Scott Davis reviews episodes 1 and 2 of 24: Live Another Day…
As the tick of the clock sounds, the goosebumps begin to form on the back of your neck and down your arms. And then, as the graphic shudders red and orange, the electronic music behind it enters sharply, and one thing is for damn sure: Jack Bauer is back. Exile smexile.
Despite desperate attempts over the past few years to get a 24 movie off the ground, it always seemed destined that we were to rejoin Jack in his crazy, unstoppable, better-hold-your-pee universe. Somewhat thankfully, the show’s format couldn’t be replicated onto the big screen, so the producers decided that he would return once more to the television arena, sharper, shorter and more intense.
Condense into a cable-influenced 12-episode arc, 24: Live Another Day brings all the “longest day of my life” elements to the forefront, but with the shorter format, all those duller episodes (you know, the ones involving cougar’s) and moments are gently sliced away, and the show skips through to the best bits. With the hype recently reaching fever pitch with its introduction through many trailers and TV spots, the wait has been well worth it.
Picking up four years after the events of Season 8, which saw Jack double-crossed by both Washington and Russia and begin his one-man crusade to find justice with his fists and his firearms, Jack Bauer reappears in East London (a welcome breath of fresh air from the stagnating LA/New York setting of the 8 previous days). Armed with a death stare, hard-as-nails black hoody and trusty firearm, Jack is cornered by the CIA through their London post (led by Benjamin Bratt’s Tony Almeida-lite Steve Navarro) and arrested.
Intel suggests that Jack’s reappearance in London is directly linked to the arrival of President Heller (William Devane) and his daughter Audrey (Kim Raver), who has flown to the UK for talks with the Prime Minister (Stephen Fry) about his proposed use of drones to kill enemies overseas, primarily in Afghanistan. Fearing coincidence, Navarro and Chief of Staff Mark Boudreu (a suitably irked Tate Donovan) agree to put Jack where he cannot be found.
A brief interrogation and subsequent penny-dropping later, thanks to blacklisted agent Kate Morgan (the excellent Yvonne Strahovski), we are off and running again. Cue president in crisis, drones dropping “friendly” fire, shadowy phone callers (Game of Thrones’ Michelle Fairley enters proceedings in episode two) and shoot-outs galore in amongst Ealing luscious council estates.
So far, so 24. But while this may all seem uninspired and repetitive, LAD has much more going for it than before. It’s pacing is much swifter and tenacious, with the story racing through what might have been four or five episodes of exposition and set-up, adding a much pricklier edge to proceedings. The story too, while nothing that hasn’t been done before either her or other “terrorist” shows, has a sharper, immediate edge to it than some of the middle series, which suffered from such repetition and subsequent tedium.
The spark, as always, is Sutherland, who here provides even more evidence that he is one of Hollywood’s great under-achievers. So much talent and charisma should have been embraced much more than it ever did, but thankfully as Bauer, Sutherland is once again at the peak of his powers. Heroic and assertive, but with a cold stare that would stop even Mr. Freeze in his tracks, his performance so far is up on par with best 24 work in season three, and is as charismatic and compelling as ever.
After two episodes, LAD looks like it will return Bauer back to his gritty beginnings, which is most welcome. Its new format allows for a much snappier storyline, it’s new setting and characters bringing a breath of fresh air to the cannon. And while some may sigh at some over-familiar plot devices, they don’t spoil what is a welcome return to TV’s most-thrilling series.
Scott Davis
