Reviews
[TV Review] Jordan Peele Ushers in the Perfect New “Twilight Zone” for Our Nightmare Reality
With most revivals of beloved TV and film classics, the initial reaction usually falls somewhere between a cringe or a shrug. Rod Serling revolutionized television when he created the anthology sci-fi and horror show The Twilight Zone in 1959. A show that encapsulated the fears, prejudices, mistakes, questions, and dangers of the 50s and 60s, The Twilight Zone still looks just as well crafted and is as relevant today as it was when it first aired, so a remake to follow the underwhelming 80s and 2002 reboot and the lukewarm movie didn’t initially sound like a necessary idea.
But along comes Jordan Peele, a man who has been auditioning for the job since his days doing Key and Peele – seriously, go back and watch the show, there are some excellent Twilight Zone-esque skits with great twists and commentary. While some may have dubbed Black Mirror as a modern version of The Twilight Zone, Jordan Peele shows there is nothing like the real thing. Like Bryan Fuller’s Hannibal, Peele shows that you can pay respect to the original source material while also taking the show to a new age and add enough to put your own spin on the concept. The result is a personal, thoughtful, funny, intense and overall perfect installment of The Twilight Zone for the nightmarish times we live in.
In case you’ve never seen or heard of The Twilight Zone, in the words of the legend himself, Rod Serling: “You’re traveling through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land of imagination…” The 10-episode series is an anthology, which makes reviewing only the first two episodes a bit hard since the quality may very well vary a lot, but we’re off to an excellent start with “The Comedian” and “Nightmare At 30,000 Feet”.
In the first episode, a stand-up comic (Kumail Nanjiani) finds out mixing your personal life with your career to achieve fame has some unfortunate consequences, and in a remake of one of the most known episodes of the original The Twilight Zone (also the first episode I ever watched, starting a life-long fear of flying), a traveler (Adam Scott) discovers a podcast about the mystery of the disappearance of the plane he is currently on. To say anything else would be a huge spoiler, as part of the magic of stepping into the Twilight Zone is to discover all the twists and turns that each episode takes.
“The Comedian” — Pictured: Kumail Nanjiani as Samir Wassan of the CBS All Access series THE TWILIGHT ZONE available to stream on Monday, April 1st. Photo Cr: Robert Falconer/CBS © 2018 CBS Interactive. All Rights Reserved.
Right out of the gate, the passage of time becomes apparent in these episodes. Unlike the two previous reboots, which still adhered to conventional TV tropes and filmmaking styles of the time, Jordan Peele’s newest version takes this 1959 show into the era of prestige TV in the best way possible, not only in terms of image and sound quality, but in craftsmanship. “The Comedian” and “Nightmare At 30,000 Feet” look as different as Get Out does from Unsane, even if both episodes still feel like the brain-child of Jordan Peele. The former, despite being almost a full-hour long, is fast-paced and uses wide lenses to pull the audience right into its unsettling and increasingly terrifying tale of desperation. The newest version of Nightmare is barely over 30 minutes, yet it is more of a slow burn, using long takes to create a sense of mystery as the audience tries to figure out what the hell is happening to Adam Scott’s character’s flight.
The writing is top-notch. Like Us, or Get Out, the story is always one step ahead of the audience, especially during Nightmare At 30,000 Feet, which takes advantage of audience expectations for what the episode is going to be, and throws curveballs at you, showing a different side of the story than you imagine and making you doubt who is in the right, all while serving up some poignant social commentary. Also, keep an eye out for easter eggs to classic episodes, as well as some images or numbers that cross over from one episode to the next.
Of course, it wouldn’t be The Twilight Zone without some social commentary, and Jordan Peele and his writers have plenty to say about the current state of the world in these two episodes, commenting on technology; our abuse and dependence on it and on each other. While some of the technological references like podcasts or the style of stand-up comedy portrayed in the show could date the show poorly in years to come, the stories and messages are as timely as any episode from the original show while updating the themes to current times.
With The Twilight Zone, Jordan Peele proves that you can reboot a show and make it just as good as the original while updating it for a whole new audience. The Twilight Zone is back and, out of the gate, as good as it’s ever been.
The Twilight Zone premieres April 1st on CBS All Access.
“Nightmare at 30,000 Feet” — Pictured: Adam Scott as Justin Sanderson of the CBS All Access series THE TWILIGHT ZONE available to stream on Monday, April 1st. Photo Cr: Robert Falconer/CBS © 2018 CBS Interactive. All Rights Reserved.
Caitlin Cronenberg’s directorial feature debut, Humane, sees a global crisis puncture the safety bubble of an affluent family in a darkly comedic and violent fashion. Borders clamp down tight as governments resort to voluntary euthanasia in order to reduce the population within a year to stave off catastrophe. While Humane is far less interested in the wider-scaled intricacies of its setup, the social commentary has enough bite, and a compelling cast ensures a darkly funny chamber piece.
Set in a rich Ontario neighborhood, Humane introduces the York family through narcissistic patriarch Charles York (Peter Gallagher). The image-obsessed, somewhat retired news anchor has invited his grown children to his sprawling home to break the news that he’s decided to enlist in the government’s assisted suicide initiative along with his celebrity chef wife, Dawn (Uni Park). The news doesn’t go over well with Charles’ children: prickly pharma executive Rachel (Emily Hampshire), aloof government mouthpiece Jared (Jay Baruchel), recovering addict Noah (Sebastian Chacon), and struggling actress Ashley (Alanna Bale).
Before they can talk Charles out of his decision, private contractor Bob (Enrico Colantoni) arrives to fulfill his quota, and he’s not leaving without two filled body bags.
Cronenberg approaches Michael Sparaga’s script with an understated gallows wit. Set almost entirely within the York household, the ticking clock predicament and worldbuilding are framed from the perspective of an entitled family. Rachel, Jared, Noah, and Ashley are so caught up in their own struggles and infighting that it’s often left to the TV to convey the magnitude of the world’s plight. These small background touches, where you’ll find voiceover cameos from the likes of David Cronenberg, underscore just how out of touch the York family is, fueling the biting commentary on the escalating madness.
Humane looks and feels like a stage play, with minimalist production design and direction that lets the dialogue-heavy performances take center stage. The lengthy conversations and deliberations between siblings propel the plot forward while fleshing out the world and its characters, leaving a lot resting on the cast’s shoulders. Even trickier is that, save for Rachel’s daughter Mia (Sirena Gulamgaus), the Yorks are not remotely likable on paper. The smart casting winds up shifting allegiances throughout, especially the more Bob’s unflappable, upbeat mask cracks, exposing a sinister edge.
Though Hampshire often surprises with her barbed line delivery and cutthroat attitude, Humane belongs to Colantoni’s tricky two-faced character. His winsome portrayal earns easy rooting interest against an elite, snobby family, and a heel turn gives them the opportunity to earn sympathy if they choose it. It’s through Bob that the York siblings become more compelling as they grapple with their life-and-death predicament.
The York family saga escalates the violence and reaches a satisfying conclusion. Caitlin Cronenberg makes good use of the modest budget, letting the dark sense of humor and an entertaining ensemble do the heavy lifting. The York family isn’t very complicated, though, and the social commentary is too superficial and straightforward to leave a lasting impact. Not all character choices feel organic or earned, either. Still, Cronenberg’s mischievous sense of humor makes for an entertaining time.
Humane releases in select theaters on April 26, 2024.
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