Stine’s dad is JAG‘s David James Elliott, a car dealer who’s a big man in town and he has strong ambitions for his son. Indeed, it’s very rarely a series about teleportation, instead being an intimate, sometimes moving examination of small town life and how a sexual assault can affect it, the importance of sports, the difficulties of family relationships, the difficulties of integrating two families with teenage children and the difficulties (and simplicities) of being an outsider. Sarah Desjardins in Impulse Friday Night Jumpingĭespite its origins, the previous movie and the fact Liman is both producer and first-episode director of the series, Impulse is more like a season of Friday Night Lights – it even looks like it, too. What’s going on? What will happen to Hasson? What will happen to Stine? And how will Hasson’s new ability evolve?

However, this time her fit somehow crushes the truck they’re in, paralysing Stine and instantly transporting Hasson back to her bedroom, along with bits of the truck. Hasson hooks up with local sporting hero Tanner Stine, but when things start moving too quickly for her, she asks him to stop… but he won’t, causing her to fit again. She’s found a possible keeper – widower Matt Gordon – who has his own teenage daughter (Sarah Desjardins) and all would be fine, were it not for Hasson’s extreme mardiness and the fact she’s starting to have fits that doctors are finding hard to diagnose. Dad left years ago and now commitment-phobe Pyle moves from guy to guy looking for ‘the one’ who might be good to both her and Hasson. It sees Maddie Hasson playing mardie teenage girl Henrietta (aka Henry) who’s moved to the small town of Weston in New York state with her single mum (Missi Pyle). Impulse is based on the third of the Jumper novels by Steven Gould, but is as much of a departure from its raw material as Jumper was. Missi Pyle and Maddie Hasson in Impulse Impulse

It’s even more surprising that it’s actually really good. So it’s something of a surprise that he’s attempting to resurrect his career with a return to the Jumper universe. Since then, Liman’s directing career has been a bit more low-profile and tethered to Tom Cruise’s whims, so Liman has done well as a producer on the likes of Suits instead. The film was something of a disaster and more or less killed off the career of director Doug Liman, which given he revolutionised spy cinema with The Bourne Identity shows you just what a rubbish movie it was.

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