Steven Knight’s action-drama is a odd-but-effective mix of its star’s strong warrior skill and “Walking Dead” post-apocalyptic storytelling.
There’s a scene near the end of “See’s” hour-long, action-driven show where Queen Kane (Sylvia Hoeks), the cruel leader of one of Earth’s last civilizations with electricity, disrupts her advisers by frankly shouting, “I wish to pray!”
Retreating to an extra-large footrest bathed in light, the blind ruler of a blind earth licks her fingers, begins speaking to God, and then pleasures herself until she and the prayer together.
There’s no meticulous clarification for this — not in the first three episodes, anyway — and the scene emphasizes both the weird experience of watching “See” in addition to the show’s early limitations.
For as weird as maker and author Steven Knight’s choices can be, they seldom induce an instinctive effect from his apocalyptic ground or a witty way to take full advantage of the bold new earth he’s trying to make.
An episode-long battle ensues, and here’s where “See” starts to click — literally. Directed with a clear eye for the natural exquisiteness surrounding the battle (and a basic visualization of everything else), Francis Lawrence helps produce a convincing, prolonged, and a bit unusual encounter.
Later scenes feature well-choreographed killing, and the open sets and found plaxes add a splendor to the show that helps set it apart.
And however, some of it just feels silly. A certain deferment of incredulity is necessary for a post-apocalyptic fantasy titled “See” about an unseeing civilization — that much is clear — and there are lots of cool sword fights where a fighters will revolve and shove into a accurate spot without any clarification for how they knew where to stab, or even how they knew a rival (not a supporter) was standing there.
OK, fine, but what about when Baba hears the slightest crash of a ladder smacking against his ledge, and he shrewdly tips the enemy’s ladder back over — but afterward, he dumbly ignores an even louder effort at the same attack. It’s as though we’re anticipated to trust everyone in “See” has finely tuned and dulled senses at the same time.
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Those answers may be pending. Massive, fast time jumps help speed up the plot, as Baba and Maghra’s children grow 17 years in less than three hours. Their aptitudes give a way for their village and viewers to find out what happened over the last few centuries, but there’s only the smallest amount suspicion of inquisitiveness dedicated to such answers.
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Momoa, fits the role well — so well, it’s like they named the character after him — and he reminds you of Khal Drogo, building off the “Game of Thrones” favorite for fight scenes while instilling the new guy with good dad intuitions and a troubled past to help form a well-formed lead.
We’ll have to wait and watch how the series progresses but so far Jason Momoa is definitely shining in the new Apple series that looks promising but has a bit of a shaky start.
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