- Starring: Lance Reddick, Khandi Alexander, T.K. Carter
- Summary: This acclaimed, Emmy-winning HBO miniseries about the impact of drugs on an inner-city Baltimore neighborhood came from David Simon, David Mills, and Edward Burns, who would go on to explore similar themes (with many of the same actors) in their even more acclaimed series The Wire. While theThis acclaimed, Emmy-winning HBO miniseries about the impact of drugs on an inner-city Baltimore neighborhood came from David Simon, David Mills, and Edward Burns, who would go on to explore similar themes (with many of the same actors) in their even more acclaimed series The Wire. While the latter show concentrates more on both the cops and criminals on either side of the drug war, The Corner places a greater emphasis on those caught in the crossfire, including drug addicts. Charles S. Dutton directs.… Expand
- Genre(s): Drama, Movie/Mini-Series
- Season 1 premiere date: Apr 16, 2000
- Episode Length: 60
- More Details and Credits »
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It is also stunning, compelling and thoroughly, empathetically human. [14 Apr 2000, p.11E]
While The Corner may sound like just more preachy TV cliches about drug abuse and African-American self-destruction, it is so much more than that. It is about the life and death forces at war in that inner-city staple, The Corner, and it is a jarring introduction to the people behind the statistics and the cliches. I hope it finds an audience, despite its rawness. No one ever said great drama had to be pretty. [14 Apr 2000, p.D1]
An unflinching and deeply affecting portrait of American tragedy. [14 Apr 2000, p.4F]
Despair and hopelessness form the intersection at which Charles Dutton studies a drug-addled world that's painfully real and overwhelming. [17 Apr 2000, p.37]
But what's amazing, maybe even revolutionary, about The Corner is this: as its narrative plays out in six laid-back, detail-packed, one-hour installments, you come to see that all the major characters don't belong in this place, in this life. [16 Apr 2000, p.1]
The Corner, which is more daring than "The Sopranos," deserves some of the critical hosannas showered on the mob series. [16 Apr 2000, p.F1]
Assuming the perspectives of its characters, the series avoids cliches and condescension; the performances are remarkably free of the cheap mannerisms actors often resort to when playing addicts. But this insiders' view is still undermined by the tone of a cautionary tale. The fact that the series makes a plea to understand the characters' humanity, rather than a judgment about them, doesn't make it less didactic.