True Detective

Being close to the battle between light and darkness may not always pay off, but in some conflicts, it does. I felt right at home in this world of forests, visions, antlers, strange inhabitants, and Rusty's rambling monologues, despite the initial difficulties in getting on the right track. It is clear to anyone who has come across this profile that the forever furious Woody Harrelson and the worn-out Matthew McConaughey steal all of True Detective for themselves, but that's all right. Every conversation or disagreement is played out to perfection, and it is precisely the bond between the two main characters that leaves such a positive impression after the first story. The longer they know each other, the more they differ, and paradoxically, the more interconnected they are. Unfortunately, during moments when both are fully focused on investigating the murder, my attention wandered in all directions due to the deliberate pace, with no help but the promise of hearing yet another opaque metaphor. It wasn't until the final two episodes that I finally got into the search for clues, but I could have done without the somewhat forced switching of timelines at the beginning. In short, we have been treated to an audiovisual and acting masterpiece; most of the rumors about this exceptional event were true. However, the reasons for suddenly condemning television productions outside of HBO remain a greater mystery to me than the identity of the central killer was to this main odd couple. (14/01/2019)

The story of Marty and Rust has begun to fade in the distance, which helped to show that this was definitely an atmospheric spectacle, but certainly not a groundbreaking moment in television history. That's why it's good that it's starting in a completely different environment, the urbanistic Vinci. Politicians and police here are happy to make some extra money on the side, the chain of erotic services is thriving, and there's always something stinky happening. The death of one of the local bigwigs sets off a chain of events, leaving behind a few dead bodies – and maybe something more. And it's an interesting chain of events, so it's all the more disappointing that, just like before, there are deep and meaningful dialogues, but without Matthew McConaughey's unique character (and voice) they lack meaning and just seem like a bad joke. Moreover, the action scene at the end of the fourth episode forces us to wonder if it's really there just to surpass the legendary shootout from the same episode of the previous season. Fortunately, however, what's reversed is the progression. The first season started in a grand style, only to fizzle out a bit in the end. Instead, the Californian anabasis deceives the body, as nothing seems to happen for five hours, and then, just when the more impatient viewers have already given up on the whole thing, it introduces a deadly atmosphere of a pulsating hostile environment and justifies the initial sluggishness with a perfectly functioning finale. After everyone was showering McConaughey with acting honors not long ago, I'm surprised that there's silence after Rachel McAdams, who is cast against type, and the flawless wreck portrayed by Colin Farrell, who found the role of a lifetime with a cigarette and a drink in just a few lines. In short, True Detective is a story and a series full of contradictions. While it seemed to be for everyone after eight episodes, after sixteen more there are multiple camps pitted against each other. But for me, it's a guarantee of (specific, but undeniable) quality. (14/01/2019)

This attempt to achieve the broadest possible scope somewhat misses the mark. What was at first a welcome refresher in a format reminiscent of the Vietnam flashbacks fades away when Wayne starts talking about war with just about every male character, and likewise the storyline of a tested marriage never reaches a satisfying catharsis, only timidly brushing off most conflicts. Although I would classify this case from West Finger as better than its two predecessors, it wouldn't be by much. Ali and Dorff, with their stubborn expressions, are the ones effortlessly carrying the entire investigation (even though Nic Pizzolatto again relies on uncovering plot twists from slightly unfair directions), and for the third time, albeit just barely, allows the concept of a whodunit to play out – wandering, searching, examining, and only then perhaps finding or, god forbid, revealing something. My patience didn't desert me this time either, but I wouldn't try my luck on another one. 70% (20/11/2019)

HTML tags will not be translated. Translated text: Hypnotic journey into the endless plains of ice, where every turn, road or cover is much darker, not only because darkness has settled in for a long time. I appreciate that the dead sign comes to life with a drastic twist when a new creator comes along and thankfully completely changes the form that was dangerously falling asleep last time. I would ask all the zealots who are so thoroughly shocked by the fact that Noční krajina is attached to the True Detective brand, what the Arkansas case was five years ago or who could have been responsible for what. The Alaskan anabasis is something that can be compared to a classic detective story embellished with modern editing and subthemes. The case intertwines with the situation in society and the relationships of people from different communities, but never at the expense of tension. Every dialogue is interspersed with a thrilling insert or surprising twist, as befits the genre the most. Although the original creator Nic Pizzolatto reluctantly comes to terms with it, Issa López has found a new direction for the series, stirring up the waters and dividing the audience, but I am satisfied. Not only because the end of the world, where people flee from their problems and let them freeze under the ice, is a very enticing place for me, but also because of the (this time within the anthology completely as usual) brilliantly selected and lifelike ensemble. (14/03/2024)