“Condor” premieres June 6 on Audience Network. “Killing Eve” and “The Americans” end their seasons on May 27 and May 30, respectively. Looking back at the ’70s for the Daily Beast, Adam Sternbergh wrote that the movies of that era reflected “cultural by-products of a widespread societal freak-out.”įor many immersed in today’s 24/7 news cycle, that might sound like a fair description of where we are now. Still, the current climate for such fare does appear relatively hospitable, for a variety of reasons. The new “Condor,” it’s worth noting, doesn’t quite take flight in its opening episodes, a reminder that translating such a concept into a series isn’t always an easy process. via avenues like Netflix and content-hungry cable networks. The British and Danish have been especially good at mining this territory, yielding an assortment of shows that now reach the U.S. Television, moreover, offers the latitude to tease out games of cat and mouse, although that poses its own set of challenges, as evidenced by the creative contortions of “Homeland” in its later seasons and Fox’s misguided revival of “The X-Files,” which in its heyday was a classic of the genre, albeit with a supernatural twist. There are several reasons the paranoid thriller has largely shifted to TV, perhaps foremost because the kind of mid-sized, character-driven stories these films exemplified has been relegated to a cinematic no-man’s land, lost between special-effects-driven blockbusters and small independent films. All explicit references and evidence to the viewer that Truman is part of an elaborate reality show centered around his life have been removed. The intention of this fan-edit is to reimagine Peter Weir’s classic The Truman Show(1998)as a paranoid thriller. Robot” and to an extent “The Americans,” the FX drama rooted in the Cold War, which will conclude its six-season run on May 30. A Truman Show fan-edit in the style of a Hitchcock/Lynchian thriller. 11 terror attacks but which harbor echoes of the formula that held sway in the ’70s. These shows join a number of series that have roots in the Sept. And “Condor” isn’t the only ’70s movie that has made a comeback in series form, with Michael Crichton’s “Westworld” having found a home on HBO, probing uncomfortable questions – albeit from a new angle – about artificial intelligence and technology run amok. When she suggests that "getting it out" is enough, whether or not anyone else hears it, he silently takes her advice, even as the film leaves the impact of that choice open.The show happens to arrive around the same time BBC America will conclude the first season of “Killing Eve,” an off-kilter drama with its own set of twists and turns, featuring Sandra Oh as an intelligence analyst tracking a shadowy female assassin across Europe. With nowhere to turn, Alex tries confessing without confessing, sharing a vague story of guilt with a friend. When he speaks with his father, who's moving his things out, the camera keeps so tight on Alex's face that his dad remains nearly unrecognizable in the background. And his view, so limited and naive, shapes the appearances of both adults and his friends. His halting voiceover, as if he's reading his journal entries, works well with the film's uneven editing and skips back and forth in time. Now he seeks not community or solace, but a way to release the weight bearing down on him.īased on Blake Nelson's young adult novel, the movie realizes Alex's desperate, poetic point of view in layers. His onetime escape - watching the Park skaters who appear to him as lyrical athletes - is lost. Though Alex can't tell anyone about the accident, he's haunted by it in the form of ghastly crime scene photos and grisly flashbacks. Following Alex from shimmery school hallways to the skate park pulsing with energy, Christopher Doyle's handheld camera never pushes hard, but looks gently into Alex's eyes or tags along with him on the sidewalk, as if wondering how he came to be so sad and baffled. Gus Van Sant's film is as lovely and evocative as any he's made.
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