Stargate Atlantis Review Blog

Written by Martin Gero
Directed by Andy Mikita

I’m not sure that announcing the cancellation so early in the season was a good idea. The production was already too far along to make any major changes to the material as a whole, and it’s left me with a distinct “lame duck” impression of the season arc. Whatever they throw at me, I have no confidence that it will find resolution before the end. It’s inevitable that the first couple “Atlantis” movies, just like the “SG-1” DVD films before them, will be devoted to wrapping up loose ends.

It’s not that this episode was lacking in the thrills of discovery and adventure; it was one of the best episodes of the season thus far. The guest appearance by Daniel Jackson made perfect sense under the circumstances, and the interplay between Jackson and McKay was genius. And the writers certainly developed a credible threat, upending some of the ongoing plot threads in some unexpected ways.

I liked the new enemy, even if I had been hoping that the aliens from “The Daedalus Variations” would have made another appearance. I’m going to go out on a limb and assume that this new threat is actually an old threat in new clothing, so to speak, based on Daniel’s realization at the end of this episode. At the very least, it could serve to bring some of the disparate elements of the Pegasus Galaxy together if they were an evolution of a known quantity.

It was interesting to note that a weapon that hadn’t been used for millennia was so familiar to Todd. Was it something so catastrophic to the Wraith that they passed down stories about it? He even knew it by name! Granted, it was necessary for Todd to recognize the weapon and its probable source for the plot to work, but it seemed a bit too convenient.

Far better was the conversation between Todd and Dr. Keller regarding the gene therapy and its effect on the Wraith. Todd is very candid about his intentions for the experiment, but more so regarding his misgivings. I thought his point was rather well made. After thousands of years of culture built around the culling of humans, it’s no simple thing to alter their feeding habits. This touches back on elements of “The Queen”; Team Atlantis is so focused on what’s good for them and humanity that they utterly overlook the perspective of the Wraith.

I found that far more compelling than the usual mid-season finale fireworks, and it’s too bad that the focus is always on the action instead of character. Todd’s turn against the humans had nothing to do with philosophy, despite all the foreshadowing. Leaving out the new enemy and the supposed death of Radek and Sheppard (which will never happen) might have been less explosive, but imagine a scenario where Todd’s decision to take control of the Daedalus was based on his inevitable conclusion that the Wraith would never change and that the alliance was hopeless. Played right, it could have been far more effective, and it’s a shade less than perfect as a result.

In the end, despite the Jackson/McKay show and the exciting chaos of the final act, I couldn’t shake the feeling that the show was still suffering from its “lame duck” status. I keep looking for more, because I know each episode leaves us with less.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Written by Carl Binder
Directed by William Waring

After delving into massive implications in the previous episode, I suppose it makes sense that the writers would want to step back into something a bit less ambitious. This is a story that has been told a thousand times before, so for some, familiarity will breed contempt. So will the upfront presence of Dr. Keller, as there are plenty of Dr. Beckett fans still unconvinced that the character is necessary.

Keller shows more grit in this episode than she had in the entire fourth season, and it’s good to see the character getting some actual development. Granted, it’s about as much development as anyone gets in the Stargate franchise, but it’s progress, nonetheless. She doesn’t back down or cower; she demands to know her captor’s intentions. It’s a step in the right direction, because it’s very clear that she’ll need a strong stomach and a lot of patience in the days ahead. (Though, would it kill the writers to make Keller more than the convenient hostage victim?)

The combo of Ronon and McKay was amusing, if a little predictable. Ronon was a Runner, so he knows how to live off the environment, how to track, and how to think like his hunters and prey. McKay, for all his bluster, is out of his element, and he’s too jealous of Ronon’s rugged manliness to admit it to himself, let alone Ronon. In the end, the day is saved by a combination of both men’s strengths, but McKay does come out looking a bit short in certain areas.

The episode was designed, however, to highlight the growing tension between Ronon and Rodney in terms of Dr. Keller and their “intentions” for her. The potential love triangle was predictable enough; I called it back at the end of the fourth season (despite many derogative comments to the contrary). Perhaps for that reason, this episode seemed to go a long way to deliver old news.

