The Patient has a truly thrilling premise: a serial killer, in a desire to curb his homicidal urges, kidnaps his therapist and holds him hostage for on-call therapy. Backed by two formidable performances — Steve Carell as therapist Alan Strauss, and Domhnall Gleeson as serial killer Sam Fortner — there's lots to love about the series. The languid pacing of The Patient, however, does ask for patience from its audience over its 10-episode run.
The entirety of the show takes place primarily in Sam's basement, where Alan is held hostage and where also where Sam sleeps and showers. Alan is chained to a bed and provided a makeshift wash basin, arm chair, notepad and pen. Throughout the series, Alan attempts to unravel Sam's desires to kill in an effort to come away from his imprisonment alive. While in isolation for much of the day, Alan is also confronted with many of his own issues, namely those with his estranged son, Ezra (Andrew Leeds), and his recently deceased wife, Beth (Laura Niemi).
The series is as much a dual character study as it is a psychological thriller. Carell, who has proven his dramatic chops many times over since the days of The Office, delivers another impressive performance. He effectively portrays Alan as a man who, externally, appears in control but is wrestling with a number of demons and inadequacies. Carell brings a complex warmth to the character that is at odds with some of Alan's less-than-attractive qualities, creating an interesting man to understand.
Despite having been given an early-2000s shag hairstyle, Sam feels unexpectedly menacing. Gleason uses an underlying degree of creepiness that is reinforced by his unsettling calm demeanour and matter-of-fact tone. In the same breath, Sam is also thoughtful and affable in his own way that doesn't make him feel immediately dangerous — until he is. The Patient doesn't try to curry sympathy or favour for Sam; instead, it shows the disturbing and deep-seated darkness in an everyday man.
Generally speaking, a character-based show such as The Patient should thrive in a miniseries format like this. There is more time for audiences to get to know the characters and deepen their understanding of their plight. As the miniseries has grown in popularity in Hollywood, there have been many feature films released that would have benefitted from having 8 to 10 hours of screen time. The Patient, though, has this problem in reverse.
The series is very muted, presumably by design. The two men at the centre of The Patient are compelling enough that not a lot of action is required (and, in fact, the show injects just enough thrills to create some moments of intrigue). However, the story of Alan and Sam doesn't need a 10-episode arc. With the assistance of Carell and Gleason's abilities, the nuances and complexities explored could be covered in a feature-length film. And with a shorter timeframe, the plot would feel tighter and more imminent. Viewing the entire series in one or two marathon sessions reveals a lot of excess fat. If it's watched week to week as intended, there may not be enough suspense to have viewers clamouring for the next instalment seven days later. That being said, The Patient is worthwhile to tune in for Carell and Gleason alone.
(Disney)The entirety of the show takes place primarily in Sam's basement, where Alan is held hostage and where also where Sam sleeps and showers. Alan is chained to a bed and provided a makeshift wash basin, arm chair, notepad and pen. Throughout the series, Alan attempts to unravel Sam's desires to kill in an effort to come away from his imprisonment alive. While in isolation for much of the day, Alan is also confronted with many of his own issues, namely those with his estranged son, Ezra (Andrew Leeds), and his recently deceased wife, Beth (Laura Niemi).
The series is as much a dual character study as it is a psychological thriller. Carell, who has proven his dramatic chops many times over since the days of The Office, delivers another impressive performance. He effectively portrays Alan as a man who, externally, appears in control but is wrestling with a number of demons and inadequacies. Carell brings a complex warmth to the character that is at odds with some of Alan's less-than-attractive qualities, creating an interesting man to understand.
Despite having been given an early-2000s shag hairstyle, Sam feels unexpectedly menacing. Gleason uses an underlying degree of creepiness that is reinforced by his unsettling calm demeanour and matter-of-fact tone. In the same breath, Sam is also thoughtful and affable in his own way that doesn't make him feel immediately dangerous — until he is. The Patient doesn't try to curry sympathy or favour for Sam; instead, it shows the disturbing and deep-seated darkness in an everyday man.
Generally speaking, a character-based show such as The Patient should thrive in a miniseries format like this. There is more time for audiences to get to know the characters and deepen their understanding of their plight. As the miniseries has grown in popularity in Hollywood, there have been many feature films released that would have benefitted from having 8 to 10 hours of screen time. The Patient, though, has this problem in reverse.
The series is very muted, presumably by design. The two men at the centre of The Patient are compelling enough that not a lot of action is required (and, in fact, the show injects just enough thrills to create some moments of intrigue). However, the story of Alan and Sam doesn't need a 10-episode arc. With the assistance of Carell and Gleason's abilities, the nuances and complexities explored could be covered in a feature-length film. And with a shorter timeframe, the plot would feel tighter and more imminent. Viewing the entire series in one or two marathon sessions reveals a lot of excess fat. If it's watched week to week as intended, there may not be enough suspense to have viewers clamouring for the next instalment seven days later. That being said, The Patient is worthwhile to tune in for Carell and Gleason alone.