Bruno V
Série de alto valor significativo para o gênero. Personagens inesquecíveis, sem contar com a sua alta performance em esconder e contextualizar episódio por episódio. Ou seja, quem escreveu essa série é um gênio.
Rated 5/5 Stars •
Rated 5 out of 5 stars
07/21/23
Full Review
Klber A
Série perfeita, recomendo muito ela!!!
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/06/23
Full Review
phil s
I've gone back to following The Mentalist, a show I started watching when it first came to television. I lost interest; I know not where along the road to following the show back then. I recall thinking to myself the writing had gotten too gimmicky. But I was in the throes of a bad marriage and that may have taxed my faculties with distractions enough to weaken my ability to follow the complex rhythms and nuances of the storytelling.
Thus far, in my self-imposed binge of this courageous program in that, it was required to deliver 22 to 24 episodes of new and fresh mystery story-arcs, I've reached the early episodes of season 3. Back then, before networks started reducing the definition of a season to 13 - 16 weeks (mid-season start-up), a program could contractually be bound to this production standard. In this genre, it is hard year after year to come up with new Holmesian plots and sound fresh each time. It's demanding on the writing staff, to say the least.
But The Mentalist will, like its main character ask you the right question just when you least expect it. That was the case with the ending of Season 3's Episode 2, Cackle-Bladder Blood. I was rocked back on my heels by Simon Bakers' sad close-up at the gravesite and his attempt as an actor to assimilate the Red John blood face. He was moving through several facial expressions of grief as the camera closed in. Now if you do what I do, when examining an actor's range, you click-click pause through certain scenes to see how they shift and shift again quickly through emotes. He nails the logo for the killer perfectly in several frames of his facial staging. I immediately saw it subliminally, and it impressed upon me powerfully the immense weight of the guilt and suffering he carried. He can pull that off very well, I regard his emotional range in this series as better than what Robin Williams was able to produce for the death of his wife in Good Will Hunting. That's just my sense of it, I mean no disrespect for the dead.
The writing and acting in this episode also won me over. The carnival atmosphere, his brother's intense portrayal of the kinds of personalities manufactured as by-products by the carnival lifestyle, how it indoctrinates the marginalized souls produced by our society, into its protective family. We, most times, get to choose our families, the ones not imposed upon us. These homes are where we find our trust, comfort, guidance, and healing. Our families can come from anywhere - we are all human.
Patrick Jayne came from such a home, but he and the only woman he loved, or may ever love (again, I'm on S3), wanted a life of their own apart from their 'carny' family. Patrick believes it was his fault and he and his brother must come to terms with this. Both men loved her equally through facets of love from different angles...
The greatest stories involve the evolution of humans into something either better or worse by telling's end. Patrick and his brother evolve into a family unit again, united in the love of the same woman. There is conflict and struggle of a sort that can only be witnessed in close families. I am a product of such 'big family' violence. I was the youngest of six in a stepfamily. This all swirled around me, heightening my emotions, attuning my sympathies, challenging my acuity.
The parlor trick was obvious, they are carnies, after all. Drawing out the murderer is always the most entertaining part of why I follow Patrick Jayne, he is a smart Alec, as I was as a teenager. It got me killed, but like Jayne, I resurrected. In this season Patrick, it seems, does a lot of resurrecting as well. It was the overly intense, what seemed forced, acting of the brother also in the last act, that gave away instinctually to me, that Patrick and his brother had clandestinely joined forces and were already in league with each other. Patrick himself even pointing out earlier, that a cool demeanor would be the sign of a sociopath.
This episode had strong and intricate writing, explosive acting, and an appeasing finale', a very solid early season episode. It so impacted me that I purposed in my heart to write this review and add my two cents to the already gaining 90 percentile this season garnered from its audience. I will continue to review as I chug along in my bingeing of this program.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
03/30/23
Full Review
Audience Member
esta temporada no dio ni pizca de gracia para seguirla, ademas de que se cree al resolver los casos con gracia, si fuera en la vida real, ya lo hubiera corrido, menos mal que es ficción, por otro lado, los actores llevaron a sus personajes lejos, tratan de alivianar el ambiente, pero mas bien lo empeora.
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
01/09/23
Full Review
Audience Member
I haven't seen the beginning or ending of this series. Started watching somewhere in the middle, and liked it well enough. Waiting for the series to go onto Netfllix. While waiting, I tried out Simon Baker's previous TV series, The Guardian, until Netflix removed it from streaming when I was halfway through Season II. Thanks, Netflix.
For some reason, this site doesn't have The Guardian listed for review, but it was very good.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
01/09/23
Full Review
Audience Member
Strawberries and Cream Parts 1 & 2 gave us a much better Red John than S6E8 did. Pretty bad when the fake RJ from Season 3 kicks the "real" RJ's a$$ from Season 6. If the show ends with Ray Haffner being the REAL Red John, you'll hear my elated screams coming through your speakers.
Rated 4/5 Stars •
Rated 4 out of 5 stars
01/09/23
Full Review
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