On the other hand, the writers could be playing to the expectations of the audience. “The Shrine” demonstrated Ronon’s loyalty, even mild affection, for Rodney. And I think it’s reasonable to assume that if Ronon had designs on Dr. Keller, it would be a lot more obvious. Rodney already declared his love for Dr. Keller in “The Shrine”, and she seemed to reciprocate through action. Putting two and two and two together with the final scene of the episode, it’s possible (even likely) that Ronon is pretending to have “intentions” towards Dr. Keller for the sole purpose of forcing Rodney to take action.

If explored in the predictable manner, I expect the “love triangle” to be a bit of a disappointment. But the idea of Ronon playing “love therapist” for Rodney McKay, for some indescribable reason, sounds like the perfect character turn. If nothing else, it goes completely against expectation! I suppose, in this final season, I’m hoping for surprises from every turn.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Alex Levine and Alan McCullough
Directed by Brenton Spencer

If there’s one seldom-spoken truth about Team Atlantis, it’s that they repeatedly underestimate their enemies.  They operate with the questionable confidence of those who have survived on a combination of luck and determination.  Success often breeds contempt, after all.  But when one looks back on the series as a whole, the victories have been surrounded by vast fields of defeat.

Whether it’s the Genii, or the Asurans, or the Wraith, Team Atlantis has been more than willing to ignore the intelligence of their enemy, even after they’ve been fooled in the past!  Todd has been a worthy strange bedfellow since he first arrived on the scene, and he has been quite good at turning situations to his own advantage.

Granted, the usual suspects were wary, and they knew something wasn’t quite right.  But this is in part due to a very Western trait: dismissing the importance of understanding the enemy’s culture and perspective.  Quite frankly, Team Atlantis has a rather poor track record when it comes to intelligence gathering.  They rely on convenient allies for key information, and this has come back to haunt them on more than one occasion.  (Similar to how often the worst situations are a product of their own mistakes.)

It might sound like this is a complaint; it’s not.  If anything, it has been the mantra of the Stargate franchise from the beginning.  The reason why the IOA is so potent a force in the Stargate universe is the simple truth behind their oppositional stance.  The Stargate program has initiated a number of problems since its inception.  On the other hand, they’ve also been the solution to those problems, and the end result has generally been positive.

The allure is watching the team get out of each and every new mess.  Too often, in the past, this was left to Sheppard and McKay.  In a nice twist, their best intentions are actually more dangerous than helpful.  They do manage to help Teyla pull a victory out of her suicidal battle plan, but on the whole, their assumptions come very close to getting them all killed.  It’s Teyla and her decision to take matters into her own hands (and Todd’s timely rescue) that saves the day.

Even with all that being true, did they actually gain anything?  It seems obvious, about halfway through the episode, that Todd has been using Teyla and the others in a power play.  There’s little reason to think that Todd will even honor the agreement to spread the genetic treatment around his alliance.  Teyla would have to be willing to make good on her threats, and while she pulled it off in this situation, who’s to say that it would be successful in the future?  Especially after Todd has been given time to consolidate power in her name?

It’s hard to argue that Atlantis is in any better position when the operation is over, and I think that’s part of the appeal.  The team survived, but things could have easily gone the other way.  Even if that is just the “reset button” kicking in again, and even if the tension was resolved a bit too quickly in the final act, it was still a solid outing.  One can only hope this is just the setup for something bigger.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Joseph Mallozzi and Paul Mullie
Directed by William Waring

Previous episodes have felt like transparent homages (or blatant ripoffs) of other shows or popular genre plot devices, so it’s no surprise that “SGA” finally comes around to its inevitable “zombie” installment.  In fact, right from the beginning, this felt like “Stargate: Resident Evil”, right down to the high female population.

I’ll be honest; I find the zombie-esque subgenre to be rather boring in most cases.  The plot is always the same, and it all comes down to the quality of execution.  Right now, of course, zombies are all the rage, so why wouldn’t the Stargate producers want to throw their brainpans in the ring?  The benefit of the current status quo is that the zombie concept was easily tied to Michael’s genetic experiments.  Since I actually like the Michael plot thread when it appears, I was intrigued.

