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While “Angel of Darkness” has its blaringly anachronistic moments — “sounds like a plan,” Sarah says at one point — it’s well-tooled and visually detailed enough to keep you coming back for more genteel punishment.
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“The Alienist” maintains its high production values — costumes by Rudy Mance and Ruth Ammon’s production design help retain the series’ meticulous elegance — but it’s still an empty, purposeless exercise in dramatic drudgery.
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If Fanning's relative stiffness was excusable in "The Alienist" owing to the idea that Sara's confidence in her intellect was new and constantly being assaulted in this man's world, here she's calcified her emotions. Brühl's Kreizler feels even stiffer, to the point of making Ted Levine's still-crooked Thomas Byrnes, the former police chief, achieve Snidely Whiplash levels of hamminess. He's only one character among a bevy of side players who come off as cartoonishly two-dimensional which is good news for Evans, who comes off OK in the midst of this.
User score distribution:
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Positive: 10 out of 22
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Mixed: 2 out of 22
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Negative: 10 out of 22
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Jul 28, 2020
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Jul 30, 2020
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Aug 22, 2021Started to have a descent storyline then it took a twisted dive with the breast milk. I expected more......