Old people belong here. Despite the fact that the review is green, not all impressions received from viewing can be called unequivocally positive.
In general, this picture treats the viewer very cunningly - and this trick cannot be said to leave a pleasant aftertaste from viewing. The first episode captured me with a successful presentation, hints at the rich past of the characters and a spectacular ending... the series reminded the film ' Old people have no place here' not only the name, but also some Chigurov-roadmouvy atmosphere.
There is nothing in common between them, of course.
The second episode ' The Old Man' played a very dirty card with the viewer at some point, making you think, ' yes can't be' and really - ' can't be' and it didn't.
But still it looked extremely contradictory, showing the willingness of the character to go for everything.
To old Bridges, I initially did not want to have sympathy, tuned in to the fact that he will be a neutral character - and in this sense, the series copes with the task, does not make him either a hero or a villain.
But back to the story. From the second episode, the dynamics of events and the inconsistencies in the image of the Old Man go into the background, and here begins the real split - as a viewer you wait for the return of the dynamics of 1-2 episodes, well.. well, you can add a third, you wait, and your expectations only cloud further impressions. You wait. This is how you describe the viewing process. Waiting. But almost nothing happens.
Over the next three episodes (from 4-6), the characters begin to sprinkle very detached dialogue on topics that are difficult to hook the common man, not living & #39; triple life & #39; and not a former special agent.
Why was it possible to empathize with the same Moss who stole two million dollars - he was a simple hard worker, a simple man, his motives are clear, his story is simple, his thoughts are simple.
Here, the characters, starting with the fourth episode, discuss their alter egos and the suffering associated with living in constant lies, but all this is not visible on the screen: we are diligently trying to prove that it is difficult to be someone else, not to be themselves – and that the characters’ heads are confused, that because of their bifurcated life, everyone is on the verge of senile dementia.
I watched the series a couple of weeks ago and could already forget something and therefore tight on examples, but I remember clearly that most of the dialogues I wanted to just rewind, maybe I was just stupid and did not want to delve into, although I had to honestly endure.
Worse than that, all the characters talk about the same thing from series to series, from dialogue to dialogue - but only in different words. Of course, here we are talking about venerable professionals in their field, who think in their own templates and in a semi-insensitive manner, because ' life experience'.
What is Bridges’ character, what is Lithgow, what is their daughter, all have the same problems and thoughts, so that in essence they are copies of each other, only of different ages.
Even the friend of the Old Man goes to their opera and tries to philosophy, but she is a less interesting character.
Watching the dialogues in the last series is not interesting, trying to penetrate them - do not want, not even because of laziness, but simply they are boring and rarely hit the bottom line. They are very sluggish and stretched, some for ten minutes, while the characters figure out what they want to express (see, senile dementia is already quite close). Although I do not sin on actors, thanks to their skill, the dull dialogues were played with feeling, with good sense.
But now let's talk about the interesting property 'The Old Man' as a TV series. He's interesting. It's boring, but paradoxically interesting. When you sit for an hour in the fifth episode, waiting for something to happen at last, except for the boring dialogue, the five minutes with Zoe and Dan (or whatever) in the final blackmail scene are just super-dynamic and outright revelation of heaven. And in fact, according to this scheme, the series works. We are fed an hour of chatter and moving from room to room, and at the end they give out something that keeps our attention, and you say, ' OK, I forgive everything for that. That was a good thing, but then the secret was revealed - well played!' The final twist is particularly striking.
It is the whole undercover fuss that saves the series, however, as well as the acting game worthy of such a sluggish script. Pleasant persons in strict costumes, pretty old people, a rather cunning old man's friend.
But the show is stretched, no, smeared. It is interrupted exactly where it should have justly ended if the chatter had been cut out and two or three more episodes given.
But here's the funniest thing, ' The Old Man' makes me come back to him in my thoughts, I even scratched my head to set up a review for the first time in my life - because he doesn't give me peace. Makes you remember all the important moments of revealing secrets and characters (but not their trepology).
This is an amazing feature of the series - it does not let itself be forgotten.
Perhaps only because of his incompleteness.
That's why the review is green. I'm looking forward to season two.
7 out of 10