Britinmiami
Joined Jul 2005
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Britinmiami's rating
TV Show Review: "Burning Lies"
Rating: 2/10
Some TV shows are so gripping they leave you on the edge of your seat, eagerly awaiting the next twist. Unfortunately, Burning Lies is not one of those shows. This attempt at a crime drama falls flat, with a dull story, uninspired performances, and a convoluted plot that struggles to hold any interest.
The premise had potential: Det. Ember Manning is tasked with unraveling how a fire at a vacation home ties into a podcast journalist investigating a cold case and an illicit love triangle involving a man in his 20s and two underage girls. On paper, it seems like there's plenty of room for mystery and drama. Instead, the show offers a plodding pace and a story so predictable that even the "big reveals" feel like afterthoughts.
The narrative lacks coherence, with too many disparate elements thrown together in the hopes of creating intrigue. The connection between the fire, the podcast, and the love triangle feels tenuous at best, leaving viewers more confused than captivated. By the end, the resolution is so underwhelming that it feels like a waste of time to have stuck around.
As for the acting, Det. Ember Manning is portrayed with all the charisma of a cardboard cutout. The cast's performances range from stilted to outright cringe-worthy, with little to no chemistry between the characters. Even in moments meant to convey high emotional stakes, the actors fail to bring depth or authenticity, making it impossible to care about their struggles.
Visually, the show doesn't fare much better. While the fire sequences and crime scenes could have been an opportunity for striking cinematography, they're handled in a way that feels lifeless and uninspired. The drab visuals match the overall lack of energy that permeates the production.
Burning Lies is the kind of show that feels like it was written by committee, with every cliché of the crime drama genre thrown into the mix without any thought for storytelling or execution. It's hard to imagine anyone walking away from this series satisfied, and frankly, it's just two hours of your life you won't get back.
Unless you're a fan of wasting your time, skip this one. Burning Lies burns bright-but only as a cautionary tale of how not to make TV.
Some TV shows are so gripping they leave you on the edge of your seat, eagerly awaiting the next twist. Unfortunately, Burning Lies is not one of those shows. This attempt at a crime drama falls flat, with a dull story, uninspired performances, and a convoluted plot that struggles to hold any interest.
The premise had potential: Det. Ember Manning is tasked with unraveling how a fire at a vacation home ties into a podcast journalist investigating a cold case and an illicit love triangle involving a man in his 20s and two underage girls. On paper, it seems like there's plenty of room for mystery and drama. Instead, the show offers a plodding pace and a story so predictable that even the "big reveals" feel like afterthoughts.
The narrative lacks coherence, with too many disparate elements thrown together in the hopes of creating intrigue. The connection between the fire, the podcast, and the love triangle feels tenuous at best, leaving viewers more confused than captivated. By the end, the resolution is so underwhelming that it feels like a waste of time to have stuck around.
As for the acting, Det. Ember Manning is portrayed with all the charisma of a cardboard cutout. The cast's performances range from stilted to outright cringe-worthy, with little to no chemistry between the characters. Even in moments meant to convey high emotional stakes, the actors fail to bring depth or authenticity, making it impossible to care about their struggles.
Visually, the show doesn't fare much better. While the fire sequences and crime scenes could have been an opportunity for striking cinematography, they're handled in a way that feels lifeless and uninspired. The drab visuals match the overall lack of energy that permeates the production.
Burning Lies is the kind of show that feels like it was written by committee, with every cliché of the crime drama genre thrown into the mix without any thought for storytelling or execution. It's hard to imagine anyone walking away from this series satisfied, and frankly, it's just two hours of your life you won't get back.
Unless you're a fan of wasting your time, skip this one. Burning Lies burns bright-but only as a cautionary tale of how not to make TV.
In its fourth season, Slow Horses continues to captivate with its razor-sharp wit, intricate plotting, and a cast so meticulously crafted it feels as though the actors were born for their roles. Gary Oldman as Jackson Lamb is a triumph-a grotesque yet magnetic antihero whose sharp tongue and begrimed charm remain the cornerstone of this spy thriller. With Kristin Scott Thomas as the icily competent Diana Taverner and new additions like Hugo Weaving and James Callis, the series injects fresh vitality without losing its core identity. The balance of classic spy tropes with modern cynicism makes this a series both timeless and contemporary, and its ability to evolve while respecting its roots is a testament to its creators' skill.