I was a bit annoyed at first when I noticed that Sheppard and Beckett were the only regulars.  Instead, the supporting cast was populated by an all-female team.  How remarkably convenient that the team to be victimized in the “horror” episode is, sure enough, a quartet of hot young women.  Not that I’m complaining, but it does seem to fit into the tropes of the zombie genre just a bit too snugly!

Even so, I liked the interplay between Beckett and Porter.  It’s always a treat to see Nicole de Boer on my screen, and I’ve missed her since “The Dead Zone” ended.  I wonder if she’ll reappear with Beckett in the future.  I also liked Dusty’s relative disdain for their attraction.  It may have been an inside joke; Janina Gavankar played a role on “The L Word”.  (Yes, it’s probably reading into things, but it’s more fun that way!)

Visually, I thought the premise was sold well, especially after remembering the show’s budget is smaller than it used to be.  I liked the creature design, and the mood was well-maintained throughout the episode.  Considering the fact that I’m usually not entertained by zombie stories, I was surprised to find this episode enjoyable.  It’s nothing more than derivative, but I suppose that made it easy to sit back and enjoy it.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Brad Wright
Directed by Andy Mikita

This has been a difficult week for fans of “Stargate Atlantis”. Despite all the various conspiracy theories, it appears that it was business as usual. The show is getting older and more expensive, and the ratings (still the measure of success for most network endeavors) have been low. With the show on the cusp of traditional syndication, it’s cheaper for a network to commission the studio for a new series than foot the bill for a beloved but barely successful show.

For some time, I’ve been less than impressed with “Stargate Atlantis”. I thought the first season was quite good, with the perfect mix of plot and character, stand-alone and serialized elements. Quite frankly, I think it began to fall apart when the producers realized that certain characters were more beloved than others, and began tailoring their storytelling accordingly. I’m not sure the writers have ever been able to find that initial balance again.

That doesn’t mean that the writers have been incapable of producing powerful episodes. This episode is a perfect example of how good the series can be. It’s hobbled a bit by the realization that McKay will obviously survive and the status quo will barely change, but the dreaded “reset button” doesn’t always have to ruin a story.

The story works because it’s not really about McKay and his fate. Hewlett pulls off one hell of a powerful performance, and he deserves some serious awards for it, but his situation reveals more about those around him. In particular, I felt that this episode was all about McKay’s relationship with Keller. Every decision she makes is based on her desire to save his life within the bounds of her ability. It makes her seem intractable, but she’s simply desperate.

The same desperation takes Ronon out of his usual comfort zone. Ronon seems just a bit out of character throughout the episode, but I think it’s intentional. Ronon is struggling to find a way to save his friend, and once he considers a solution, any delay is unfounded. It makes sense, though, that Rodney’s teammates on Sheppard’s squad would be the first to take that leap of faith.

I could continue to rave about this episode, but it speaks best for itself. If there is one episode this season that has lived up to the promise of “Stargate Atlantis”. Fans will no doubt find it ironic that such an episode would air just after the cancellation announcement, as they need only point to the most recently aired episode as evidence that the show is still capable of powerful storytelling! If nothing else, it proves that the show has no intention of going down quietly.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Written by Carl Binder
Directed by Ken Girotti

The fate of Elizabeth Weir has been a matter of contention for the fans of “Stargate Atlantis”. Many consider Torri Higginson’s exit from the series to be a massive loss (not to mention poorly handled), and this episode feels like it was twisted and tortured to provide closure. From the published interviews and reports, that’s exactly what Higginson had wanted, but the producers were somewhat evasive regarding the future of the Weir sub-subplot. It’s charitable to say that the comments from producer Joe Mallozzi have been, typically, a bit hostile and contradictory.

What might have been a resurrection of Weir’s plot thread was ultimately turned into “damage control”. Was this the original direction intended for Weir’s subplot? The writers of the “Stargate” franchise often toss out cliffhangers with little or no plan for how to resolve them, so I doubt there was much mapped out for Weir’s future.

