I tried to like this, I really did. I sat through seven and a half episodes so I gave it every chance, but I realised that it wasn't going to get any better and, more importantly, it wasn't adding anything to my life.
When I first heard about this series I thought what's not to like? A decapitated equestrian careering through mistily atmospheric forests in 18th century upstate New York. Fantastic! Literally.
Based on, or more accurately inspired by, the 1999 film of the same name, this version adds the element of time travel bringing the hero of the piece, the marvellously monikered Ichabod Crane, to contemporary America. So I was anticipating all sorts of time space continuum swashbuckling and mystery.
Unfortunately, the series has come up short.
First, the good. It started well after some impressive trailers had promised much. Also, the effects are impressive and seamless. You really can believe there is a skilled jockey thundering through manicured semi-rural USA without benefit of his head. And, where atmospheric shots of misty forests are required they certainly are well misty and atmospheric. However, once you've seen one headless horseman you've kind of seen them all and, as we get to see him early on, the potential for any suspense has been lost.
But that's about as good as it gets. Whilst there is a vague story arc running through the series about the horseman being the vanguard for his three mates of the Apocalypse, each episode features a self- contained plot, normally a slightly facile murder mystery. The plotting is not particularly ingenious and certainly lacks the coherent structure and satisfying resolution of Tim Burton's film, which clearly served as the starting point for the TV series. On the upside, and unusually for US produced shows with an historic element, the use of language is well-observed for time-travelling Ichabod, who generally sounds authentically of the 18th century and does not slip into any obviously contemporary speech patterns or idioms. Also, his lack of knowledge and surprise at the many changes between his time and contemporary America provide a satirical commentary that could have been explored further.
'Sleepy Hollow' is not a star vehicle and unfortunately it shows in the performances. Tom Mison as the central character brings all the authentic 'Britishness' of a 18th century English gentleman soldier that you'd expect with a fair dash of handsome swagger, but his continual insistence on wearing his original two-hundred-year old clothing renders him rather too self-aware in his movement; all collar- up and stiff neck, his performance quickly becomes very one-paced and irksome. Nicole Berahie, who plays his 21st century sidekick simply lacks the charisma or depth to merit the part. It might have been better to cast Lyndie Greenwood, who plays Berahie's disturbed sister, in the sidekick role as she dominates the screen far more effectively in her scenes.
Finally, 'Sleepy Hollow' is one of many US series that suffers from DIMS (dreadful incidental music syndrome). This afflicts many of what I would categorise as 2nd and 3rd division shows and is characterised by continual noise – let's call it muzak – throughout the whole playing time. It's probably all created by one person with a keyboard and a computer and mostly does not comprise what we would recognise as music at all. More, it is a collection of sounds designed to tell us, the viewer what we should be experiencing at any given time excitement, suspense, resolution, relief, romantic interlude and so on. It is over- used and shows: 1) no respect to the viewer to work out what is going for themselves and 2) a complete lack of confidence from the producers in the script. I really feel that there should be an orchestrated (see what I did there) campaign to stamp out DIMS from television.
'Sleepy Hollow' is a game attempt that falls short and remains firmly in the 2nd division of the pantheon of US TV series. However, it is now into its fourth season so, clearly, there is an audience for this kind of fantasy, which is probably just about deserved for the production values.
When I first heard about this series I thought what's not to like? A decapitated equestrian careering through mistily atmospheric forests in 18th century upstate New York. Fantastic! Literally.
Based on, or more accurately inspired by, the 1999 film of the same name, this version adds the element of time travel bringing the hero of the piece, the marvellously monikered Ichabod Crane, to contemporary America. So I was anticipating all sorts of time space continuum swashbuckling and mystery.
Unfortunately, the series has come up short.
First, the good. It started well after some impressive trailers had promised much. Also, the effects are impressive and seamless. You really can believe there is a skilled jockey thundering through manicured semi-rural USA without benefit of his head. And, where atmospheric shots of misty forests are required they certainly are well misty and atmospheric. However, once you've seen one headless horseman you've kind of seen them all and, as we get to see him early on, the potential for any suspense has been lost.
But that's about as good as it gets. Whilst there is a vague story arc running through the series about the horseman being the vanguard for his three mates of the Apocalypse, each episode features a self- contained plot, normally a slightly facile murder mystery. The plotting is not particularly ingenious and certainly lacks the coherent structure and satisfying resolution of Tim Burton's film, which clearly served as the starting point for the TV series. On the upside, and unusually for US produced shows with an historic element, the use of language is well-observed for time-travelling Ichabod, who generally sounds authentically of the 18th century and does not slip into any obviously contemporary speech patterns or idioms. Also, his lack of knowledge and surprise at the many changes between his time and contemporary America provide a satirical commentary that could have been explored further.
'Sleepy Hollow' is not a star vehicle and unfortunately it shows in the performances. Tom Mison as the central character brings all the authentic 'Britishness' of a 18th century English gentleman soldier that you'd expect with a fair dash of handsome swagger, but his continual insistence on wearing his original two-hundred-year old clothing renders him rather too self-aware in his movement; all collar- up and stiff neck, his performance quickly becomes very one-paced and irksome. Nicole Berahie, who plays his 21st century sidekick simply lacks the charisma or depth to merit the part. It might have been better to cast Lyndie Greenwood, who plays Berahie's disturbed sister, in the sidekick role as she dominates the screen far more effectively in her scenes.
Finally, 'Sleepy Hollow' is one of many US series that suffers from DIMS (dreadful incidental music syndrome). This afflicts many of what I would categorise as 2nd and 3rd division shows and is characterised by continual noise – let's call it muzak – throughout the whole playing time. It's probably all created by one person with a keyboard and a computer and mostly does not comprise what we would recognise as music at all. More, it is a collection of sounds designed to tell us, the viewer what we should be experiencing at any given time excitement, suspense, resolution, relief, romantic interlude and so on. It is over- used and shows: 1) no respect to the viewer to work out what is going for themselves and 2) a complete lack of confidence from the producers in the script. I really feel that there should be an orchestrated (see what I did there) campaign to stamp out DIMS from television.
'Sleepy Hollow' is a game attempt that falls short and remains firmly in the 2nd division of the pantheon of US TV series. However, it is now into its fourth season so, clearly, there is an audience for this kind of fantasy, which is probably just about deserved for the production values.