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Critic Reviews
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The first few episodes are a riveting cat-and-mouse game with the potential for a role reversal heavily foreshadowed. .... But the momentum starts to flag as Hawley works to sustain drum-tight tension for several hours. .... The more “Fargo” plays up Roy and Dot as archetypes of a controlling man and his victim, the less interesting they are.
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To the extent the latest version delivers a modest kick from its trademark mix of deadpan humor and explosive violence, is it possible to enjoy this season (six of the 10 were made available) strictly on its terms? You betcha. Thus far, though, this feels like a case of an established formula gradually yielding diminishing returns.
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If Noah Hawley could get out of his own way and stop avoiding all the obvious connections to "Fargo" and "No Country for Old Men," he could make a brilliant show. As it is, with the new "Fargo," he's made a moderately compelling one.
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It’s much easier to emulate the arch performance style of the Coens’ movies than it is to convey a sense of the character beneath the quirks, and Temple never gives a sense of who Dot is at her core, even when it turns out later in the season that there are many more shoes left to drop. Leigh too seems overdirected, all nasal consonants and power-suit scowls. Hamm strikes a more effective balance. .... Hawley is disinclined or perhaps incapable of replicating their [the Coens'] self-effacing charm.
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