A man with amnesia after an apparently provoked traffic accident desperately searches for his identity in the Australian desert in this erratic crossover of genres that reminds us there’s no need to extend a series that long.
Needless to say, there are many series that should last one season. Continuing a good idea until it loses its meaning and much of its grace is what characterizes the success of a large audience, sometimes a heavy burden when we talk about creativity. A ten-part session can also be a terrible grind. There are three-chapter proposals that go from sobriety to boredom, from excellent to scraped approved, or straight to suspense, as if it were a film extended for no reason, fragmented for consumption in ‘streaming’. The famous transitional episodes are as inevitable to stretch the gums as they are insidious when it comes to judging a work as a whole. The miniseries concept is becoming more and more. It taps into the widespread sense that providing quality doesn’t necessarily mean you deserve a sequel on the grid. Interesting initiatives are canceled because they don’t live up to expectations, while titles that seem nonsense continue. Perhaps that is precisely the secret of its appeal. Mediocrity isn’t necessarily bad if it’s synonymous with fame and dazzles the masses. Originality or victory. Recently released on HBO Max, ‘The Tourist’ draws on formulas to provide the viewer with a serialized story that fits perfectly with the lines that open this text. It starts very well, although it expresses clichés without shame, and offers a sober western of a new type, aesthetically groomed, with a series of characters that can remind us of the films of Coens, eccentric and endearing. However, the story ends before it is halfway through a season that is divided into six parts that would notably improve with a shorter duration.
‘The Tourist’ shows an enigmatic man who does not know his name. He is the victim of a brutal state of amnesia after a road accident caused by a truck that deliberately ran over his vehicle after a high-profile chase. From the moment he wakes up perplexed in the hospital, his obsession is to remember who he is and what his place is in the world, but what he discovers is not pleasant at all. The action is set in Australia, in the desert, although the main character is Irish and all the paraphernalia that parade before our eyes may remind us of American cinema. As the footage progresses, the series takes advantage of the road movie structure to reveal itself as a worthy thriller, full of twists and turns involving the puzzle the main character plans to solve, which Jamie Dornan embodies with charisma, the handsome husband of “Fifty Shades of Grey,” who is joined in the frame by Danielle Macdonald (“Skin”), Damon Herriman (“Justified”) and Shalom Brune-Franklin (“Line of Duty”). Desperately searching for his identity, he encounters strange people who help him on his strange journey, or rather put things in their place. The series works very well as a crossover of genres until the fourth part, where the rhythm falls hopelessly and there are some unfortunate script decisions that make the plot absurd in a bad way. The mysterious tone, with touches of black humor, is distorted and what happens continues in fits and starts, with little substance, sometimes surrendering to a surrealism that integrates with difficulty. We are therefore faced with a clear example of a series that will be watched with pleasure until the third chapter. From the fourth, the house of cards wobbles until it loses its balance from the use and misuse of the shoehorn. It’s a shame not to go further to the -unsatisfactory- resolution of the adventure, but the multiscreen viewer has the power to stop at any time. He wields the magic wand that allows him to choose what he sees and hit the stop when he plays. There is no need to finish a book if it stops being interesting halfway through. Right now it’s healthy to enjoy a series as much as possible. There is too much supply.
‘The Tourist’ is available on HBO Max.
Source: La Verdad
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