VOD (4)
Seasons(5) / Episodes(31)
-
Season 1 (2014) - 8 episodes
-
Season 2 (2015) - 8 episodes
-
Season 3 (2019) - 8 episodes
-
Night Country (2024) - 6 episodes
-
Season 5 (2025) - 1 episodes
Plots(1)
Touch darkness and darkness touches you. From HBO and creator/executive producer Nic Pizzolatto comes this searing crime drama series that follows troubled cops and the intense investigations that drive them to the edge. Each season features a star-studded new cast involved in cases that will have you on the edge of your seat. In Season 1, it was Matthew McConaughey and Woody Harrelson as two polar opposite cops on the hunt for a serial killer in Louisiana. In Season 2, a bizarre murder case brings together three law-enforcement officers (Colin Farrell, Rachel McAdams, Taylor Kitsch) and a career criminal (Vince Vaughn). (HBO Nordic)
(more)Videos (69)
Reviews (10)
The Louisiana season: Or how existential crime series à la Dürrenmatt dealt with a Scandi overlap thriller à la Larsson in a Deep Southern (and thanks to Rusty, nihilistic, and thanks to Marty hypocritical) way, with the essence of Southern noire. Which resulted in a (pan)genre movie with inimitable genius loci which is extremely existential, very symbolic, not literally reading the unspoken between the lines, very dismal, very subliminally disturbing, very mosaic-like in terms of narrative and primarily very (but really very) good. The Arkansas season: After the second, conceptually boldly different (however not completely successful) season, the third “yellow-bellied" season returns to what worked first time. And it works again. Again we have an oppressive and disturbing atmosphere-oozing masterpiece of cinema where the genre plot takes the back seat and serves purely as a catalyst for in depth character study of ambiguous, unbalanced animate characters across time. For its casting, performances, camerawork, production design, easy to follow despite three timelines... All of this is worthy of one of the current flagships of quality TV. The bigtime problem storyline is the one connected with the present which, thanks to paper rustling games with a problematic memory, serves as a carrot on a stick leading us toward gradual and final (non)revelation. And to make it worse, this becomes the central storyline of the last episodes. It doesn’t help that the creators are constantly would-be mysteriously hinting “just wait, you’ll see". While, to the attentive viewer, it becomes immediately clear where things are headed. In a purely crime genre where the case and (not)solving it play first fiddle, this would probably work on a scale of a few episodes. But not as the connecting thread of an eight hour movie “about characters and relationships", which season three tries to be. P.S.: Even HBO itself jumped on the bandwagon with the creators by beating about the bush with the description “frightful case of child murders". But this is like saying that the Red Sox won, but when you look at the results you find out that not only did the Red Sox not play, but the game ended in a tie. | S1: 5/5 | S3: 3/5 |
()
Amazing atmosphere, great script, psychological complexity of the characters, brilliantly delivered by the two lead actors. True Detective is one of the most excellent series not only of this year. A crime thriller to which Se7en pales in comparison.
()
I'm probably the only one, but for me, this is possibly the biggest disappointment in a TV series in the past ten years. This is definitely not another Chernobyl, Mindhunter, Queen’s Gambit, or Money Heist. I haven't seen such an overhyped series in a long time. Maybe if I had watched it in 2014, I would have rated it differently, but in terms of Crime, Mindhunter and Night Stalker are on a completely different level of quality. Even the French crime drama from the same year, SK1, is much more intense. The only thing that can be praised are Matthew McConaughey and Woody Harrelson, who do a really good job in their roles, and the craftsmanship is also at a high level, but is that enough? Not for me. The most shocking thing is that there is only one murder throughout the series, and the introduction of the killer happens twenty minutes before the end, which is unforgivable in the crime genre. Ironically, the series should have begun where it ends. You hope for ritual occult murders that would add darkness, brutality, discomfort, and instead, they deal with typical family relationships, who's sleeping with whom, character development, and similar matters that absolutely didn't interest me. The only memorable scene in the whole eight hours is Daddario's breasts, and that is unfortunately shameful. In the end, the investigation and evidence collection play a supporting role (most of the time the series takes place at a station, in a car, or in someone's bed), and if someone finds rainy weather darker than mutilated corpses, then I must be living in a different world. Not to mention the slow and uninteresting pace. As a drama, I would be willing to give it a 7, but in terms of crime and thriller, it's a 4 for me, so a compromise somewhere around 5.
