Chloe's disappearance makes Lois and Clark uneasy partners in their search for her, with Lionel and Lex in a struggle over his murder trial. Lana returns to the U.S. after a much-too-short stay in Paris.moreless
6.0
"Fair"
Lois and Clark continue their partnership to search for Chloe after finding her coffin empty, strolling across a pastoral scene of farmland to the safe house where Chloe was being held in protective custody. What, there's no road to the house? They have to hike? The wreckage of the house isn't very convincing as the location of a bomb and huge fire, it looks more like a pile of lumber brought to a hilltop that had never been mowed. Just as they start poking around, a black helicopter arrives with two ninja-style rappellers, no identification, and they make a full assault on the civilians. Clark makes short work of two, then uses heat vision to overheat the chopper's turbine. Lois overplays her roles, after her stunt double is buzzed by the chopper. She uses amazing hand-to-hand combat skills to nail the highly-trained military adversary. So this is awfully cartoonish, but it gets worse - a stereotypical camo-geared cigar-chomping General exits the helo, feeding the uneducated masses' childish impression of how anyone wearing a star acts. Sure, they all chomp cigars.
Back home after their near-death experience, Lois shows she has no compunction about Clark's awkward modesty - she doesn't even mind Martha spotting them together in the bath. Mom and Dad have a skeptical confrontation with Clark about their trip to a crime scene. "Your nonverbals are killing me," Lois says, putting some acting back into this farce.
Lana is still in Paris looking at photos of the cave on her laptop - the new tattoo on her backside is identical to a symbol on the cave.
In prison, Lionel readies for his trial, fully expecting to be acquitted. He warns Lex that his betrayal will mean he'll never have another moment's peace. When Lex returns to the mansion, Lana reappears from Paris. This is almost a disappointment in the storyline from the last couple episodes - the trip didn't last as long as it should have. "Something was calling me home," she tells him, and he tells her Clark has resurfaced also. The Talon has been boarded up, but not sold yet, so she wants to rent the apartment.
Still skeptical about Chloe's demise, Lois decides to excavate the grave herself, but even this simple scenes is unbelievable - it would take a couple days for anyone to hand-shovel out three yards of dirt from a grave, even one only three feet deep, like Chloe's. Then all the dirt on the coffin is suddenly loose. It's empty, to her joy, but then she's assaulted by a shape-shifting young man with a Terminator-style arm sword. As menacing as this is, Lana shows up with her pepper spray, and the assailant runs for cover. Strange way for Lana and Lois to meet. This ineffective and silly scene could have worked - I have to blame the director for this poor execution.
Lana comes to the farm with Lois and all Clark can say is "Lana, you're back." No embrace, no nothing, and he pretty much rejects her offer to help find Chloe. Again, the director tries to create a scene of awkward tension, and the three actually do their lines well individually, but together it's just not convincing. The whole dialog looks forced and unnatural.
At the farm, Lois tells Clark that Luthorcorp paid for Chloe's funeral. Ms. Durance plays Lois well here as an independent thinker, not needing any emotional ties to anyone. Just then, there's a roar outside and a landing light hits the loft - it's the obnoxious military helicopter again, and before it lands, big menacing General Lane blows right in, apparently able to use federal resources for his own personal benefit. These dumb setups are becoming pervasive - almost every scene is overplayed and stereotyped to the max. The General is Lois's father, Sam Lane, played by Michael Ironside, who's barely upset about the crime scene invasion. Now we have to overook the incongruity of a military General protecting a civilian crime scene. Lois leaves with General-Daddy, asking Clark to investigate the Luthorcorp-Chloe link.
Lex has another mystery to decipher - how someone invaded his aircraft last week to steal the crystal he found in Egypt. As he views a wire-frame CG of the aircraft losing it's door, it's easy to see that this is the actual base for the fully-rendered scene from "Crusade." Clark comes in, posing aggressively, but nevertheless asking Lex to help him find Chloe. Lex admits he pulled some strings - but claims there were no remains left to bury, then Clark spots one of Lane's cigars in on the table - Lex and General Lane are working together. This season, the directors are doing shower scenes - one with Lana last week, then Clark in this episode, and now they add Lionel. This is becoming a plot gimmick to show off how hard Mr. Welling and Mr. Glover have been working out this summer. Give it a rest. A chorale sings as Lionel gets stabbed - only once - by a fellow inmate. If someone wanted him dead, they'd do it. So what's the point here? Will we find out who is behind this attack? I doubt it. It looks like another gratuitous plot twist that will go nowhere.
