Reviews

I've been a fan of the homicide detective genre since Homicide: Life on the Street (93-99). Many top-flight variations on vicious murderers and the complex detectives who catch them have aired since then: Bron/Broen, Forbrydelsen, Wallander, The Fall, and Happy Valley, to name a few. Cardinal (season one) is a candidate to join such elite company and I eagerly look forward to viewing season two.

There are typical elements of the genre: the brilliant but troubled detective(s), the misfit murderers, tragic victims, mourning loved ones, and squad room colleagues. These need to be fresh yet familiar, compelling yet not formulaic. Cardinal largely succeeds on all fronts, especially with the leads, Cardinal and Delorme. Cardinal is intense and skilled. His troubles come not from a bottle or a substance, but from a bi-polar wife whom he loves he loves but cannot cure.

Delorme is complex in her own ways. She not only works the murder with Cardinal, proving herself to be a quick study, she has been tasked with joining a hush-hush investigation of Cardinal. We are spared the typical "rookie learning the ropes" trope in favor of the detective working two cases simultaneously. While viewers intuitively understand that Cardinal is not dirty, the sub-arc manages to captivate as the facts are gradually revealed.

Compared to Lise, the good-hearted Josh is bland and eventually makes a welcome exit, clearing the way for Delorme to be free of domestic baggage in season two. The workaholic detective has no desire to be held back. She takes to the detective work and builds a rapport with Cardinal, grasping that he is not a rat even as she gathers facts on both cases.

Eric and Edie are memorable killers. Eric's progression from a "simple" drowning to gruesome torture, some of which is videotaped, is morbidly fascinating without being gratuitous. Edie is believable foil, shifting from a slightly timid underling to a bold, menacing killer who has acquired a taste for violence. The pair is complex without being super-predators.

Murder leaves profound sorrow in its wake. The mothers and wife of the dead are not cardboard cutouts, but genuine characters given substance. Cardinal doesn't simply check all the genre boxes in season one, it establishes itself as a high-caliber entry in homicide detection. While late to the show (2017-2020), I am pleased to have discovered Cardinal, and look forward to returning to Algonquin Bay for season two.

I had never heard of the brutal murders of the Haysoms until watching this documentary. Morbid curiosity and extensive opportunity for speculation made this a compelling series. The letters offered insights into the young couple's obsession. There are many facts presented, yet no definitive conclusions are drawn. Did only one or both participate in the killings? If solo, which one? If both, who wielded the knife?

I believe Elisabeth was there and physically committed the murders. Being shipped off to overseas boarding schools like a parcel would take a toll. The drug use and psychological difficulties added to the pressure. It seems she was a later-in-life child that the parents were not interested in raising themselves. Was the mother abusive? Impossible to determine, yet would account for some of the rage.

By confessing to her involvement yet pinning the actual murders on Jens, Elisabeth was able to get execution off the table. Smart. Of the pair, she is the one who had the power to manipulate the other. Sex is a powerful motivator, and Jens was not experienced or savvy. Hubris and drug use seem to have fueled an arrogant disregard for the consequences. Even a basic matter like the car's odometer was apparently not considered.

It seems probable that Jens accompanied Elisabeth to the Haysom home, although of the two he is much more likely to have stayed behind. Movie tickets and a room service order do not preclude the couple acting together. The exact timing of the killings was not clear, and DNA science would take many years to advance. Jens was willing to take the fall when he believed extradition to Germany was likely. Once in a US courtroom, he quickly changed his tune.

There is a wide array of reporters, detectives, family, and friends who share their recollections and assumptions. Archival footage and recent interviews make for a strong mix of old and new footage. The parole was tipped early on, yet still made for a good twist in the final chapter.

The weakness of the documentary is that Elisabeth refused to sit for questions. Living in Canada, she apparently acquiesced to relatives' wishes that she stay quiet. Both are dishonest. Each paid a high price for the slaughter of the Haysoms. 'Til Murder do Us Part is a captivating true-crime documentary. Recommended.

The first three seasons of Gomorrah were nearly flawless. No mean feat, given the strength of Roberto Saviano's 2006 nonfiction book based on his investigative journalism, and the successful film adaptation co-written and directed by Matteo Garrone. What more could be done? The success of the series spoke to the quality of the writing, the cast, and the direction. There was plenty of action and drama, yet the larger issues of the world within Naples were not swept off stage.

