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“The Crowded Room is a psychological thriller that doesn't have much to offer when it comes to thrills or surprises.” Pros Tom Holland and Amanda Seyfried's engaging lead performances Christopher Abbott's scene-stealing, late-season supporting turn An infectious sense of empathy throughout Cons Too many filler episodes Several painfully obvious twists Multiple thinly drawn supporting characters Throughout the first half of its 10-episode season, The Crowded Room does not have a story. It has a twist, which it drags out for nearly six hours. In doing so, the new Apple TV+ series leaves its two immensely capable leads, Amanda Seyfried and Tom Holland, stranded with nothing to do but be vessels for The Crowded Room’s endless exposition dumps. When it’s later revealed that not everything is as it seemed in the show’s first half, it’s hard not to realize in the same breath just how much more interesting The Crowded Room could have been if it had simpy played it straight from the very beginning. Unfortunately, these kinds of miscalculations are present in all of The Crowded Room’s 10 episodes. Even when the series has reached some of its most moving and compelling moments — most of which occur in its final few installments — it dampens their impact with “twists” that not only come across as frustratingly hokey, but also seem to exist solely to justify The Crowded Room’s overlong 10-hour runtime. There’s an intriguing, well-acted series in The Crowded Room. The problem is that it’s buried under 6 hours’ worth of unnecessary filler. Apple TV+ Loosely inspired by Daniel Keyes’ 1981 nonfiction novel The Minds of Billy Milligan, The Crowded Room picks up with its lead, Danny Sullivan Holland, after he is arrested for participating in a public shooting that leaves three people injured. Following his arrest, Danny catches the attention of interrogator Rya Goodwin Seyfried, who conducts a series of one-on-one interviews with him in the hopes of unearthing the truth behind the crime. The Crowded Room uses these interviews as a way into its numerous flashbacks, which gradually reveal exactly how Danny went from being a relatively sweet kid born and raised in upstate New York to a hostile shooter. Along the way, The Crowded Room, which comes from A Beautiful Mind writer Avika Goldsman, introduces viewers to a handful of key figures in Danny’s life, including his stepfather Marlin, Will Chase; his mother, Candy Emmy Rossum; a free-spirited partier named Ariana Sasha Lane, and his Israeli landlord, Yitzak Lior Raz. In its early episodes, The Crowded Room primarily focuses on the time Danny spent living with the latter two characters. To say anything more here about their roles, though, would be to spoil many of the surprises that The Crowded Room spends a considerable amount of time trying to hold on to. The problem is that many of The Crowded Room’s twists are painfully obvious from the moment the show begins. Even those who have no knowledge of the 1981 novel that served as the series’ inspiration will likely find themselves catching on quickly to the revelation that The Crowded Room essentially grounds the first and second halves of its season around. That, in turn, makes the show’s needlessly long runtime feel alternately confounding and irritating. Apple TV+ Once it’s done away with its initial façade, The Crowded Room picks up quite a bit in its second half, which adopts an increased focus on actors like Seyfried and Christopher Abbott, who shows up late in the series as Danny’s lawyer and makes one of the biggest impressions of any of its cast members. Seyfried, for her part, is given so little to do in The Crowded Room’s first five episodes that it is, at first, hard to understand why she agreed to star in the series, especially coming off her career-best turn in last year’s The Dropout. When Rya is actually allowed to start driving the series’ narrative forward, it becomes easier to see why Seyfried was drawn to the role. Her work in the series’ final third, particularly her scenes with Abbott, Holland, and Rossum, just further cements Seyfried’s place as one of the most underrated and capable screen actresses working right now. Overall, The Crowded Room is often at its best when it is at its most empathetic, which is why Seyfried’s Rya, whose interest in Holland’s Danny extends far beyond her own professional curiosity, is so key to many of its best moments. As for Holland himself, quite a lot of noise has been made about the effect his role here had on him. It’s clear from the moment The Crowded Room begins that the Spider-Man star fully threw himself into the splintered headspace of his character, however, The Crowded Room spends so much time trying to dance around the emotional realities of Danny’s life that it ends up wasting Holland. It’s only in the series’ final three episodes that the actor is finally able to portray all the aspects of Danny that likely made him an appealing character in the first place. Once he’s allowed to do so, it’s made blindingly clear just how much better The Crowded Room could have been if it had just been written as a four- or six-episode limited series. Apple TV+ Cutting down its number of episodes would have allowed The Crowded Room to excise some of its most trying installments, which include an episode-long