There is, to be sure, an undeniable retro/kitsch beauty at work in "The Strip." You see guys whacking the crud out of one another with their fists as well as the usual hail of bullets. And just when we thought that gleaming makeover of Las Vegas had quashed its rep as the capital of corruption and callousness forever, up pops the magnificent mobster himself, Joe Viterelli, to save the tacky day.

There is, to be sure, an undeniable retro/kitsch beauty at work in “The Strip.” You see guys whacking the crud out of one another with their fists as well as the usual hail of bullets. And just when we thought that gleaming makeover of Las Vegas had quashed its rep as the capital of corruption and callousness forever, up pops the magnificent mobster himself, Joe Viterelli, to save the tacky day.

Viterelli, he of the bulbous nose and distinctive grizzled Mafioso manner in such flicks as “Casino” and “Analyze This,” helps stoke the shimmering sleaze anew in “The Strip” (shot in Vegas at Caesar’s Palace). He is typically perfect portraying Cameron Greene, a billionaire casino owner who can’t stop shoveling Lucky Charms cereal into his jowly mug (honest). And he demands “total discretion” in the undercover security team he has hired to protect his investment.

Those security dudes are named Elvis Ford (Sean Patrick Flanery, late of the underappreciated “Powder” and TV’s “The Young Indiana Jones Chronicles”) and Jesse Weir (Guy Torry of “American History X”). Like a certain Elvis before him, this Elvis has a thing for junk food and cool conversation. Jesse is an ex-Philly resident whose prime area of expertise appears to be his ability to act incredulous.

Pilot features all of the whiz-bang action we’ve come to expect from a Joel Silver prod (he serves here as one of three exec producers along with Alfred Gough and Miles Millar). There are guns firing, bullets spraying, explosions blossoming, cars skidding — and that’s only in the opening credits. Helmer DJ Caruso keeps the energy level high with the kind of spunky direction that recalls the loosey-goosey crime dramas of the 1960s and ’70s.

Gough and Millar, who penned the premiere script, seem to have more than a passing fancy for the pop culture-laden Quentin Tarantino style. Flanery and Torry are borderline adorable while firing “Pulp Fiction”-esque diatribes about things like the “Six Degrees of Kevin Bacon” game. They also get to revel in cartoon mayhem while cavorting with a host of colorful characters (including a drag queen/madam who is moved to say, “I told him (that) close only counts in horseshoes and hand jobs”).

As shallow and contrived as “The Strip” often proves to be, there is also something wonderful about a show that isn’t afraid to spill its testosterone on its sleeve in an era rife with caution and timidity.Of course, it may not be refreshing for long in a deadly Tuesday at 9 p.m. slot opposite “Dharma & Greg”/”Sports Night” on ABC, “Party of Five” on Fox and the WB’s “Buffy the Vampire Slayer” spinoff “Angel.” Some mob-style intimidation may be the show’s only hope.

Tech credits are fine, though the production design is a tad overwrought.

The Strip

(ACTION DRAMA; UPN, TUES. OCT. 12, 9 P.M.)

Production

Filmed in Las Vegas by Silver Films in association with Warner Bros. TV. Executive producers, Joel Silver, Alfred Gough, Miles Millar; co-executive producers, Gilbert Adler, Ken Horton; supervising producer, Charles Holland; director, DJ Caruso; writers, Gough, Millar.

Crew

Camera, Chris Faloona; production designer, Bernard Hides; editors, Ron Spring, Rick Tuber; music, Christopher Lennertz, Mark Mancina; sound, Tim Cooney; casting, Marci Liroff, Tory Herald, Barbara Miller. 60 MIN.

With

Elvis Ford ..... Sean Patrick FlaneryJesse Weir ..... Guy Torry Cameron Greene ..... Joe Viterelli Vanessa Weir ..... Stacey Dash Ginger ..... Tippi Hedren Tony Kulunian ..... Tom O'Brien Chad ..... Brett Rickaby Tad ..... Keith Odett Lt. Wolf ..... Mark Collie Cleo ..... Alexis Arquette Clarissa ..... Andrea De Oliveira Habeous ..... John D. Jacobson Chief Bradee ..... Cameron Milzer
With: Enrique Lugo Hernandez, Pee Wee Peimonte, Clint Lilley God bless UPN. The netlet is so far down the Nielsen food chain that it need not concern itself with such pesky details as political correctness; consequently, it now finds itself blissfully out of step with the times. For instance, UPN was casting black people in its shows months before the NAACP made it mandatory. It took one look at the shrill loons of the World Wrestling Federation and calmly said, "Two hours a week, please." And now with "The Strip, " none other than Joel Silver has tossed UPN into a time machine and rekindled an era in which gratuitous violence was a goal, rather than anathema. Image, shmimmage.

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