The series could have ended with the close of season three, yet international acclaim led to streaming platforms and a much wider audience. Despite the absence of Ciro, whose story is related in The Immortal, the fourth season is quite successful. Genny's development continues and against his better judgement he allows the lure of the Camorra to draw him away from a good life of family and stability. While season four was quite strong, the seeds of the problems that would make for a diminished final season were planted.

The nature of the conflicts that drive a narrative go to the heart of its success or failure. The conflict established that drives the final season rings false. Genny ignores the fact that Ciro saved his life twice, choosing to focus on Ciro's silence following his miraculous recovery. Don Aniello put Ciro to work, as was seen in The Immortal. Both Ciro and Genny had their hands full.

Rather than rejoice at learning Ciro lives, Genny is bitter. His childish response will drive the events that follow, and he will never stop twisting his ring. In many important scenes, there is inexplicably little dialogue for the actors. There is dynamic action, yet there are many missed opportunities to dig deeper than a drug war genre exercise. The world within Naples becomes little more than fodder for the predictable back and forth of stolen product and reprisals.

An unlikely "jail" break and unbelievable help from a trailer of strangers sends Ciro back to Naples early in the season, where much of what follows is a pale ghost of what had been a captivating series. Believability follows plausibility into the abyss. While there is good action in the final season, one can't help but regret the simplistic set up that settled for Ciro vs Genny. Little nuance is found. It could have been so much more if the two leads had been provided a common enemy rather than the predictability of what was delivered.

The tone veers from tense drama to witty farce. While this is bound to be off-putting for some, I strapped in and enjoyed the ride. A few plot holes did not hamper my enjoyment, and I am left with some slim hope for a third helping. Elliot and Helen are a great couple, and the actors handle the tonal shifts with aplomb.

The burning folder at the close suggests there is much more to our amnesiac than most would have expected. Helen will, of course, make a first-rate private investigator. Give her a case to work, Elliot dance shoes to wear, and a pint for after work. Ethan and Ruairi are comic relief of the disturbing and hilarious kind.

I am left questioning the veracity of Lena's tale, although she certainly behaved like a true believer. The plane with the cases brought to mind Cormac McCarthy's final, fabulous novel, The Passenger. Orla would seem to have some unfinished business. Shout out to Damen Herriman (of season one and the great Mr. In-between). Olafur Olafsson was riveting (Entrapped) and Billy needs a twin brother he was such a great character, even haunting Helen's coma.

Not formulaic or familiar, The Tourist dances to its own drummer. I like the music, so count me in for more of a good thing. Perfect? No. Recommended? Oh, yes.

The first season was solid if nothing special. Seeing a review claiming season two was a step up, I decided to give it another chance. Mistake.

The utter stupidity that marks the main developments this week is astonishing. First, the weapons sale. Sato and Hayama take a train while carrying a large duffle of cash. They are picked up at the station by a fool who drives them to his remote house. The two could have easily been robbed and killed had the "arms dealer" wished. They drink and a knife is produced. The man says he has no weapons but they will be delivered tomorrow. Really? This is how he deals with the Yakuza's men? He inexplicably stabs Hayama, who slits his throat. The house is set ablaze, and the men walk off down the road with a large bag of cash, no weapons, and no easy way back to the train station to return to town empty-handed. Dumb.

Samantha is sent to gain info on the developer's/architect's plans. He has a fabulous house. Thirty seconds of a slow dance and she excuses herself to use the washroom, heading straight to his office to find and photograph documents in a dark room. The man cuts his finger preparing dinner and she must cut short her work. She leaves his briefcase unfastened. Samantha has become the blandest "madame" in the history of tv. Rachel Keller has chops but is utterly wasted in season two. The whole operation, undertaken at the demand of a Yakuza boss in exchange for Samantha soon owning her club outright, is almost as amateurish as the weapons sale.

Jake has no source for more info on the crime bosses, but if you can't be smart be lucky. An "old school" boss is taken out by another dumb underling who is lucky to be alive after his betrayal, yet feels the need to push his luck past the breaking point. The boss goes airborne off his balcony, landing a few yards from Jake. Really? Jake was waiting around outside, as he had no way into the building and nothing to do inside had the security guard allowed him in.

