“Perry Mason” perfectly and methodically lays out a compelling and expanding mystery (which is, after all, the main attraction in a genre story), while giving remarkable shape to characters whose stories will resonate with a modern audience. ... Not a drop of talent is wasted here.
The show is primed to improve next year. “Perry Mason” is an exquisitely rendered crime noir made for people who appreciate the genre — or simply people who appreciate thoughtful, detailed, and purposeful storytelling in general.
Well written, beautifully shot and finely acted. Multi-dimensional characters whom you sympathise with despite them doing the wrong thing, that is very rare for TV dramas these days. Great music too. Absolutely loved this one.
Rhys deftly unfurls the enigmatic character layer by layer, crafting this degenerate into a more recognizable version of the legal icon revered for decades. The mystery of how he’s able to pull that off is far more compelling than the unsavory plot that strings Perry Mason along.
Strictly speaking, it works better than it should. There’s so much sunk into the production that the world of the show really comes alive, and the mystery is engrossing and unpredictable. ... . But the story doesn’t let us into [Sister Alice (Tatiana Maslany) and her controlling mother's] interior lives quite enough. It’s a glaringly deficiency, because the series spends altogether too much time wading in the shallows of the men’s feelings—be it Perry, E.B., or one of the dozen-odd suits that end up holding significant information.
While well-executed and gripping enough, largely thanks to a cast that also includes John Lithgow as Mason’s mentor, EB Jonathan, and Juliet Rylance as his assistant, Della Street, it does not yet feel particularly comfortable in its own skin.
So much attention is paid to establishing Mason as a complicated and sufficiently pained male protagonist (and Rhys, to his credit, has a greater range with watchable mournfulness than anyone else on television) that the other elements of the story can get lost. ... The stylistic self-indulgence and narrative nebulousness are more of a shame because when Mason finally finds himself in court, all the pieces of the show fall into place.
It is not, by any stretch of the imagination, Perry Mason. ... There is very little to like about him, but Rhys is an excellent actor who imbues the character with a sorrow that makes us – just – want to root for him. It is hard to take this drama on its own terms, because its creators clearly don’t want us to; they’ve hitched their wagon to the Perry Mason name, and have thrown in re-imagined versions of familiar characters.
Excellent reimagining of the original Perry Mason. Those critical of this version need only go to MeTV to enjoy reruns. I choose to do both.
On a side note, is there any way to filter out reviews from some of the individuals that clearly have a political or social mission to bad mouth anything (films, tv shows, games, whatever) that dare to present a vision that is evolved beyond 1960?
Plagued by modern television defaults: - Confuses slow pace with gravitas (i.e. pompous)
- Mixes modern tropes while trying to achieve historical realism in its decors, costumes etc (i.e. rewriting history)
- Actors reprising and recycling past roles (here Rhys playing the same tortured soul with the superior moral compass he's done in the Americans)
- ultimately, trying to hide a very empty boring core with all of the above
A bit like a very expensive consumer product or toy whose packaging is far more intricate amd pleasing than the product itself....marketing in short!