()
A very good crime drama with a couple of great actors and a priceless gloomy atmosphere. I liked the way the filmmakers played with various details, such as the aging of the two characters (although Harrelson's "young" tupé was very obvious, even worse than his accent, which was also agonizing) and how they managed to piece together the story, even in pieces. For my taste, however, True Detective lacked any surprises. I didn't want a shocking point right away, but still, some "Well, I didn't expect that!" wouldn't hurt. "It used to be just darkness. In my opinion, light wins."
()
It doesn't often happen that I feel excited from the first shots of an opening and the initial tones of a ballad song accompanying intertwining images. With a series that rewrites the idea of what the detective genre and its protagonists should be and how they should function. The prevailing feeling while watching the series is uncertainty. It is felt not only by the confused detectives, who let the case slip through their fingers but also by the viewers, who are deprived of the usual support. What and who to believe when one of the investigators has a colorful drug past and an equally colorful alcoholic present, and the other is a testosterone-filled macho man who is never far from violence and has no problem hurting even his loved ones? Additionally, both are saturated with dirty pragmatism, which can only sprout in the destructive environment of the underworld of crime. The viewer sees too many contradictions between the depiction of the former policemen and the flashbacks that reveal their professional failures as former legends of the police force. True Detective is characterized by a sinister atmosphere supported by shots of gloomy swampy landscapes around the Mississippi. The series represents top craftsmanship in every aspect, starting with excellent camera work, through meticulous direction, to the animalistic acting of Matthew McConaughey and Woody Harrelson. The series is not valuable for its plot, but for its sophisticated storytelling, playing with form, winking at the viewer, and openly playing with jokes in the seriousness of the situation, straddling genres - ultimately, it is more of an existential psychological drama than a crime story. Last but not least, the excellent portrayal of well-written characters - the cynical glosses of bitter Cole have the attractiveness of a black hole and the power of a supernova explosion. The series has an ideal length - it does not get lost in the narrative fog and does not lose its momentum in side plots like many genre-related projects do. Although it has a slow pace, it is able to incredibly intensify the tension. Perhaps only in the last two episodes, when evil begins to materialize and takes on a specific human face, does the overwhelming feeling disappear a bit. True Detective seemingly resembles the successful Scandinavian series, but those usually allow fo a certain scriptural construct. They take place in stabilized countries with functioning institutions and minimal crime rates. The clash of American detectives with human misery, the brutality of motorcycle gangs, and the slimy manipulativeness of sellers of religious phrases look uncomfortably realistic. I consider True Detective to be an absolute pinnacle in its genre category, a benchmark that Pizzolatto's followers and challengers will find very difficult to surpass. Overall impression: 95%. //// Season 2: When reviewing the first series, I wrote that it would be difficult for others, including Pizzolatto himself, to surpass it, and it doesn't make much sense to argue about which of the two previous seasons is better. The second one is completely different. Different protagonists, different crimes, different locations, and a different atmosphere. However, there are characteristics that connect both series and will likely be typical for future continuations, which we will undoubtedly see. We have the complicated psychology of the investigators, who are sometimes more preoccupied with battling their own demons than with fighting crime, and the intricately structured storytelling, in which the first season used different timeframes more, whereas this one focuses on different perspectives of multiple characters, who doubt and don't trust each other. Very interesting is the setting of the atmosphere, where the second season is dominated by sun-drenched California, where one can easily get lost in the desert and come to harm in the jungle of Los Angeles. Even the thousand-year-old sequoias play their role in the end. This change in atmosphere is best characterized by the opening scene, which is colorful, and sunny, and Cohen's rendition creates an atmosphere reminiscent of a city's erotic club. The most important thing is that the second season is just as good for me as the first one, and those who want to see a continuation of the first season with its protagonists and the Louisiana swamps may have a problem with it. Like in the first case, I feel like I'm watching one of the absolute peaks of genre television series creation. The performances are luxurious, and the actors are clearly happy to exceed the limits of the roles they have been cast in by casting agencies. Pizzolatto, just like the directors, clearly drew inspiration from the classic noir genre and did an excellent job. The central theme is ubiquitous corruption, the penetration of crime into government administration, and the tricky game with one's own conscience and coming to terms with one's own failures. The opening scene is one of the best ever created as an intro. Personally, I prefer it over the opening of the first season, although this is a matter of personal taste and choice. I don't need to change my overall impression. Keep up the good work, I'm looking forward to the third season.
()
(less)
(more)
Ads