From the cliche use of pictures of Hiroto's kids left on his windshield, to the computer whiz young brother, to the single mom with a little boy begging for a step-father, the shallow twists never end. Dumb and dumber. I'm out.

No idea why this high caliber episode is missing from Hulu. My curiosity took me to freevee. The horrific murder and aftermath made for an especially compelling episode. Cold Case Files is good at being honest about the facts without ever diminishing the victim or taking cheap shots at a small town police force with limited resources. In this case, the producers could have taken the gloves off in terms of lazy, shoddy police work. Again, we find a dedicated and skilled cold case detective take on a formidable challenge years after the crime. Detective Hunt gets down to business and moves the tragedy to a measure of justice.

From an absence of any immediate search or urgency, to charging and wrong man and bungling the trial, to a failure to go over the evidence gathered by private investigators for the defense, the amateurish and unprofessional local police compounded the tragedy at every turn. While it is clear that small town police forces draw from a limited pool with little to offer for a career in law enforcement, the sloth of the local force is especially noteworthy here. Hats off to Detective Hunt for her dedication and fine work. Can't blame Mr. Dishon for wanting to deal out a larger measure of justice. May the killer's time in prison be especially unpleasant. Condolences to the family.

Mr. And Mrs. Smith delivers. Smarter than the average action-based show, M&MS manages to have it both ways: exciting gun play and chases, satisfying character development and genre winks. That Glover is exceptionally talented and charismatic will surprise no one who has been paying attention. Maya Erskine is a revelation, with a nuanced performance and dynamic physicality. The series manages to balance the action and the relationship. The bar is set high, yet the hiccoughs are few and far between.

High caliber guest stars add to the fun, with the always spot-on Sarah Paulson shining in the role of marriage counselor. Some of the action scenes riff on the "impossible odds" scenarios of Bond films, where the shots fired to landed ratio hovers at around 200-1. The truth serum bit of the wrap-up, set up with gusto by John Turturro in episode 2, may be a touch pat, but the leads carry it off with aplomb.

Will there be more? The close strikes a mysterious balance that soon left me questioning my initial certainty about the fate of M&MS. If a second season happens I will be on board with the killer couple and their new cat. Hats off to the stars, the direction, the sets (Great Whale, indeed), and (most of) the writing. Highly recommended.

There was a lot to like about the series. The finale did not live up to what came before. I have not read the two books upon which the show is based, so faithfulness to the source material may have played a role. Either way, multiple developments were out of character at best.

The pregnant actress arc stole a lot of time and energy better spent elsewhere. The character was strong in the opening two episodes, but here she was a unwanted distraction. The development of Brodie's relationship with his daughter was stellar, yet she is ignored in favor of the pregnancy arc. What a shame. The daughter in trouble and son needing answers were solid arcs that put Brodie in some tight spots as he worked to find facts and discover the truth. The unhappy daughter and disillusioned wife were in situations that rang true.

The con-woman, Charlotte, was a good twist. Brodie's reaction was inexplicable. Charlotte cons Brodie into believing they had a close relationship, only to empty his bank account and vanish. Brodie shrugs. Really? "She's good at covering her tracks." Really? She cons a PI with a strong connection to the police. Hardly a prime target for the con. Instead of compelling sleuthing and pursuit, the character is never again seen. Instead, we get more of the pregnant actress.

And what to say about Louise and the confounding dinner date? Her marriage has quickly unraveled off screen, for reasons we are left to guess. What seems to be a ham-fisted set up for Louise and Jackson to finally connect, turns out to be a scene in which Jackson acts like cruelly and decidedly out of character. I did not need or expect "happily ever after," but the sour close rang false. Lone wolf. Troubled childhood. Understood. Still, a sour ending to a show that was very good until it wasn't.

The police "work" was nonexistent for over a decade. To take at face value that a mother of three would simply take off for Maine with an unidentified man, never to be heard from again, is not believable. It was years before it was determined (through a social media page) that the man Sherry briefly dated after her divorce had never left the area.

