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It’s not a stretch to say that Tehran is certainly a good-looking, well-acted series. Sultan is excellent as the conflicted Tamar, and Toub, whom Americans have seen in Homeland and a ton of other shows, does a great job as Kamali.
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Strip away the subtitles and the beautiful yet subtlety alien Middle East vistas and what’s left is essentially a gender-swapped Bourne Identity. But Zonder orchestras the tension masterfully, crafting a thriller as stylish as it is heart-stopping.
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Though it’s set in two countries, alternates between English, Hebrew and Farsi and boasts a sprawling cast, Tehran is so immersive and narratively orderly that it’s almost impossible to get lost.
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Improbable though it is as a spy story, “Tehran” maintains its suspense throughout, possibly because it’s about more than spying. It’s a tale that incorporates the drama of lost cultures and identities. ... A satisfying ride.
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The dialogue is primarily in Hebrew and Persian languages, but to paraphrase one of Bong Joon-ho’s speeches during his Oscar win, overcoming the one-inch tall barrier of subtitles leads one to a lot more valuable art. Tehran is a solid example of that.
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As television, the show, created by Moshe Zonder (previously the head writer of Israeli series “Fauda”) is flawed: At least a few episodes too long, lacking plausibility or tension, turgid when it wants to be zippy. ... “Tehran” doesn’t exclude Iranians entirely, but does frame them as allies or obstacles of a Mossad mission depicted uncritically and somewhat blankly as the work of justice, and more than that as a vehicle for thrills and scares.
User score distribution:
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Positive: 10 out of 25
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Mixed: 0 out of 25
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Negative: 15 out of 25
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Oct 5, 2020
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Sep 27, 2020Badly written, badly acted, badly shot, cheaply made. Did I mention the bad writing?
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Jun 24, 2022