoyed with the characterizations, it was two hours well spent. Followers of the series will not be disappointed and will be well served with the new explanations, the new questions to answer, the expansion on a well-liked character, AND a great filler to a terribly long season hiatus.