Out at some Guard base, Lois is poking around Daddy's files, when Clark slides in, too. How he knew she was there we don't know. Clark explains that the General is working with Lex. Lois explains that her mom died when she was six - so noted, in case this fact is germane to some future episode. Finding the name "Nellie Blye" in Lane's datebook, Clark realizes that was Chloe's hero, maybe it's a code name. Lois easily finds an address, so Clark races there - too late. The house has a Wall of Wierd, evidence of Chloe, and her computer...and two dead guards. Lex appears, finally having to explain that he set up a cover for Chloe. Flashback - Chloe and her father and Chloe entered the safe house last season, but it was known to have a bomb, and the house was conveniently built over tunnels left from the underground railroad, so they survived the subsequent explosion. Lex didn't trust the FBI, so he had General Lane engineer the rescue. Oh really? He'd jeopardize his military career to get involved in a rescue of his niece?
Lionel isn't dead, but in the prison hospital, talking to the creep who attacked Lana and murdered the two guards. Trent is a shape-shifter, apparently freed from Belle Reve by Lionel for use as a weapon. We might think that Trent is an important character, but we'll see that he's just a trivial add-in. Lionel virtually demands that he kill Chloe so she cannot testify tomorrow. This idea is just plain dumb - how can a trial take place when the accused is recovering from a murder attempt himself? Might we get a continuance? This plot is just so close to being well done - all it needs is some thought about the dialog, a line here, a bit of background there. It's amazing how little it takes to make the difference between fine drama and disappointing foolishness.
Lex tells Clark that Chloe is at the old foundry, so Clark speeds away again. Dopey scene yet again - why would an assailant take his prey to a working factory? Just for the faddish blue mood lights, bench grinder sparking and fireworks? But of course, there's no employees doing all this - it's just Chloe hanging from a meathook. She manages to free herself, but we still don't know who's behind her capture until Trent shows up with his metal arm to kill her. Where has he been, on a lunch break? He captured her, then went to see Lionel to get the murder instructions? Clark does one of his patented tosses as Trent does his Terminator impression as metal shapeshifter, but it's Lois to the rescue (how did she know to come there?). Between her taser and Clark's heat vision, metal man Trent vaporizes into a vat of molten metal, Terminator 2-style again. Easy come, easy go - he was a throw-away adversary. They leave the foundry, obligatory vent fan turning shadows in the background, a lighting fad going back at least to "Blade Runner." How many movie fads, cliches, and overused gimmicks can be squeezed into one Smallville episode?
Lionel has been convicted, but Clark still does not trust Lex, he tells Martha and Jonathan. The cave legends refer to an enemy...now he thinks it's Lex. Lana comes to the cave, then Clark too. How do they make so many connections? She's looking for something, and the two seem to be estranged, she thinking Lois is his new gal pal, but he's quick to say he can't stand Lois. Lana suggests there may be something there anyway, then she sees the cave symbol matching her tattoo. You can't escape your destiny she says, even if she doesn't know what it is yet..so she's placing a lot of significance on the Paris crypt rubbing, the illumination, and her mysterious tattoo. Back in prison, Lionel is ready for his permanent cell, as Lex watches him go into long-term confinement. Lex is not intimidated by his threats.
While moving back into the Talon, Lana has a visitor - it's Jason, her Parisian boyfriend. She's surprised but pleased. She had left him a "Dear John" note, he followed her home, but she has no explanation for her actions. She can't go back, that's ok, he's there to be with her. Apparently we have a new resident temporary guest star.
How quickly we decline from some of the finest Smallville episodes to this disappointment. It was so close - yet so far from excellence. Was it the director? This was not his first episode - he directed several good ones last season. Film editing? Dopey set decoration? How did this fail to come together? Too many cliches and unbelievable setups - too many hackneyed depictions of military procedure, too quick resolution of last season's cliffhangers. I won't make much effort to see this again. Re-run rating C-.moreless