‘The Boroughs’ review: Alfred Molina leads an all-star ensemble through Netflix’s aging spin on ‘Stranger Things’

The question of time, and how best to spend it, is a priority for the Netflix characters Biology. As boomers live out their final years in an idyllic desert retirement community, they never realize how quickly time can move, how little of it they may have left, or how much they have already wasted or fear wasting.

There is some irony, then, in the fact that the series’ biggest flaw may be the misallocation of this precious resource. While the sci-fi thriller proves to be a good enough way to while away a few hours, with a plot that boils down to ‘Strange things But “old people” and a first-class crew will turn gray hair into grey Man inside I felt envious, thinking that so much of its eight 45-minute episodes had been spent on the first episode, at the expense of the second.

the Strange things By the way, the comparison is not accidental or unintentional. Matt and Ross Duffer serve as executive producers of the series from The Dark Crystal: Age of Resistance Creators Geoffrey Addis and Will Matthews, and it shows in the cutesy, creepy tone, CG creatures, and touches of nostalgia (one character’s hobby is repairing old televisions, the kind people don’t use anymore until their 70s).

Alfred Molina leads the star-studded ensemble as Sam, a newcomer to the Burrow who has absolutely no intention of enjoying his time there, much to the ire of his jaded daughter Claire (Jena Malone). He only moved in because he and his wife, Lily (Jane Kaczmarek), paid for a place before her recent death, and he plans to stay just until he can convince CEO Blaine (Seth Numrich) to pay him back the money. But things change when he meets Jack (Bill Pullman), a sociable neighbor who insists on throwing a welcome barbecue in Sam’s honor.

That party, which comes in the middle of Ben Taylor’s directorial debut, is the most enjoyable scene Biology Must submit. Over burgers and beer, the dead-end crew — including the bohemian Renee (Geena Davis), the sarcastic Wally (Denis O’Hare, a standout) and ex-hippies Art (Clark Davis) and Judy (Alfre Woodard) — gossip about their other neighbors, tease each other about their body counts (the sex kind, not the death kind), and trade their finest medical treatments. Anecdotes. In short, they just comment. It’s a blast. As Sam appeared on the scene, I did the same, marveling at the array of talent, enjoying their chemistry, and getting excited for whatever might come next.

Unfortunately, it turned out to be the last time Biology It really allows itself to indulge in its greatest asset, which is its cast, in just this way. Later that night, Sam is awakened by strange noises outside his house, and upon investigating he discovers a giant spider-legged monster that loves human fluids. Although the EMTs he reports dismiss it, Sam believes the creature is somehow connected to strange objects from his previous tenant, a dementia patient (Ed Begley Jr.) who now resides in the community’s long-term care facility.

From there, the rest of Dead End begins to pick up on the mystery as well, joining forces to fight against whatever lurks in the night. recently. Firstly, Biology The core group scatters to the winds, sending Judy grieving for her dead ex-lover, Wally seeking a miracle cure for his terminal cancer, and so on.

Individually, none of these stories are without their charm. The best one is Renee’s flirtation with a younger security guard (VidaCarlos Miranda) has the comedic sweetness of a romantic comedy, and even the most spindly film of the bunch — Art’s solitary spiritual journey into the desert — has Clarke’s utterly brilliant performance to recommend it. But they’re drawn in too broad, hasty strokes to draw nuance, and so missing the warm chemistry that shines when characters are allowed to savor each other’s company, they add up to be less than the sum of their parts.

Meanwhile, the mystery that takes up so much of the running time runs out long before the answers are revealed. Semi-interesting clues are discovered just for the sake of going nowhere. Real scares and surprises are few and far between. Scenes that should arouse awe either for their natural beauty (sunsets over an endless desert sky) or for their supernatural eeriness (glowing dots scattered through the air like stars in a galaxy) are undermined by Netflix’s signature aesthetic of flat lighting and muddy colors. Even the villains seem bewildered by their one-dimensional motives: “Why would anyone do anything?” One scoffs when asked to explain oneself.

Certainly, the series, even at its worst, is completely unwatchable; Any show that sees Woodard shooting monsters or O’Hare preparing to hit one with a meat cleaver can’t help but be at least a little entertaining. But it’s a disappointment for a story with bright early flashes of potential. Built around the poignant concept of a monster who steals time from those who have little of it, it aims to subvert our fears about aging, and is brought to life by a cast with more than enough talent for humor and heart. and The horror lurking in all those thoughts, Biology It could have been permanent.

Instead, I found myself doing exactly what a blacksmith Sam should learn not to do: dwelling on the past—longing to return once again to that campfire from the first episode, savoring those precious few moments when we were allowed to enjoy the simple joys of truly great company.