When the truth was finally revealed, it was the most obvious scenario. Poverty forced her to move in with the parents of her ex. Instead of going to the birthday party of her sister's children, where her own children awaited, Sherry was murdered by blunt force trauma, as revealed by a fractured skull excavated 13 years after the murder so foul.

As with the previous episode, the murderer's first impulse upon being found out was suicidal. His sentence was light due to bargain made to secure the remains. Here's hoping he is always denied parole, serving the full term of 12 years.

It would have been good to hear from Sherry's children, who were lied to and believed their mother had abandoned them. She did not.

While suspension of disbelief is a must, I will admit that I am on board for season two. The illogical and unlikely actions lessened the impact, yet it remained entertaining.

A few quibbles. There is no way. Mardik's wife is taken to a "safe house" and tortured. The police had no indication she knew what Mardik was up to. Mardik's actions were highly suspect, but still open to debate ( a couple of his colleagues knew he was not a terrorist). Taking the daughter was icing on the absurdity cake. It would be believable for the bus bomb back-pack man to be tortured, but he was shot dead outside the bus. Ilja needed to be an evil cop to drive a few events, but it was still wildly unrealistic.

Mardik had no way of knowing if Faysal would take a head or body shot. Luckily, Faysal shot him in the body armor. He inexplicably removes the armor as he makes his way to where Faysal had been situated with his sniper rifle. Why!?

Grandpa has valuable information to share with the police. He is brushed off by one cop at the mall and decides to pray rather than find a cop who will hear what he knows. It rand true that some in the crowd would become angry at the sight of a Muslim praying at the site of terrorist violone by Muslims, although Ilja's rage was over the top,

The bomb is on a timer. Again, our bomb squad specialist who opens the series and is a quality recurring character is on the job. More good tension as the clock runs down. I suppose the phone detonator would override the timer, but it was odd for Faysal to be there as a backup when he could easily have escaped.

I was wrong about Mardik's photos on the wall at home. Doubtful this is the way he would have constructed a family tree for his daughter, but the red herring pushed the plot.

While the quibbles were many, I think a season two could be a success. With Mardik on the job without suspicion, the cast is well situated for a strong case to find the rat(s) within the force. Good action. Good Netherlands locations. Fewer dumb moves by the police could make for a string season two.

Episode was thrilling yet frustrating. The opening of The Golden Hour establishes Mardik as an observant officer, decisive and skilled. While the set up suggested a willful, lone wolf type, the mistakes and unprofessional conduct add up in a hurry in episode two. The horrific terrorist attack with the stolen truck is powerful, and the challenges for police are dramatically depicted. Still, the inexplicable decisions quickly mount up past the breaking point.

1. Mardik has been conducting an off-the-book investigation, as evidenced by the photos on the wall at his home. He must be searching for a mole in the force, otherwise he is pathological.

2. When the older trainer shares information about Faysal, Mardik keeps quiet choosing not to inform his superiors of a potentially deadly threat.

3. Mardik skips the big meeting, going to his car instead of sharing vital information. Shannon joins him as he is about to drive away solo. He reveals to her the info about the apartment. They go there.

4. Mardik sits in the car while Shannon investigates on her own. He fails to have her back, inexplicably staying in the car. The apartment door is open, suggesting the terrorists wanted police to go inside.

5. Shannon confirms the apartment has been the hideout of the terrorists. No bomb squad or backup is called. Mardik stays in the car.

6. Shannon triggers a booby-trap, which kills her. She is blown out of the apartment, landing dead on the ground.

7. Back at the scene of the truck attack, police ignore basic protocol. A helicopter moves very, very slowly to the site. A little girl is taken by an officer from the truck cab down a long stretch of street. A sniper, Faysal, kills her. The sniper later exits down an unsecured stairwell and out to his van without meeting any resistance. The building was not secured, even though multiple teams are inside moving to the room where the sniper was located.

8. Mardik tells officers arriving on the scene where Shannon has died that he is a colleague, yet fails to follow their instructions. He draws his gun and shoots in the air, ending any credibility left in the script.

9. Could Joelle or Riad be a terrorist rat who has infiltrated the Police Force? Her interview did not seem out of line, and Mardik would have known his trip to Afghanistan would raise a red flag. Still, she next went to his home and snooped around, suggesting she is not what she seems. She is dating Riad secretly, which suggests one of them may be a rat.