The result is an episode that feels a bit cobbled together. Covering for Higginson’s absence requires a mountain of exposition in the first half of the episode, including a segment where a computerized version of Weir dispenses a monotone lecture to bring the audience up to speed. It’s one of the most obvious violations of “show, don’t tell” storytelling in recent memory, and it definitely makes this episode feel like a bald attempt to repair self-inflicted wounds.

Bringing back Fran as Weir’s avatar was a clever notion. The actress is easy on the eyes, which softens the overall blow, and she manages to pull off a fair impression of Higginson’s line delivery. It sells the idea that Weir is stuck in a manufactured body, which is at least possible within established continuity. In fact, the writers do a capable job of pulling together a reasonable enough story, given the challenges involved in making sense of Weir’s return.

That said, it was clear from the tone of the episode that Weir was going to be written out or given the slimmest possibility of a return. It was equally obvious that she would sacrifice herself for the sake of Team Atlantis. The process of getting to the sacrificial act was the only real source of tension in the episode, beyond the odd (and convenient) shifts in ability to control the city. The conflict was well constructed under the circumstances.

I didn’t hate this episode by any means, but like much of the fifth season, I find myself less than enthusiastic. The only real surprise so far has been the excellent character development for Richard Woolsey, who has been a far better commander than I might have dreamed. The writers are staying very true to his origins, yet he’s showing a remarkable resilience. Hopefully the rest of the season will devote similar attention to the rest of the cast.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Written by Alan McCullough
Directed by Andy Mikita

After a couple of character-driven episodes, the writers toss out an episode that does little more than tell a simple stand-contained story with (presumably) little or no lasting effect. Sheppard, McKay, Ronon, and Teyla (pretty much the standard action team) end up running an alternate universe gauntlet when a version of the Daedalus appears in orbit and they investigate.

That’s more or less the extent of the story, which means there’s not a lot to discuss. The Daedalus jumps around from universe to universe, McKay figures out how to pull off the impossible, and they retrace their steps. It’s fun to watch the characters overcome the challenges, especially when they eventually realize that they’re going to have to encounter the same challenges a second time.

It’s fun to see Sheppard interact with his counterpart, and McKay is certainly in his comfort zone (so to speak) when deciphering “his own” notes and creations, but the episode feels relatively empty. If it wasn’t for the impressive effects on display, I would be tempted to call this a mediocre “bottle show”. We don’t learn much about the characters that we didn’t already know from the past four seasons.

One highlight of the episode is the encounter with the alien soldiers. I’m fairly confident that we haven’t seen those aliens before, but they were intriguing enough to make me wonder if this was a “stealth” introduction of a new enemy. If the Team Atlantis of that reality was anything like our Team Atlantis, then they probably stumbled on the aliens and did something incredibly stupid to start a war!

But I liked the single-minded tactics employed by the aliens, because it’s been a long time since Team Atlantis had to deal with an enemy with berserker-esque nature. Sure, enemies have a tendency to come in nameless, relentless droves (especially the Wraith), but the slightest hint of context made this seem a bit different. I would be interested to see more about those aliens in the “real” universe, though I imagine it’s just as likely that the aliens were meant as a one-off and will never appear again.

This is probably best described, in the best possible sense, as a “filler” episode. It doesn’t advance anything, it doesn’t do anything innovative, but it’s the Stargate equivalent of fast food. You enjoy it at the time, but when it’s over, it’s not particularly filling or memorable.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Written by Joseph Mallozzi and Paul Mullie
Directed by Ken Girotti

If it’s a character-based episode early in a season of “Stargate Atlantis”, then it’s a good guess that it’s a Ronon-centric episode. Looking back on the past few seasons, this is practically a matter of inevitability. I recall a similar thing happening to the character of B’Elanna on “Star Trek: Voyager”. The writers would incrementally advance her personal character arc in an early episode of every season, and once that was out of the way, she basically fulfilled her function within the ensemble without much variation.

Ronon fills a very comfortable niche on Team Atlantis, playing the requisite tough with consummate warrior skill and a gruff good nature. He’s essentially the Teal’c of the series, and as such, episodes devoted to Ronon inevitably pertain to others of his kind. The Satedans have never been my favorites (and that includes the infamous episode “Sateda” itself), so I was wary, to say the least.

