The lead’s performance nearly carries this neo-noir crime series, but it’s derivative, uninspired and features a mid-series twist so maddening it’s unforgivable
It is a truth commonly acknowledged that neo-noir has been a tricky proposition ever since LA Confidential showed us its platonic ideal back in 1997. More than a quarter of a century later, the makers of Apple TV+’s new contribution to the genre think they have found a way to mark its place in history. We’ll come back to that, because I’m yet to reconcile my furious reaction to the narrative tactics employed therein.
We begin simply enough (and, appropriately, in black and white). In Tokyo, hard-boiled private investigator John Sugar (Colin Farrell) is in the process of rescuing – by means of street smarts, and a reluctant but effective amount of violence, incurring minimal damage to his suit – the kidnapped offspring of a Yakuza boss. Upon receipt of the traditional brown envelope, he returns to the US and his boss, Ruby (Kirby, formerly known as Kirby Howell-Baptiste), informing her that he has illicitly picked up another job on the way. Sugar has been contacted by movie producer Jonathan Siegel (James Cromwell – who, in a series that makes intertextuality an art form, was also in LA Confidential) to find his missing granddaughter, Olivia (Sydney Chandler – no relation to Raymond, but in keeping with the mood of the thing). Her father, Bernie (Dennis Boutsikaris), and half-brother, David (Nathan Corddry), think she has gone on a bender after two years of sobriety. Would that things were so simple.
