TV Review: “For All Mankind” is an Engrossing Drama (Apple TV+ Series)

“If you want me out, you’re gonna have to cut me yourself, sir.” — Tracy Stevens in “For All Mankind”

It’s kind of nice when a TV series surprises you.

When I say “surprise,” I’m not necessarily referring to a bunch of twists, turns, and shocking cliffhangers you don’t see coming — although, the series I’m talking about has plenty of narrative loops to keep you intrigued throughout. 

The Apple TV+ series “For All Mankind” looks at the early days of the “space race” through an alternate history lens. 

Instead of Neil Armstrong being the first man to step foot on the moon in 1969, “For All Mankind” imagines a world where Soviet cosmonaut Alexei Leonov is the first man on the celestial body. 

That wrinkle sets into motion a series of events that forever changes the global space race between the United States and the U.S.S.R.  

More to the point, the space race becomes the arena where the Cold War is fought, and NASA’s de facto role finds the agency developing technologies in a tit-for-tat tussle with the Russians for interstellar supremacy. 

Going into “For All Mankind,” I was expecting a schmaltzy bit of revisionist history — a story that leaned on nostalgia for the early days of space exploration as its hook. I wasn’t expecting a lot of depth. 

I was wrong.

My initial perception was incorrect and the narrative structure is so much more than the promos led me to believe. 

Much in the way a period drama like “Mad Men” used "midcentury advertising” to explore the socio-political issues impacting the country in the 1960s and 1970s, “For All Mankind” employs a similar technique as it explores the lives of the men and women working in the space program. 

Sure, things can get a bit melodramatic at times. That said, watching the lives of the people behind the NASA program in the series (told from personal and professional perspectives) makes for a pretty compelling drama. 

“For All Mankind” was the brainchild of Ronald D. Moore. 

Moore is a screenwriter and producer whose talents have been on display in TV series like 1990s-era “Star Trek” and the wildly popular 2000-era reboot of “Battlestar Galactica.”  

While the visuals and set design are immersive in “For All Mankind,” it is the human drama that kept Bridget and me tuning in. We see fictional characters intermingling with historical figures in a way that brings a sense of verisimilitude to the episodes.  

I found a number of the characters to be interesting. 

In particular, the two couples at the core of the show’s main plotline anchor the drama. 

Astronaut Ed Baldwin (Joe Kinnaman) and wife Karen (Shantel VanSanten) epitomize the straight-arrow, WASP-y families found in postwar suburbs across the U.S. in the 1960s. 

Acting as a counterpoint to the Baldwin clan is Astronaut Gordo Stevens (Michael Dorman) and wife Tracy (Sarah Jones). Gordo’s philandering ways harm his marriage, and his restless wife is yearning for a path beyond that of a stay-at-home mom. 

As we watch the interplay between these couples and their families, we see characters who are allowed to change and evolve as the first season’s 10-episode arc progresses. 

At the beginning of the first episode, the couples seemed like they were in place to serve an archetype of the period. But as things moved along, it was nice to see each of those four characters “breathe” (narratively speaking). They became multi-dimensional as a result. 

While both of those couples anchor the show, it is the supporting cast that gives “For All Mankind” its flavor. There are a number of good performances during the first season. 

In particular, I thought Lenny Jacobson’s performance as Wayne Cobb (an affable counter-culture artist in the series) was particularly good. I don’t want to talk too much about the performance (because I don’t want to reveal any spoilers), but smaller roles like his made the first season interesting. 

I also enjoyed Wrenn Schmidt as NASA engineer Margo Madison. Her character is quietly intense as she navigates politics and social norms of the time as the first woman in Mission Control. When the series begins, we learn that she has been mentored by Wernher Von Braun (Colm Feore). As the series progresses, she pays that tutelage forward when she takes Aleida Rosales (Olivia Trujillo) — the daughter of a NASA custodian — under her wing.

“For All Mankind” has certain elements that will remind viewers of movies like “Apollo 13” and “The Right Stuff,” as well as TV shows like 1984’s “Call To Glory.” 