Its deft handling of genre conventions makes Slow Horses so uniquely engaging. Yes, there are the expected chases through London's crowded streets, hand-to-hand skirmishes with improbable outcomes, and daring escapes just as doom closes in. But these well-worn elements are elevated by taut direction, immersive set design, and character-driven storytelling. The show thrives on its imperfections-its misfit agents, their flawed strategies, and their begrudging camaraderie. This season deepens the emotional stakes with moments of surprising tenderness amid the chaos, proving that there's room for quiet beauty and genuine connection even in a series built on quips and gunfights.
As the ragtag team of Slough House fights to stay ahead of MI5's polished elites, viewers are reminded that Slow Horses isn't just about spy games-it's about the humanity that persists in the shadows of bureaucracy and betrayal. Introducing nuanced villains and complex newcomers ensures the show avoids the dreaded mid-series slump, maintaining its momentum and expanding its narrative palette. With its layered storytelling and unrelenting commitment to quality, *Slow Horses* isn't just a safe bet for fans of the genre-it's a masterclass in how to keep a winning formula fresh.
Its deft handling of genre conventions makes Slow Horses so uniquely engaging. Yes, there are the expected chases through London's crowded streets, hand-to-hand skirmishes with improbable outcomes, and daring escapes just as doom closes in. But these well-worn elements are elevated by taut direction, immersive set design, and character-driven storytelling. The show thrives on its imperfections-its misfit agents, their flawed strategies, and their begrudging camaraderie. This season deepens the emotional stakes with moments of surprising tenderness amid the chaos, proving that there's room for quiet beauty and genuine connection even in a series built on quips and gunfights.
As the ragtag team of Slough House fights to stay ahead of MI5's polished elites, viewers are reminded that Slow Horses isn't just about spy games-it's about the humanity that persists in the shadows of bureaucracy and betrayal. Introducing nuanced villains and complex newcomers ensures the show avoids the dreaded mid-series slump, maintaining its momentum and expanding its narrative palette. With its layered storytelling and unrelenting commitment to quality, *Slow Horses* isn't just a safe bet for fans of the genre-it's a masterclass in how to keep a winning formula fresh.
This series is a disaster from the start. The amateurish acting is painfully obvious, making it hard to take the story seriously. The actors lack real depth or emotion, which robs the narrative of any potential tension or intrigue.
The direction could be better. The scenes feel disjointed and poorly executed, as if the director had no clear vision or understanding of how to build suspense or engage the audience. The story itself is a contrived mess, centering around a disillusioned British spy who stumbles through Italy solving half-baked mysteries.
The idea of Sylvia Fox, a British spy, casually solving mysteries in Italy while reconnecting with her sister and flirting with a local cop is not enough to sustain interest. The lack of compelling character development or believable dialogue only highlights the production's amateurish nature. Even the subplot involving her ex-husband's attempts to lure her back to the spy game falls flat, feeling more like a forced addition than a necessary part of the story.
In short, this show is a prime example of how not to make television. It fails on every front, from the acting to the direction to the writing. If you're looking for a quality drama with engaging characters and a solid story, there is a better show for you.
The direction could be better. The scenes feel disjointed and poorly executed, as if the director had no clear vision or understanding of how to build suspense or engage the audience. The story itself is a contrived mess, centering around a disillusioned British spy who stumbles through Italy solving half-baked mysteries.
The idea of Sylvia Fox, a British spy, casually solving mysteries in Italy while reconnecting with her sister and flirting with a local cop is not enough to sustain interest. The lack of compelling character development or believable dialogue only highlights the production's amateurish nature. Even the subplot involving her ex-husband's attempts to lure her back to the spy game falls flat, feeling more like a forced addition than a necessary part of the story.
In short, this show is a prime example of how not to make television. It fails on every front, from the acting to the direction to the writing. If you're looking for a quality drama with engaging characters and a solid story, there is a better show for you.