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Queen Marie of Romania (2019)
A hurtful disappointment
In contrast to a surprisingly lavish decor as well as to a refreshingly pleasant scenery, the script and acting leave a lot to be desired in terms of dialogic spontaneity and psychological depth. Unfortunately, the actors (Roxana Lupu obviously the most) embody flat, dull, one-dimensioned characters, excessively and rigidly emphatic even for an average theatrical performance.
As a Romanian, it is quite sad to see such a promising project ending up as a glitteringly vacuous attempt to depict maybe our most glorious historical achievement: the making of Greater Romania.
The Undoing (2020)
Impeccable psychological construction
A robust, logically flawless psychological maze, successfully qualifying for a canonical thriller. It proportionately builds suspense within harmonically incorporated scenes, with no excess nor omission.
The Outsider (2020)
An artificially defused enigma
The story successfully builds its suspense right from the beginning until the supernatural "El Cuco" solution, so if you are looking for an old-school, "hard" psychological thriller, you won't find it here. The first episodes lay some promising premises for a tensioned, enigmatic plot, but the denouement condemns the whole construction to the risible banality of the typical horror movie.
If considered solely from the horror point of view, the series qualifies as a success, due to its consistent, high-quality mystery subtext and moderate "scary jump" tendencies, sublimated into a constant, deep yet not excessive sense of fright.
If taken as a classic thriller, it fails right where the ad-hoc, supernatural turn begins, dissolving the strong potential for a calculated, logically and psychologically impeccable thriller edifice.
Fargo (2014)
Lester Nygaard: a parody of the hero archetype
The series is an extremely sarcastic counter-tragedy, with a protagonist who radically inverses his subtextual fictional category: the hero. The only hybris Lester commits is ignoring the quantity of resentment he can insert into his misanthropist personality without having it psychologically crashed. Torn apart between cowardice and hatred, he succeeds in fatally stimulating Malvo's macabre instincts. The inborn coward versus the inborn psychopath, or the "purposeless loser" versus his exemplar, negative alter-ego.