The Man Who Fell to Earth (2022)

It might not be a cerebral, out-of-this-world production like the Bowie film, but the Showtime series stands on its own as a great show with something important to say. And we'd all be better for hearing its message.

There's no way to know if this season will land without problems or if, indeed, the story has enough fuel to extend the journey beyond its presently allotted hours. But its confident performances are enough to make us want to see where this mission leads.

The writing sometimes takes too long to truly get things going, weighed down by creating its episode-by-episode mysteries instead of fired up by them. But that’s where the collective charisma of its cast kicks in, as they are able to fill in a great deal of the show’s gaps. ... Faraday contains a great deal of mystery, and that includes his motivation of hope and discovery. The show, at least in is takeoff, has enough of both of those to make you want to see what happens next.

“The Man Who Fell to Earth” is at its best when Naomie Harris’ Justin and Chiwetel Ejiofor’s Faraday are front and center, each in mourning, each on a desperate mission, each depending on the other to somehow achieve the miraculous.

It’s all very busy and often superintense. There are moments of reflection, though, plus credible relationship development and effective comedy. And the show promotes intelligence, rather than insulting the audience’s.

While this version of “The Man Who Fell to Earth” escapes the shadow of the original thanks to its incredible cast, the question remains how long it can keep going before it stumbles.

There’s enough meaningful drama so far to believe the show can sustain heavier moments, but there’s also a resistance to tackling issues head-on. Still, This “Man Who Fell To Earth” has already established it’s not telling the same old story. With a cast this strong, it’s worth seeing where this mission goes next.

In just four episodes sent to critics, The Man Who Fell to Earth is at least two or three somewhat different shows, and there’s a tonal whiplash that can be perplexing. But thus far a delightful performance from Chiwetel Ejiofor holds the series together in ways that remain entertaining and full of potential.

It’s a solidly made, issue-oriented sci-if road trip, nothing to blow your mind, perhaps, but not at all a waste of time.

This version of The Man Who Fell To Earth could stand to learn something from its predecessor and rely on the strength of its cast and the story, instead of surrounding them with noisy, expensive special effects and scattershot physical comedy.

If you can get past its shaky start – a task made easier by the strong ensemble and slick direction – this space oddity becomes an enjoyable exploration of humanity.

Kurtzman and Lumet’s “Man Who Fell to Earth” is at its most intriguing during such clashes of tone, or more simply, at its most bizarre. ... “The Man Who Fell to Earth” falls prey to one of current TV’s most tired clichés of opening in the future before flashing back to explain how it happened. In fact, knowing that Farraday convinces the world that he’s an otherworldly genius before we understand how deflates a good deal of the tension out of the show before it even starts.

While all of those issues [immigrant experience, the ever-present dangers of capitalism, and America’s failing healthcare system] are certainly worthy of exploration, the show’s distillation of its themes is neither subtle nor subversive. The writers seem to be aiming for something deeply affecting in an attempt to appeal to a wide audience, but they fail to recognize the key to the power of Tevis’s story: its peculiarity.

The Man Who Fell to Earth demands a level of patience that hasn’t yet paid off, and the inconsistencies in its narrative and characterizations don’t provide high hopes for the remaining six episodes, either.