USA Series Reviews

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'The Sinner' Review 

"It's not a question of who or how, but why…" reads the tag line for The Sinner. At least for one episode, though, that's where the series has to start. I can't tell you if the "why" relates to something quasi-religious (seems likely), quasi-supernatural (seems possible) or quasi-psychological (almost certainly). That's where the theme is. That's where the subtext is. That's where the show is.

Biel, an executive producer with her Iron Ocean partner Michelle Purple, is committed to the strain that Cora is going through. Campos and Simonds start Cora in a place of wan anxiety and push her as far as unexplained ferality, and Biel wears the distress proudly. There's a shade of "Look at me, I'm not wearing makeup!" performative ordinariness, but it's interesting how Biel and Campos play her most photogenic traits as dangerous or out-of-sorts, lighting her cheekbones as something animalistic, showing her unclothed or underclothed only when she's most alienated from her environment. The overall quality of the performance will depend on what shadings The Sinner gives her to play, but it's a good start.

'Mindhunter': TV Review

The overarching tone here is very much in line with Fincher's own Zodiac (2007), which treated the 1960s/'70s-era case of the California-based Zodiac killer as a soul-crushing puzzle without a satisfying solution. Its real mystery was how long the film's succession of determined men laboring in fluorescent-lit rooms could keep after their elusive quarry without going mad themselves. Mindhunter is also a '70s story, set specifically during the time when the FBI's Behavioral Sciences Unit was coming into its own. The series was inspired by veteran agent John R. Douglas' memoir Mindhunter: Inside the FBI's Elite Serial Crime Unit, though the characters and events have been fictionalized to open up dramatic possibilities, and surely to allow Netflix to milk the property as dry as possible. (A second season has already been ordered.)

So Mindhunter reveals itself as a suspense series hinging on after-the-fact investigations into the heads and hearts of known murderers. Not whodunit so much as whydidyou? And in these two episodes, it's never less than engrossing. Fincher has proven time and again that he can make even the most mundane activities and actions riveting. It could be a probing conversation between characters (often edited with the clipped, quick efficiency of a Golden Age screwball comedy), or a simple shot of a jacket slipping off of a chair. The rhythms are so precise that even moments you'd think would land with a thud, such as a time-passing montage scored to the Steve Miller Band's "Fly Like an Eagle," come off as inspired. There's no telling if the series can maintain this level of quality, though Fincher seems much more hands-on here (directing four episodes in total, and helping to pick the helmers — Andrew Douglas, Tobias Lindholm and Asif Kapadia — behind the other six) than he did with Netflix's flagship original House of Cards. So there's reason to hope this tale about the psychology of cut-throats won't too quickly become cut-rate.

'Lore': TV Review

The best of the re-enactments is in "Echoes," with Colm Feore playing lobotomy innovator Walter Freeman with a nicely off-kilter zeal. Those re-enactments are shot in a handsome black-and-white that mirror the post-World War II Hollywood style, and they're viscerally effective if only because the lobotomizing process is harrowing to even readable and becomes more so when you can watch and hear somebody driving an icepick into a patient's brain.

This won't drive many people seek out the podcast, but it should warn future adapters of podcasts for TV that this is not an easy task.