The Nine - TV-14
Now-familiar flashback formula works ... again.
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- TV Rating: TV-14
- Network: ABC
- Cast: Scott Wolf, Timothy Daly, Kim Raver
- Genre: Drama
- >Available On: Download
Parents need to know
Families can talk about the believability of the storyline and how often bank robberies and hostage situations actually occur. Are there things people can do to protect themselves in extreme circumstances? And what, if anything, could these hostages have done differently? The show also brings up the importance of encouraging communication (and sometimes therapy) in the wake of a traumatic event. Why are some people hesitant to talk about a trauma they've experienced? And why do some victims of violent crime become emotionally attached to the perpetrators (a phenomenon also known as Stockholm syndrome)?
Message
Social Behavior:
Most characters go beyond the traditional "good guy" and "bad guy" labels, but it's these shades of gray that make them more interesting. For example, one character is a heroic cop with a serious gambling problem, and one of the robbers seemed to participate reluctantly. The female characters are well-developed and speak their minds.
Consumerism:
Drugs/Alcohol/Tobacco:
One character has "party girl" tendencies and sometimes drinks to excess, though not on camera.
Violence
Suicide and death are discussed, and a funeral is shown. There are also several graphic scenes in the flashback sequences that show dead and dying bodies covered in blood. Guns are a central part of the plot and are used to instill fear in the hostages.
Sex
Palpable sexual tension exists between several of the main characters, with occasional shots of women in lingerie or other suggestive clothing. Characters are shown kissing passionately but not actually having sex ... although it's easy enough to infer. Implications of cheating.
Language
Relatively mild: "Jackass," "hell," "bastards," etc.
Common Sense says
What's the story?
Reviewed by Kari Croop
Is it any good?
The premise of The Nine is definitely intriguing, and Daly and McBride's nuanced performances are particularly noteworthy. But how many times can Hollywood twist already successful shows like 24 and Lost into "all-new" reincarnations before dramatic devices that were once inventive become hopelessly tired and cliched?
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