Dark Winds

Dark Winds is much pulpier in its origins, though it shifts into being more profound when carried on McClarnon's shoulders. It is often messy and a bit haphazard, speeding through key revelations via flashback that could have used more time to breathe. However, the enduring commitment of the performances from McClarnon and the rest of the cast ensure that the final scenes piece everything together rather poetically.

It’s a riveting one. ... A heartfelt and accomplished thriller that doubles as a proof of concept for Camel Rock Studios’ ability to tell Native stories in popular television genres. It’s a stellar showcase for McClarnon.

A gripping, pulpy drama with a tangible sense throughout that the people telling this story know what is distinct about it, elevating the more familiar thriller components into something that feels special.

From the gorgeous, stark southwestern setting to the mystery to the main characters to the hint of dark magic, everything works to heighten the drama and keep the action compelling despite a comfortable pace that matches the ‘70s aesthetic.

This is a well-built show, where the relatively unusual setting, plus the performance at the heart of it, breathes new life into old cliches. At this point, Dark Winds is already doing variations on its own themes. But they're good themes, and interesting variations. Change can be overrated sometimes, when you're already good at what you do.

In the end, Dark Winds is a must-watch for its performances, direction, location, and style. But the show falters in answering its mysteries.

The world of the series is a rich, complicated one and the story twisty and clever enough to keep Dark Wind compelling.

It is a knotty, atmospheric mystery that still feels fleet enough to be tackled in one or two binges.

Dark Winds feels like it will deftly combine a standard murder mystery, tribal traditions and difficulties, and supernatural elements, tied together by a great performance by McClarnon.

The performances of McClarnon, Gordon and Matten shine through a fair amount of stiff dialogue and convoluted, not always convincing plotting; the role of the supernatural, in particular, feels less intriguing than simply unresolved. But “Dark Winds” has a sensibility that draws you in and compensates for the lapses in storytelling.

There are the occasional goofy twists and unbelievable coincidences. But for the most part, it’s a well-balanced, exciting mystery that tackles questions of identity, belonging, and how one can best serve their disadvantaged community, pitting radicals against reformers against alleged sellouts.

The coming together of the murder and robbery plots is fine, and more or less satisfying, but it’s everything else about this series that will reach you.

Whitover is an accent on a story that’s gratifyingly tightly told and focused on its core ensemble and their world. ... “Dark Winds” has an admirable directness of approach: It doesn’t slow down to explain itself to viewers, trusting that its milieu will come through loud and clear.

“Dark Winds” immediately establishes its own tone. ... “Dark Winds” avoids stereotypes, and feels fresh and vibrant.

Atmosphere goes a long way in Dark Winds, a brooding crime series set on Native-American tribal land in the 1970s that's part "True Detective," and with its vaguely mystical vibe, part "Twin Peaks." Featuring Native-American talent in front of and behind the camera, it's a solid mystery that's better during its wide-open-spaces buildup than the somewhat messy finish.

Not enough of the supporting characters have the same texture as Leaphorn and Chee. The supernatural intrigue doesn't entirely work. Still, this is an atmospheric crime thriller with real potential.

It’s a prelude, and as much as I wish it could have been presented with more efficiency and then launched into a more tightly plotted first season, the pieces are now in place for this world to open up.

“Dark Winds” is at its best when focusing on aspects of Navajo culture that give “Dark Winds” a unique flavor and at its most TV-unreal when officers wander into dangerous situations without calling for backup.