Fortunately, the writers took a slightly different approach with the Ronon-centric episode this season. Normally, when a main character is subjected to the kind of experience seen in this episode, the character manages to resist against all odds, demonstrating his endlessly heroic nature. So it was a bit rewarding to see Ronon, perhaps the strongest member of the team, succumb to the Wraith brainwashing.

The brainwashing itself helped to explain why some humans would choose to align with the Wraith in the first place. It may have been alluded to in the past, but I certainly don’t remember anything about the addictive qualities of Wraith life restoration. I don’t think it applies to every Wraith worshipper, since simple self-interest is enough of an explanation and this seemed to be more of an experimental approach, but it does flesh out a grey area.

Otherwise, I found the story to be rather predictable. I was basically waiting for Tyre to rescue the team after his supposed betrayal, and Tyre’s sacrifice was completely telegraphed. Considering how much of the episode’s power hinged on Tyre’s redemptive arc, it was a bit disappointing for the story to be so “cookie cutter”. If Ronon’s part of the story could take a daring turn, why should Tyre’s part of the story fall into predictability?

Speaking of which, this episode was also devoted to exploration of Teyla’s position on Team Atlantis. I’ve been concerned since the moment the pregnancy was written into the series, and especially since the baby was saved. Pregnancy seems to be the easy road for drama when it comes to female characters in the genre, but “baby plots” slip into annoying cliché all too often for my taste. For better or worse, Teyla is not one of the headliner characters, so the impact is lessened.

Even so, if Teyla’s character development this season is largely devoted to the struggles of motherhood, I’ll be disappointed. I would like to think that the character deserves better than the never-inventive “working mother” plot thread, mixed with the “aren’t babies cute?” scenes. We had one such scene with Woolsey in this episode, and I think it was quite enough. Unfortunately, the writers seem to have no intentions of sidelining the baby, so it remains to be seen how it will be handled. (I’m waiting, of course, for the inevitable kidnapping episode.)

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Written by Joseph Mallozzi and Paul Mullie
Directed by William Waring

With the resolution of the fourth season finale out of the way, the writers turn back to their usual pattern of front-loading some character development. In this case, the writers do their best to serve two different segments of the fan base while covering off a couple of cast-change requirements. There’s also a nice bit of world-building, as more information is provided concerning the Wraith.

This is an interesting episode for Dr. Keller, because it puts her through the wringer. Her initial scenes did much to build on the good graces that I happen to hold for the character. On the other hand, I must admit that the writers are saddling her with the unenviable role of “single young hottie”, as many feared during the second half of the fourth season. There’s a love triangle brewing between Keller, McKay, and Ronon that has little chance of working well.

In a nice move (and one that will please many long-term fans), an apparent cure for Dr. Beckett’s condition is discovered by Keller, bringing him back as a viable part of the Stargate universe. It’s clear that his appearances will be, at best, an infrequent event, but it does open up possibilities that were eliminated by his premature passing. (Besides, his death was badly handled anyway, so why not make it a moot point?)

This serves to bring up a couple of interesting tidbits, right there in the episode itself. Many fans noted (and corrected me, for which I’m grateful) when they pointed out that the jumper was missing at the end of the premiere. That’s a good sign that Michael is still alive out there. That said, his infrastructure is rapidly disappearing, and part of his effectiveness was his deep and almost insurmountable network. It’s something he might be able to rebuild, thus explaining any lengthy absence, but it’s disappointing.

On the other hand, Beckett’s survival does appear to bolster the notion that Sheppard’s glimpse of a dark future for Team Atlantis may be prevented. While Woolsey is in charge, Carter is not dead and the circumstances are sufficiently different. While many of the same threats may emerge, I suspect that the writers made sure that they had the option of diverging completely from that vision as they deem necessary. (Which, in a sense, renders the fourth season finale pointless, which is pretty much what I expected.)