The show’s main title is composed by Jeff Russo. Russo has had a fairly prolific career (primarily composing TV theme songs). His credits include opening themes for properties in the “Star Trek” franchise (he most recently composed the theme for “Star Trek: Picard”). 

The title track he composed for “For All Mankind” sounds like it could be a “Star Trek” score (it is both epic and inspiring):

The show’s soundtrack also features recognizable pop songs from the 1960s and 70s. The first season of “For All Mankind” spans the period of time between 1969 and 1974. 

As I mentioned earlier, the show strives for an authentic look and feel. This featurette dives into the production design for the first season. Set designers had access to actual tools used by NASA during the era, and the show’s costume designer thumbed through old Sears Catalogs for inspiration: 

Overall, I thought “For All Mankind” was an engrossing drama. I went in with lukewarm expectations and was surprised how much I enjoyed it. 

I’ve praised other offerings on Apple’s budding streaming service, but this is one of the best in the lineup. There is a lot to like in the first season. 

By the way, be sure to watch through the end credits of the final episode (Episode 10 “A City Upon a Hill”) for a post-credit “Easter egg.” 

Previous post: Movie Review: “Greyhound” (Apple TV+ Original Movie)

Movie Review: “Greyhound” (Apple TV+ Original Movie)

“Repetition will bring hell down from on high…” — Capt. Ernest Krause in “Greyhound” 

The new Tom Hanks World War II naval adventure “Greyhound” tries valiantly to achieve the sort of reverential status that modern war movies like “Dunkirk” and “1917” have enjoyed in the modern movie lexicon. 

“Greyhound” was originally slated for a theatrical release in 2020, but the global COVID-19 pandemic (and the resulting closure of movie theaters) left the film’s release date in limbo. As a result, Sony sold the rights to Apple (for a reported $70 million), and the movie debuted July 10 on the Apple TV+ subscription streaming service. 

When I first saw the trailer for “Greyhound,” I thought it looked like it could be an entertaining film. I tend to enjoy movies centered around World War II. I have also read a number of Navy-centric fiction novels over the years, written by authors who served on ships and submarines. 

“Greyhound” tries really hard to capture the spartan vibe that Christopher Nolan’s “Dunkirk” (read my review) imbued when it was released in 2017 — albeit on a much smaller budget. 

For those of you who have seen “Dunkirk,” you’ll recall that the film had a scant amount of exposition and character development. Instead, Nolan’s story worked diligently to “show” rather than “tell.” It was a movie where a facial expression meant just as much as a piece of dialogue. 

The downside of “Dunkirk” was the fact that you didn’t really connect with any of the characters on screen. That flaw was forgivable in large part due to “Dunkirk’s” authentic look and feel — that film stands as a technical masterpiece. 

“Greyhound” tries to follow a similar path as it tells the story of Capt. Ernest Krause (Hanks) as he commands the USS Keeling — codenamed GREYHOUND — and a convoy of 37 troop and supply ships and four light warships traveling to Liverpool, England. 

The movie is based on the 1955 novel “The Good Shepherd” by C.S. Forester (who also wrote the Horatio Hornblower novels). The screenplay was penned by Hanks. Aaron Schneider handled the directing duties. 

The narrative tension in “Greyhound” involves the supply convoy navigating what was known as the “Black Pit” (due to a lack of cover from aircraft) during the Battle of the Atlantic in 1942. 

The action remains firmly onboard the Greyhound as we watch the crew play a cat-and-mouse game with German U-Boats.

The mission is Krause’s first in command of a vessel. I must admit that it seemed a tad bit odd having a 64-year-old actor playing a character in that situation. 

The fact that it was his first command wasn’t really explained. It was mentioned during a brief flashback scene where we see Krause exchanging Christmas gifts with an apparent love interest named Evelyn (Elisabeth Shue).

In some respects, the world-weary performance by Tom Hanks is almost “too steady” in the film’s narrative structure. You never felt like he would unravel (as might have happened with a younger actor in the role), or that the crew was in danger under his watch. 

We all know that Hanks is the modern-day equivalent of Jimmy Stewart. This seems like a role that could have been tailor-made for Stewart back in the day. 