While the action, Nasrdin Dchar (Mardik), and the cast are strong, the script is asking us to suspend disbelief past the breaking point.

It is a bad sign when you are repeatedly hoping for a return to the flashback arc. A big fan of The OA and Marling's work in general, I had high hopes. Unfortunately, the retreat "murder mystery" is not engaging. Emma Corrin carries the series, even when Darby's actions are inexplicable. She holds the series together with a quiet yet dynamic performance.

The swarming AI does not (yet) provide a reason for the gathering or a motive for murders. The signaling to an unknown source came at a swift and deadly cost. Corporate espionage? Lee's info dump does not make her a character with depth. Just how badly misplaced are Darby's positive assumptions regarding Lee? Zoomer may be Bill's kid but so what? He needs a better game to play. Clive Owen can't make Andy more than a self-absorbed billionaire lacking depth. Might he surprise by taking a sympathetic turn? The cost of immersion in tech and diminishment, rather than enhancement, of users' sense of self and the world is a theme rich with possibilities. Sadly, there is precious little to captivate three episodes in.

Even the more engaging flashback/true crime arc is on shaky ground. The survivor is found, yet brings nothing in the way of damaged victim permanently altered by the ordeal. Discovered in a modest home of rural setting, she appeared to be fresh out of the salon chair. Great perm! Boredom marked her recollections of past trauma. At least the true crime sleuthing made me curious about what comes next.

Hanging on with vastly lowered expectations.

So many problems with the fifth season. While replacing Walker is an unenviable task, Keenan wasn't given a lot with which to work. Kicking off with her husband's bad behavior making James borderline unprofessional at work was not wise. Sunny's dilemma over his fiancé's pregnancy was unrealistic, as the actor is 60. Revealing the home life of detectives can flesh out characters, but in this case both arcs were less than satisfying. (Her sister?!) The crime was intriguing at first, yet became overstuffed with too many ingredients in the stew.

McElhinney was strong as Hume. The abuse of privilege and the arrogance of wealth was a good theme. Still, letting Jay and Ebele off the hook was a cop out. How on earth did she and her punching bag plan on expanding to ten restaurants? Hume will have a short sentence, as his cancer will run its course. Hard to fathom his lawyer allowing him to talk and talk and talk. Karol seemed superfluous, so another good performance was wasted. (Upskirt pics?!) The cult was also an unnecessary plot device.

Diminishing returns made for a frustrating season. Here's hoping the sixth (and final) season rebounds to wrap things up in much better fashion.

Anyone can become a murderer, given the right circumstances. The circumstances in episode one involve a strong set up that, in a flash, devolves into a Monty Python skit. I almost expected the vicar to turn to the camera and say, "Live from New York, it's Saturday Night!" Would the math tutor look up from the bottom of the stairs to the cellar and say, "It's a fair cop"? I had seen the mixed reviews but gave this a go, as Tucci heads the cast as a prison sleuth. The key to the premise working is a horrifying chain of events that turns the unlikely killer's life into a nightmare. This fails in such a monumental way that we are left with half cerebral drama, half farcical comedy. Kudos to Tennant for keeping a straight face as the misfire misfires. "Grab a shovel, honey. I'll explain while we dig a grave." Laugh loud at the unintended comedy, or weep for what might have been. Viewers will gasp at the horror, although not as Moffat intended.

A very strong episode. The two-part format allows for a deeper dig. One has to wonder of it was McCarthur who provided the misleading "cannibal" tip that drew the first investigation away from Toronto. One of the early victims used his cell near the infamous cabin, which was likely nothing more than a rental for deer hunters. At least the perv was caught filming boys in the locker room. He got off pretty light.

The security camera that caught the killer's red Jeep was a lucky break that put the detectives on the right path. This and the "3PM Bruce" marked the beginning of the end for the vile killer. The two-structure apartment complex was huge. Each building would have at least one freight elevator, allowing for cart transport of large objects. The computer drive gave up secrets and a man was saved shortly before he became the next victim. Good detective work. Good editing and shaping of the footage.

The only drawback of the "Catching Killers" format is that the narrow focus hampers a deeper exploration of the criminal and victims. It can have the feel of reading the last chapter in a book one would have liked to have read in full.