Archive 81

Ein hoffnungslos überkombinierter Mischmasch, der mehr oder weniger von Anfang an eine absurde Auflösung verspricht und diese auch liefert. Leider fehlt ihm jegliches Charisma, um das Spiel mit der wahnsinnigen Anmut eines solchen Cure for Wellness zu spielen. Die Charaktere sind blutarm, die Atmosphäre wird nach ein paar vielversprechenden Episoden verwässert und die letzten beiden Episoden gehören zur Kategorie "Gähnen mit hochgezogenen Augenbrauen". Eine verpasste Chance, die zweite Staffel höchstens aus Langeweile. (20.01.2022)

Finally got around to watching a Netflix series that actually had some tension and atmosphere, instead of just checking off diversity boxes (looking at you, Geralt). Sure, they went for a multiracial cast, but it made sense in this context. Set in New York, it was a fitting mix (unlike a Slavic fantasy, eh Geralt?). I was particularly drawn to the main character, both in terms of looks and performance, so big props to the casting team. Throughout the series, I was hooked by the quality tension and fantastic atmosphere. Plus, the story was genuinely intriguing, keeping me entertained... until the final episode, which left me a tad disappointed. All in all, I'd say this is a solid win for Netflix. I definitely don't regret the time I invested in it. / Lesson learned: Craving mystery? This series has got you covered. (09.04.2022)

A remarkable slow burn horror series that begins with a cautious exploration of mysterious videotapes and subtle hints of some sort of cosmic evil finding its way into our dimension, and ends up as a rather sprawling sci-fi/fantasy horror with no supernatural elements spared. In any case, I liked the first half (or maybe the first two thirds) better, which in style and mood corresponds to the work of the indie directing duo Justin Benson and Aaron Moorhead, who, by the way, are responsible for the third and fourth episodes. In the end, the supernatural elements are handled rather wildly (the silent, subtle horror is gone) and much of the scariness and especially the believability (even in terms of the characters' actions) is lost. (17.01.2022)

Apparently all the quality of the show was in that podcast that Netflix bought and handed over to a bunch of talentless fachidiots to execute. There are, in fact, a lot of tasty horror ingredients hiding here, which is such a sympathetic chronicle of 20th century American horror themes, and we find influences ranging from Lovecraft to The Twilight Zone to a fascination with the occult in the upper echelons of show business. The first episodes, which work with a lot of hints, still not connecting anything, instead trying to keep as many things under wraps as possible for as long as possible, are excellent and at times almost remind me of Lost Highway. But Archive 81 degenerates from the fourth episode onwards into a weary stodginess that lacks resources, courage, or any creative vision. What the fuck is the point of having a different screenwriter write a script for nearly every episode of a mere eight-part horror series anyway? Did I get caught watching some workshop? Fundamental errors in bullet points: 1) The series could have beautifully hidden its production limitations by working with film material, which the plot literally screams for. After all, we're watching a movie where the protagonist discovers mysterious events through the restoration of damaged camcorder tapes. Why can't it be a mystery horror mixed with found footage and even a silent black and white insert from the 1920s, where Episode 7 takes place? Well, because no one there has the guts to do that and they're afraid that switching between multiple formats and viewing angles would put unnecessary demands on the viewer's viewing experience. 2) I have eight hours to profile the characters, but I can't justify motivations for any of their actions other than family satisfaction. Again, this is probably so it can convene a television target audience who would have trouble relating to characters who embark on dangerous quests perhaps for the purpose of exploration, research, inner tension, or simple curiosity. 3) It would be great if Netflix could for once afford to cast, I don't know, actors in acting roles, because watching Dina Shibabi overact for hours makes me rethink my usual view that acting is an overrated cinematic discipline. Although I admit that anyone would probably struggle with a character this stupidly written. 4) Why do those witches look like they're from... ah, Rebecca Sonnenshine, shutting up now. 5) I'm sympathetic to stupid scripts, but when several stupid scripts by several people come crashing down on me within the same plot, the scenes where the analog film expert starts destroying hundreds of VHS tapes by randomly hitting them with a wrench, I'm like dude hit the brakes already. (19.02.2022)