Summary
Another series that goes from more to less, which promises to be a police thriller with mystery and class and is mutating into a dirty police thrilelr of revenge and action with elements of espionage, while it is convoluted and accumulating unlikely and even confusing situations. The monotonous performance of its protagonist, who turns non-stop from a loving husband in love and father to an impulsive, violent and irascible (and unbearable) type of arms to take, does not help either.
Review
Segev Azulay (Lior Raz) works as a tour guide in the city of Tel Aviv. Her life undergoes a radical change when her wife, an American dancer, is run over and dies in the accident and those who run her run away (a hit and run). From a certain point on, Segev begins to doubt the "accidental" nature of the incident and undertakes a feverish investigation to find the perpetrators of it.
We are facing another series that goes from more to less, with a magnificent first chapter, well directed, well planned and very intriguing, but that begins to sink as it tries to become more and more American and less Israeli. What promises to be a mystery police thriller is mutating into a dirty police thriller of revenge and action with elements of espionage, especially from the moment the action moves to the United States as a sort of Hard to Kill Israeli in New York.
The plot of this series by the authors of Fauda begins to twist and accumulate unlikely and even confusing situations. Among the implausible (and structural) we could include the devotion that Segev arouses among those close to him (a police cousin, an ex, a friend) who suddenly dedicate themselves full time to supporting him in his investigations and putting themselves in serious risks. Of course, Segev carries a past that accounts for his nonstop mutation from a loving husband and father to an impulsive, violent, and irascible type of gun-taking.
Another serious problem with Hit & Run is Lior Raz's lackluster performance, with practically the same grim expression throughout much of the series, a monotonous performance that makes his unpleasant character at times unbearable.
Of course, there are some situations of tension and action and violence well resolved and better performances, such as those of Moran Rosenblatt as the police cousin, Gal Toren as the friend or Gregg Henry -actor in several Brian De Palma films- as the father of his wife. But this is not enough to save a series that plunges into a routine mediocrity and becomes endless.
Another series that goes from more to less, which promises to be a police thriller with mystery and class and is mutating into a dirty police thrilelr of revenge and action with elements of espionage, while it is convoluted and accumulating unlikely and even confusing situations. The monotonous performance of its protagonist, who turns non-stop from a loving husband in love and father to an impulsive, violent and irascible (and unbearable) type of arms to take, does not help either.
Review
Segev Azulay (Lior Raz) works as a tour guide in the city of Tel Aviv. Her life undergoes a radical change when her wife, an American dancer, is run over and dies in the accident and those who run her run away (a hit and run). From a certain point on, Segev begins to doubt the "accidental" nature of the incident and undertakes a feverish investigation to find the perpetrators of it.
We are facing another series that goes from more to less, with a magnificent first chapter, well directed, well planned and very intriguing, but that begins to sink as it tries to become more and more American and less Israeli. What promises to be a mystery police thriller is mutating into a dirty police thriller of revenge and action with elements of espionage, especially from the moment the action moves to the United States as a sort of Hard to Kill Israeli in New York.
The plot of this series by the authors of Fauda begins to twist and accumulate unlikely and even confusing situations. Among the implausible (and structural) we could include the devotion that Segev arouses among those close to him (a police cousin, an ex, a friend) who suddenly dedicate themselves full time to supporting him in his investigations and putting themselves in serious risks. Of course, Segev carries a past that accounts for his nonstop mutation from a loving husband and father to an impulsive, violent, and irascible type of gun-taking.
Another serious problem with Hit & Run is Lior Raz's lackluster performance, with practically the same grim expression throughout much of the series, a monotonous performance that makes his unpleasant character at times unbearable.
Of course, there are some situations of tension and action and violence well resolved and better performances, such as those of Moran Rosenblatt as the police cousin, Gal Toren as the friend or Gregg Henry -actor in several Brian De Palma films- as the father of his wife. But this is not enough to save a series that plunges into a routine mediocrity and becomes endless.