Fallout review: Prime Video’s big-budget video game adaptation wants to be a boy-level event, but feels too broad-based | Web Series News
They said that TV stories lack stakes; For example, characters killed off in season two could find ways to return in season four. Death was no longer sacred. Do you remember Jon Snow? But the same theory can be applied to the television industry itself. A. doesn’t do it anymore A big budget bomb like Citadel Kill the network’s future plans. In fact, not only is the Citadel making a comeback, but its failure is fueling new projects that are just as expensive. This week’s Fallout is hardly as irredeemable as that show, but it certainly points to where Prime Video wants to be a leading programmer in the streaming era.
Sprawling and expensive, the eight-part series is based on the popular video game franchise of the same name, but seems to owe a lot more. Post-apocalyptic cinema Like the Mad Max movies and the last one The Last of Us TV adaptation. Like the popular HBO series, Fallout also features an epic quest in an apocalyptic wasteland, but this time, the central roles have changed. It’s not about a middle-aged man leading a teenage girl to safety; It’s about a teenage girl escorting a middle-aged man. Or at least part of it. The most important part.
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The heart and soul of the show belongs to Lucy McLean, a naive but intelligent young woman who has (literally) taken up residence in an underground ‘tomb’. These bunkers – think of them as similar “Silos” from Apple’s Great Show – Created for survivors of a cataclysmic nuclear event that irradiated the Earth’s surface more than 200 years ago. All this time, humanity living underground has somehow fostered a kind of legitimate utopia, with the intention of one day returning to the surface, as Vidhu Vinod Chopra would say, to start over. That day, as we are told in the first episode, is already near. By the time Lucy’s children are grown, the re-emergence and integration of humanity will be secure.
But while part of society – the people of Lucy – patiently maintained civilization in these underground vaults, another group of survivors – these madmen – fled above ground. When Lucy’s father is captured by a horde of surface-dwelling assailants, she makes it her mission to track them down and embark on an epic journey through the Los Angeles wilderness of hostile savages, armed zealots, and mutant monsters.
But Lucy isn’t the only protagonist of Fallout. We’re also introduced to Maximus, a “queer” who belongs to a “fraternity” of knights who wear mechanized exoskeletons and dedicate their lives to the dogma of preserving the technology. In an early episode, Maximus finds himself with more power than he bargained for, and before long he meets Lucy. They learn of an object that could change the course of humanity and join forces to capture it. But it can’t be easy, can it? Lucy and Maximus are being chased by an anti-hero known simply as the Ghoul. This character, who seems to have stepped right out of the pages of a Stephen King novel, has the face of a real-life ghost and the backstory of someone you should probably empathize with.
With the first three episodes directed by Jonathan Nolan, Christopher’s brother And a great writer in his own right, Fallout opens pretty strong. The scale is sumptuous and the visual effects are tactile, though the tone can be a little unpredictable – and not in a good way. There’s an earnestness, but there’s also a certain linguistic quality that’s a little surprising. A part is saved with sincerity. However, certain moments can be objectively stupid. After determining that Lucy’s human cargo has earth-shattering significance, her casual reaction to the “misplacement” of that cargo is inappropriate. You can’t blame me Ella Purnellwho makes for a fun hero, but it’s writing that strips the moment of all seriousness.
While Fallout may have matched the success of The Last of Us, the two shows couldn’t be more different in tone and temperature. However, there’s a sense that Fallout was originally intended to be more of a straight-forward ride, but somewhere along Prime Video’s chain of command, an executive or two decided it needed to look and sound a bit like The Boys. So they went and reshot certain scenes to make them more ambiguous. But Fallout corrects these wrongs with a series of truly fascinating flashbacks that transport you, the viewer, to the days before the apocalypse. These episodes focus on The Ghoul while he was a loving family man and television actor with a burgeoning career. Westerns.
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But even before the destruction by atomic bombs, the world in which Cooper lived was not exactly like the one we live in – Fallout takes place in a retro-futuristic alternative world, inspired by the false promises of the post-war era, when the idea of Americana was. It was presented as an idyllic apology for what happened during World War II. But as J. Robert Oppenheimer knew better than anyone that while people around the world were dreaming of white picket fences, the Iron Curtain was opening across the Atlantic in Soviet Russia. The innocence of the 1950s – much of the symbolism of this era remains to this day – was threatened by nuclear annihilation. It’s a rich world that creators Nolan and Lisa Joy, along with their writing team—showrunners Geneva Robertson-Dvoret and Graham Wagner—are able to flesh out in interesting and inventive ways. But Fallout feels too tired for gaming fans and too generic to stand out to casual viewers.
collection
creators: Jonathan Nolan, Lisa Joy
in roles: Ella Purnell, Walton Goggins, Aaron Moten, Kyle McLachlan, Sarita Choudhury
rating: 3/5