excursion to London that might as well have been titled Filler. The show could have similarly lost a handful of late-season twists that are clearly meant to heighten its stakes and tension, but mostly come across as cheesy and hackneyed. While Rossum, Jason Isaacs, and Emma Laird do their best to breathe real life into some of The Crowded Room’s supporting figures, their performances suffer due to the show’s indecisive characterizations of their roles. The same can be said for The Crowded Room itself, which suffers from an unevenness that is present in nearly every aspect of it. The show is, in a bit of a tragically ironic twist of fate, brought down by its own conflicting impulses. On the one hand, it’s a series that desperately wants to imbue its characters’ journeys with as much empathy and heart as it can. On the other, it’s a wannabe genre experiment that feels the need to tell its story in the most overcomplicated manner possible. Ultimately, the most interesting thing about The Crowded Room is just how resolutely it refuses to get out of its own way. The first three episodes of The Crowded Room are now streaming on Apple TV+. New episodes premiere weekly. Digital Trends was given early access to all 10 of the series’ episodes. Editors' Recommendations 2023’s best sci-fi show is on Apple TV+. Here’s why you should watch it right now The Diplomat’s ending, explained Decision to Leave review An achingly romantic noir thriller The Midnight Club review an earnest YA horror adventure Tár review Cate Blanchett soars in Todd Field’s ambitious new drama Alex Welch is a TV and movies writer based out of Los Angeles. In addition to Digital Trends, his work has been published by… Entertainment Entergalactic review a simple but charming animated romance Entergalactic isn’t like most other animated movies that you’ll see this year — or any year, for that matter. The film, which was created by Scott Mescudi Kid Cudi and executive producer Kenya Barris, was originally intended to be a TV series. Now, it’s set to serve as a 92-minute companion to Cudi’s new album of the same name. That means Entergalactic not only attempts to tell its own story, one that could have easily passed as the plot of a Netflix original rom-com, but it does so while also featuring several sequences that are set to specific Cudi tracks. Beyond the film’s musical elements, Entergalactic is also far more adult than viewers might expect it to be. The film features several explicit sex scenes and is as preoccupied with the sexual politics of modern-day relationships as it is in, say, street art or hip-hop. While Entergalactic doesn’t totally succeed in blending all of its disparate elements together, the film’s vibrantly colorful aesthetic and infectiously romantic mood make it a surprisingly sweet, imaginative tour through a fairytale version of New York City. Read more Entertainment Blonde review a striking and tough Marilyn Monroe biopic Andrew Dominik’s Blonde opens, quite fittingly, with the flashing of bulbs. In several brief, twinkling moments, we see a rush of images cameras flashing, spotlights whirring to life, men roaring with excitement or anger — sometimes it’s hard to tell the difference, and at the center of it all is her, Marilyn Monroe played by Ana de Armas, striking her most iconic pose as a gust of wind blows up her white dress. It’s an opening that makes sense for a film about a fictionalized version of Monroe’s life, one that firmly roots the viewer in the world and space of a movie star. But to focus only on de Armas’ Marilyn is to miss the point of Blonde’s opening moments. As the rest of Dominik’s bold, imperfect film proves, Blonde is not just about the recreation of iconic moments, nor is it solely about the making of Monroe’s greatest career highlights. It is, instead, about exposure and, in specific, the act of exposing yourself — for art, for fame, for love — and the ways in which the world often reacts to such raw vulnerability. In the case of Blonde, we're shown how a world of men took advantage of Monroe’s vulnerability by attempting to control her image and downplay her talent. Read more Entertainment Meet Cute review Peacock’s time travel rom-com falls flat Meet Cute wants to be a lot of things at once. The film, which premieres exclusively on Peacock this week, is simultaneously a manic time travel adventure, playful romantic comedy, and dead-serious commentary on the messiness of romantic relationships. If that sounds like a lot for one low-budget rom-com to juggle — and within the span of 89 minutes, no less — that’s because it is. Thanks to the performance given by its game lead star, though, there are moments when Meet Cute comes close to pulling off its unique tonal gambit. Unfortunately, the film’s attempts to blend screwball comedy with open-hearted romanticism often come across as hackneyed rather than inspired. Behind the camera, director Alex Lehmann fails to bring Meet Cute’s disparate emotional and comedic elements together, and the movie ultimately lacks the tonal control that it needs to be able to discuss serious topics like depression in the same sequence that it throws out, say, a series of slapstick costume gags. The resulting film is one that isn't memorably absurd so much as it is mildly irritating. Read more- О окኤ
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