The chance, or the rush of Netflix for brand new series that fit ephemerides such as Halloweenhas wanted two series to have been released with a very short time difference that bear the seal of the incombustible Ryan Murphy. A, Dahmer, has become a phenomenon (and also an object of controversy); the other, Vigilantbecomes the Squire version of the thrillers produced by Murphy and a new demonstration that this man is not an exact science.
Based on real events, Vigilant is a symbiosis between the B series on stalkers of the 1980s and psychopath intrigues of the 1990s. It centers on a wealthy family who buys a house in a suburb and feels they are living the American dream. But the idyllic moments are short-lived. Soon they begin to receive some threatening letters signed by a person who claims to be watching them and is certain that there are people who enter their house.
Vigilant is a symbiosis between the 80’s B-series about stalkers and the 90’s psycho intrigues
The father of the family, obsessed with the fact that the neighbors have something to do with it, ends up discovering that the house has a very shady past and that perhaps they are the last in a long list of victims. An argument, then, very prototypical of the genre that we have seen a thousand times on screen and that has only been funny when those responsible have been able to give it some malicious social readings. It is not the case…
Starts good, ends… bad
Vigilant It doesn’t start bad. He knows how to introduce the context of the story, he introduces some promising characters (the local fauna, very typical of the freaks’ bestiary of Murphy’s productions) and it seems that he wants to shoot against the indolence of the wealthy classes of traditionalist America. But in the same way that the protagonists begin to see that the house is not as they paint it, the series takes more or less the same time to make waters on all its fronts.
In the same way that the protagonists begin to see that the house is not as they paint it, the series takes more or less the same time to make waters on all its fronts.
First and foremost, the portrait of this family that insists on making the worst decisions at the most inappropriate times. The father who plays bobby cannavale he still has his what, because after all he doesn’t stop reproducing the mold of the thriller hero overcome by circumstances and it’s already in his DNA to behave like an idiot, but what they do to the naomi watts has no name. Not only is it insubstantial and you never know what she wants or what she thinks, but she ends up giving the feeling that nothing that happens has anything to do with her.
It’s not scary
Then there is his lack of ability to generate real suspense. It contains a few passages that convey a certain discomfort and a lucky scare, but the story has so many tone problems (it’s not as scary as it wants to be, and its black humor isn’t sharp enough) and it turns so much on itself (this obsession to verbalize all the theories about what is happening) that you end up caring little or nothing about who sent the letters and what ends up passing them to each other.
Towards the end, you see what they intended to do and it tries to become a parable about the very North American obsession with foreign enemies and distrust of the other, but since it has made it so difficult for you to connect with it, the series ends up losing all trains
Towards the end, you see what they intended to do and it tries to become a parable about the very American obsession with external enemies and distrust in the other, but since it has made it so difficult for you to connect with it, the series ends up losing all trains. By more than mia farrow get out, that’s not Rosemary’s Baby. It doesn’t even work as a troll: exactly what distinguished it from the more insane thrillers on which it is based. Vigilant is that we laughed with them and not at them.