I also expected the writers to paint Woolsey in the best light possible. Woolsey has been the semi-reluctant mouthpiece for the IOA for quite some time, and it seems like this is a natural extension for the character. The IOA has its head in the sand, as it always has, and when that reality begins to impose itself, they take whatever opportunity possible to tighten control over Team Atlantis. If nothing else, as this episode demonstrates, it should be interesting to see how Woolsey deals with the realities of the Atlantis mission while bearing responsibility for its success.

On top of the interesting character work, this episode also revealed that the Wraith ships are organic technology, requiring a living host to be grown into form. This makes a certain amount of sense, given their appearance, and it also adds another element to the nastiness of the Wraith. It does harken back to the organic technology concepts at play on “Babylon 5”, but Keller never would have recovered intact on that show. It’s expected, in the Stargate franchise, that scenarios like this resolve to the status quo.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Martin Gero
Directed by Andy Mikita

The fourth season finale was a bit of a letdown for me, especially the very end, so the writers had a difficult task to perform. Not only did they have to kick off the season well enough to justify some of the changes, but they had to overcome my skepticism. For the most part, I think the writers did what they needed to do.

In some respects, I think the production kicked things up a notch. The pullback effects shot in the teaser was completely gratuitous, but it was still a great way to get the audience’s attention for what is, in the end, a simple story. The survivors of the explosion at the end of the fourth season finale (all name characters, of course) need to be rescued, but Michael’s little trap included a high-tech silent alarm. So Michael is ready to come calling to finish off the enemy, and Team Atlantis needs to race against time to rescue the survivors. Oh, and since Teyla is on Michael’s ship, it’s inevitable that her rescue will be in the cards as well.

So much is crammed into the premiere that it’s surprising how much character ends up in the final mix. Granted, Michael and his hybrids are reduced to the usual storytelling clichés, but the team gets a chance to shine. John and Ronon got to have a “last stand” moment (which was obviously going to end in a last minute rescue), and the characters were well suited for it. McKay got to demonstrate his technical brilliance and deliver a baby. Even Keller is starting to assert herself more, which is a nice touch.

Perhaps not surprisingly, the writers finally gave Carter the chance to demonstrate some strong leadership, and it’s the end of her command. I found the various comments about her work on Atlantis, particularly McKay’s summary of how well she did over the past year, to be a bit ironic. In fact, it could be seen as an example of the writers’ lack of self-awareness. Carter was practically tossed in a corner and forgotten for most of the fourth season! Then again, as far as the team is concerned, maybe her hands-off approach was the best thing about her.

Sheppard, on the other hand, must be trying to win a Most Manly Tough Guy Award contest with Ronon. The man gets a spike to the liver and multiple crush wounds, and he’s still forcing himself to stage a rescue. They managed not to ignore his injuries completely, but it would have been nice for Sheppard to suffer his way through the rescue op just a bit more than he did. Since his survival was never in question (Sheppard and McKay will live forever, I guarantee it), why not put him through the wringer?

While I’ve been soundly dismissed for fronting the notion previously, I think this episode underscores the semi-romantic nature of John and Teyla’s personal relationship. I will agree that there’s little chance that John and Teyla will end up together, since that’s not quite how the Stargate franchise works. Characters are far more likely to dance around each other for years or (as with the father of Teyla’s child) conduct romances off-screen. That said, the bond is more than strictly professional; the end of the episode is practically overflowing with “significant glances”.

If there’s one quibble I have with the episode, it’s the removal of Michael and his hybrids from the story. Michael spent most of the fourth season setting up his grand plan, and it seems like a waste of potential to eliminate him before he can truly step into the spotlight. Michael was one of the better recurring villains, because his actions were the direct consequence of a questionable Atlantis experiment. I thought it would have been a clever choice to have Michael be the true villain of the series because it would have justified the Wraith (who have yet to fulfill their potential) and could have unified the series as a whole. Unless Michael stages another miraculous escape and survives, that opportunity is lost.

Yet I will admit that Michael’s apparent demise is not enough to ruin the episode for me, and within the context of the premiere itself, his defeat makes sense. Sure, the writers took the easy route and had Teyla’s love interest overcome his programming at just the right time (that cliché I mentioned earlier), but if one can accept that Teyla could give birth on Michael’s ship without alerting anyone at all, a few clichés are par for the course.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10