The latest offering from Netflix Polski (or whatever they call themselves) offers something of a dilemma. Forst is the filming of a novel about a 'renegade / maverick' - aren't they all? - detective, the eponymous Forst, and I, for one, suspect that there are crucial elements in the novel which either didn't make it to the series or perhaps could not make it.
In short, in a sense the sum of its parts just don't make it into a whole. We are left to choose: is this 'a thriller', 'a psycho-drama' investigating childhood trauma or perhaps, least likely of all, an 'art film' masquerading as a thriller. Whichever it is - and I'm not at all sure - it leaves just a little to be desired.
Because I prefer to avoid giving spoilers in my reviews rather than tick the 'spoilers' box, I must tread carefully, but I shall do my best. But, frankly, Forst jumps the shark rather too often. Sometimes that doesn't matter - as we say 'it's not the joke, it's the telling of the joke'. But with Forst unfortunately it does matter.
Forst kicks off with two highly unusual murders, which are both so elaborate the staging of the bodies could not have been achieved by just one person. Then Forst is introduced and I have to say he doesn't really come across as the 'maverick' we are invited to accept that he is.
There follow, in the each of the six episodes of the series, a number of initially obscure elements (and perhaps I am a tad thick), but one or three remained more than a little obscure when the final scene faded to black. Another unfortunate development is that the 'plot' or whatever one wants to call it makes 90 degree turn in the last two episodes and although both 'plots' are seemingly related, none of it is too convincing and the connection between them is not at all clear. Perhaps it will all come a little clearer in 'the second series'.
Then there's the cinematography and the soundtrack: both are more than intriguing and interesting, but neither is 'relevant'. In fact, both are in many ways what is 'best' about the series but both add to a suspicion that Forst is rather too much style and not enough content. And again I am left with the impression that cinematography, especially all that weird camera angled stuff and music borrowing heavily from electronica do the heavy lifting in a great many films.
Take away either, especially 'wacky' soundtrack and that 'thrilling', horror or mystifying scene pretty much doesn't stack up. Both before the function - as here in Forst - of informing the viewer 'right this is the frightening bit'. Taking out the garbage or going down the shop can seem 'mysterious', 'horrifying' or 'thrilling' if you slap a soundtrack on the footage of the deed.
I'm stymied in my comments by my stated commitment not to include spoilers, but I can say that when the final scene does fade to black, there are more than enough loose ends - and not just that final scene - to irritate.
As I say, in many ways Forst is the triumph of style over content. That is fair enough if that is your bag and it often is for me. But I do get the feeling Forst is playing both ends agains the middle and wanting its cake and eating it. Sadly, something doesn't quite come off. That's a shame, but that's as it is.
At the time of writing this has a 5.6 rating on IMdB. That might be misleading: Forst is a great ride, but somehow, though, ita doesn't quite deliver.
In short, in a sense the sum of its parts just don't make it into a whole. We are left to choose: is this 'a thriller', 'a psycho-drama' investigating childhood trauma or perhaps, least likely of all, an 'art film' masquerading as a thriller. Whichever it is - and I'm not at all sure - it leaves just a little to be desired.
Because I prefer to avoid giving spoilers in my reviews rather than tick the 'spoilers' box, I must tread carefully, but I shall do my best. But, frankly, Forst jumps the shark rather too often. Sometimes that doesn't matter - as we say 'it's not the joke, it's the telling of the joke'. But with Forst unfortunately it does matter.
Forst kicks off with two highly unusual murders, which are both so elaborate the staging of the bodies could not have been achieved by just one person. Then Forst is introduced and I have to say he doesn't really come across as the 'maverick' we are invited to accept that he is.
There follow, in the each of the six episodes of the series, a number of initially obscure elements (and perhaps I am a tad thick), but one or three remained more than a little obscure when the final scene faded to black. Another unfortunate development is that the 'plot' or whatever one wants to call it makes 90 degree turn in the last two episodes and although both 'plots' are seemingly related, none of it is too convincing and the connection between them is not at all clear. Perhaps it will all come a little clearer in 'the second series'.
Then there's the cinematography and the soundtrack: both are more than intriguing and interesting, but neither is 'relevant'. In fact, both are in many ways what is 'best' about the series but both add to a suspicion that Forst is rather too much style and not enough content. And again I am left with the impression that cinematography, especially all that weird camera angled stuff and music borrowing heavily from electronica do the heavy lifting in a great many films.
Take away either, especially 'wacky' soundtrack and that 'thrilling', horror or mystifying scene pretty much doesn't stack up. Both before the function - as here in Forst - of informing the viewer 'right this is the frightening bit'. Taking out the garbage or going down the shop can seem 'mysterious', 'horrifying' or 'thrilling' if you slap a soundtrack on the footage of the deed.
I'm stymied in my comments by my stated commitment not to include spoilers, but I can say that when the final scene does fade to black, there are more than enough loose ends - and not just that final scene - to irritate.
As I say, in many ways Forst is the triumph of style over content. That is fair enough if that is your bag and it often is for me. But I do get the feeling Forst is playing both ends agains the middle and wanting its cake and eating it. Sadly, something doesn't quite come off. That's a shame, but that's as it is.
At the time of writing this has a 5.6 rating on IMdB. That might be misleading: Forst is a great ride, but somehow, though, ita doesn't quite deliver.