Reviews

Delving into this cinematic odyssey without any foreknowledge as it relates to the book, I found myself ensnared in a narrative maelstrom, markedly distinct from the normative contours of apocalyptic storytelling. Eschewing the oft-trodden path of superficial action and levity, the plot unfurls with a deliberate ambiguity, a narrative gambit that is as audacious as it is refreshing. This conscious choice to cloak the storyline in layers of enigma is nothing short of ingenious in my opinion, grounding the film in a palpable realism, albeit occasionally veering from this trajectory in a few scenes.

Structured in a quintet, the film begins with a simmering suspense, masterfully escalating to a crescendo in the impeccably orchestrated beach sequence. The introduction of characters such as G. H. and Myha'la injects a multifaceted tension, artfully juxtaposing the underlying marital discord between Clay and Amanda, wonderfully played by Hawke and Roberts, thereby enriching the narrative tapestry.

The film's portrayal of catastrophic events - ranging from electromagnetic pulses and harrowing plane crashes to radiation-induced dental deterioration and the chaos of rogue self-driving Teslas - resonates with a stark, unsettling realism. However, the animal subplot emerges as a discordant note in this symphony of verisimilitude. The meticulously arranged deer, forming an almost artificial semicircle, appears incongruously whimsical and thematically adrift. This element, initially suggestive of a biochemical weaponry narrative, eventually veers towards a supernatural realm, creating an anomalous blip in an otherwise meticulously crafted realistic movie.

The film, while largely successful in its storytelling, stumbles in its character portrayals, particularly with Clay and Rosie. Clay's character is painted with rather broad strokes, epitomizing the stereotype of the 'too-nice guy' without much complexity or depth. Ethan Hawke brings a commendable charm and a unique humor to the role, yet the character's development is scant, exemplified by a narrative thread involving an arbitrary abandonment of a Spanish-speaking woman-a plot point that ultimately fizzles out without tangible impact.

Rosie, intended to be a 13-year-old, is encumbered with dialogue that seems misaligned with her age, detracting from the character's believability. Her abrupt decision to run off to the bunker house strikes as a particularly glaring example of forced narrative convenience, rather than a natural progression of her character. These elements in the character design, especially in a film that otherwise excels in nuanced storytelling, stand out as notable shortcomings.

Beneath its surface narrative, the film also navigates the turbulent waters of class and racial dynamics. Myha'la's character grapples with the complexities of Amanda's mistrust, an animosity that she attributed to racial prejudice but gradually reveals deeper socioeconomic undercurrents. The narrative deftly suggests that the crux of their conflict may lie in a confluence of both racial and economic factors... perhaps the truth lies somewhere in the middle. G. H.'s unsettling backstory, tackling contemporary conspiracy theories, confronts the audience with a harrowing hypothesis: in the throes of an apocalypse, the most chilling revelation is perhaps the absence of any grand orchestration, leaving humanity to grapple with chaos unguided.

The film's narrative crescendo reaches its zenith in a moment of sublime irony, where the exposition, artfully intertwined with the enigmatic deer subplot, unfurls in the final act. It is here that the film's thematic undercurrents, subtly but notably influenced by the Obamas' creative vision, pierce through the fourth wall with deft precision. This revelation, unfolding with a blend of political savvy and cinematic finesse, unveils a chillingly realistic stratagem aimed at the destabilization of nations such as the United States. Intriguingly, it posits that the crux of this subversion lies not with foreign entities, but is orchestrated predominantly and ultimately by domestic players, weaving an intricate web of internal machinations. This narrative pivot serves not only as a highlight of the movie but also as a poignant commentary on the complexities of modern geopolitical landscapes and an excellent addendum of sorts to such a slow burn.

This film is an imperative viewing for aficionados of credible apocalyptic narratives. It demands a contemplative engagement, especially in its denouement, which, though potentially perplexing, is a deliberate deviation from conventional storytelling norms. The film eschews the customary hand-holding in plot exposition, instead opting for a narrative tapestry that invites the audience to engage in a deeper, more nuanced interpretation of its complex storyline.

"What's Been Lost" begins with our heroes being abducted off the street by menacing thugs working for a corrupt head of state. While it's a decent premise, it somewhat faltered in execution. Ezekiel being silently kidnapped in the same room as Carol was silly.

Eleanor Matsuura (Yumiko) was phenomenal, as was her character's development. It may be too late in the game for most of the audience to care about such a previously under-developed character, but that's not this episode's fault. The storyline in general was also very interesting to me as it gives us more insight into the politics of the Commonwealth.

The episode perfectly concluded Lance's arc. He was a gambler at heart, and playing the long game with Pamela was simply insufficient for his greedy ambitions, especially when the opportune Virginian communities came into play. All season long, we have seen him slowly descend into psychosis as he takes bolder and bolder risks, backing himself into corners and burning bridges with allies, until the only people he has left are just using him for ulterior purposes; eventually, he no longer served a purpose to them. While his death may have been anticlimactic for an audience who expected another confrontation with him and Pamela, a more robust CRM link, or the outcome of the events in Oceanside first, his death is a realistic conclusion to his character.

Overall, this episode was like a Season 2 episode, in the sense that it probably could have and should have been condensed into half or a third of an episode. But also like a Season 2 episode, the slow pacing allowed more emotional imbuement in most scenes. While it wasn't that bad, let's hope the next episode gets the ball rolling a little faster.

In A New Deal, the show continues to deliver quality acting, great directing, a decent plot, bold dialogue choices, and lightning-fast pacing.

This episode, along with the last, stars more of our cast than any other episode this season. While this allows for our talented cast to show off some compelling character interactions, it will be very hard to pull off a satisfying ending to the show with such precious screen time being divided among so many characters. Despite this, it seems they have chosen to keep the cast bloated for now.

This choice naturally leads to faster pacing, which this episode handles very well, unlike the last one. We get great scenes between notable duos (Carekiel, Caryl, Rosabriel) and not-so-notable duos (Steugene and Yumagna), as well as nice ensemble scenes at the beginning, strong character development for Judith and Daryl, and a shockingly satisfying story surrounding Lance, Mercer, Pamela, and Sebastian.

The only minor issue I have about this episode is that the dialogue is oversaturated with nostalgia, and it seems forced at times. Though it can be argued that the lines hold enough emotional weight to justify themselves.

What I personally enjoyed about this episode is the metaphor of Carol's "new deal" for FDR's New Deal programs. Both provide short term relief, setting a precedent for governments playing key roles in economic success. This plays well into the classist themes written into the plot this season.

Perhaps the most important part of this episode is that it is a springboard for dramatic deviations from the comic. Killing Sebastian is an excellent move that expedites the comic ending and allows the show to introduce more variables in the coming episodes. Whether or not introducing walker variants and the Civic Republic is the right decision for the coda of TWD, it stands that this episode perfectly paves the way for this bold new direction.