Every actor is dutifully committed, even if some of the characters are little more than broadly drawn cartoon characters, the stories are energetically told (even when some of the episodes are over an hour long) and the entire mood and atmosphere of the show is wholly enveloping. For something so bleak and macabre, Ratched really is a lot of fun.
The drama (all eight episodes were provided for review) never seems to settle on whether this corrupt and eccentric woman is the hero or the villain of her own story, the aggressor or the victim. Watching Sarah Paulson navigate those extremes is chilling. ... These inconsistencies work together to make Nurse Ratched more terrifying in her unpredictability. ... But where Ratched really shines is through its stylized love of gore.
Ratched comienza frenética y termina de la mejor manera posible.
Las actuaciones de cada uno de los personajes es sublime y fenomenal, el guión está tan bien ejecutado que es parte de la naturaleza de la misma serie.
Sharon Stone is a vengeful heiress and that’s all she is; Corey Stoll is an incompetent hitman and that sums him up. This isn’t acting, it’s posing. Happily Judy Davis and Sophie Okonedo — both Oscar nominees — do eventually develop juicy parts. And “Ratched” becomes watchable entertainment. But that style-over-content thing makes you wonder if Ryan Murphy shows would be better off with less Ryan Murphy.
If a stylish thrill ride is what you want, “Ratched” may do the job. It’s a wild drive through the dark in a pristinely restored roadster, even if the driver often seems to forget the destination. But if you’re actually looking for what “Ratched” promises, a nuanced explanation of a woman who’s been caricatured as a demon, you may find yourself wishing that you could have met Mildred Ratched before “Ratched” got to her.
It takes all eight episodes for Ratched’s sibling heist to come to fruition, but by that time the plot has become so convoluted that it barely matters. ... Perhaps this is the central weakness of “Ratched”: there is nothing bubbling underneath the surface. Romansky and Murphy throw everything at the screen, and all at once.
Nothing in Ratched works. Not the overbearing score desperately trying to replicate the splendor of Bernard Herrmann’s work with Alfred Hitchcock. Not the consistent insistence on shoving various shades of green into every frame. Not the acting, even when executed by performers who have been dynamic elsewhere. Not the rudderless scripts. ... There is nothing redeemable to be found within the folds of these eight hours of television. Nothing!
The biggest problem with Ratched is that it can't decide on who its main character is at her core (a major problem for a show that is supposed to be a character study!). Is she a fastidious conformist focused on the good of society or is she willing to break every rule and taboo to achieve her selfish goals? Is she a repressed scold or a creature of dark impulses? A naive, self-righteous worker bee or a master manipulator with uncanny charisma? Focusing on any one of these dualities and showcasing the conflict it creates in our title character could make for good drama, but the show instead plays her as all of these things, scene by scene, with no sign of internal conflict (except perhaps in some of the most awkward sex scenes ever filmed). Mildred Ratched does terrible things to people throughout the series, acting in cruel, violent or murderous ways almost immediately, yet in other scenes we are expected to view her as an innocent bystander or a sympathetic point-of-view character for the audience. These things don't work together. There's no emotional core for the audience to hold onto, nor does the plot propel the viewer deeper into the show. It's chock full of coincidence and baffling motivations, tied together with truly clairvoyant insight into the character flaws of others on Mildred's part, who is able to manipulate almost every around her with startling ease (and yet confusingly falls into the naïve heroine role with others). On the plus side, the costumes and sets are striking, and some scenes are genuinely horrifying if you're looking for that. If aesthetics and shock value aren't your thing however, give it a pass.
These types of shows are becoming so predictable it hurts. What could have been a terrific show ends up being Netflix shoving its agenda down our throats as if we're brainless idiots who are being told to sit down, shut up and like it. Let's see how many boxes we can check off on the ol' Netflix "progressive" agenda checklist. Christianity bad, priests sexual deviants, pointless LGBT overtones shoehorned in, all white men bad (minus the disfigured one), all women portrayed as brilliant, flawless and independent, all men portrayed as stupid, weak or subservient etc etc.. I don't want to give too much away. The potential this show could have lies in the way it was shot. It looks stunning. The music is taken straight from Cape Fear but it works. Overall, I give it a 3. Another predictable Netflix mess indicative of the time it was filmed, not the time it takes place. The best shows/movies don't pander. This show panders at every turn but hey, why put in effort to be innovative or creative? Work smarter, not harder... right?
horrible series it feels like ahs told these actors no way we are doing this. the actors decided to promote their ideals and attempt to shove them down everyones throat with poor character direction that is masked by constant lgbqt that doesnt help to enhance the story or build the characters. a sad attempt to progress one flew over a cuckoo nests brillant writing.