Ernie Krause is a man of faith. We see him praying aboard the Greyhound, and he has a card affixed to his mirror that reads “Jesus Christ The Same Yesterday, Today, and Forever. — Hebrews 13:8.” 

“Greyhound” manages to keep the action moving. There aren’t any lulls in the story. 

For fans of the military genre, there is plenty of jargon-filled dialogue strewn throughout the movie. There’s something satisfying about a war movie where the technology is analog in nature. 

As you can imagine, the amount of CG in “Greyhound” is considerable (as is the case with many modern movies of this ilk). The visual effects are decent, for the most part. 

One of the things that made “Dunkirk” special was the fact that Nolan emphasized practical effects (the scenes of Supermarine Spitfires buzzing through the air were terrific). It’s as if that story was written in a way that would allow as many practical sets and effects as possible. 

“Greyhound” doesn’t lend itself to that structure, and some of the external shots (away from the USS Keeling) leave a bit to be desired. 

(I’m admittedly a “graphics snob” who has a hard time “willfully suspending my disbelief” with some of today’s effects-heavy productions. Sometimes things just don’t look as real as I’d like...) 

The theatrical score is composed by Blake Neely (who has primarily composed TV scores) and it is pretty solid. It definitely captures the mood and vibe of the material presented: 

Overall, “Greyhound” is a competently made film. Tom Hanks is good in the movie, and military aficionados should enjoy the production. There’s also something inherently “old fashioned” about the production, and I think that’ll appeal to a segment of fans. 

I just felt like the movie was missing “something.” Despite our heroes being bombarded with dangerous scenarios (with a few tragic moments strewn about), I never felt the sense of “tension” a movie fan feels when a war movie is truly gripping. 

This won’t be the last World War II drama Tom Hanks makes for Apple TV+. Hanks and Steven Spielberg are producing an eight-episode miniseries for the streaming service called “Masters of the Air” (which will focus on the 100th Bombardment Group of the Eighth Air Force). 

In the meantime, if you’d like to view “Greyhound” for yourself, you can do so on the Apple TV website or via the Apple TV app. 

Previous post: TV Review: “See” Season 1 (Apple TV+ Series) 

TV Review: “See” Season 1 (Apple TV+ Series)

When Apple TV+ was first announced in 2019, the dystopian sci-fi series “See” looked like one of the more intriguing entries among those available when the service debuted. 

I’ve had Apple TV+ for the past few months and finally made my way through the Jason Momoa-led show. 

“See” takes place on Earth in the far future when the human race has lost its ability to see (hence the name of the series). 

The outbreak of a deadly virus in the 21st century reduced the human population on the planet to less than 2 million people. The survivors all emerged blind. 

As a result of the mass blindness, a society emerged that has adapted to a world without vision (over the course of centuries). 

Some of the methods used for communicating in a sightless existence are fairly clever. For example, tied knots on pieces of rope serve as a substitute for the written word. 

The world presented is tribal in nature, and the first season of “See” feels more akin to a 19th century wilderness story than a futuristic tale. 

Momoa plays Baba Voss, the chief of the Alkenny tribe. He is married to Maghra (Hera Hilmar), a pregnant woman who came to Alkenny village seeking help. 

Maghra’s twin children (a boy and a girl) are born able to see — something considered to be a witch-like ability.  

The twins’ forbidden gift — and the danger the ability brings — sets into motion the macro narrative that carries “See” through its first season. 

The twins attract the attention of Queen Kane (Sylvia Hoeks), the peculiar leader of the Payan Kingdom. She dispatches General Tamacti Jun (Christian Carmago) to hunt the heretics down (a hunt that, at times, reminded me a bit of plot points featured in the George Lucas fantasy film “Willow”). 

The twins are named Kofun (Archie Madekwe) and Haniwa (Nesta Cooper). We soon learn they are the children of a mysterious man named Jerlamarel (Joshua Henry). 

“See” is the creation of screenwriter Steven Knight. Knight is probably best known for the Netflix series “Peaky Blinders” (which he created and serves as a writer and executive producer). I’ve never watched that show, but have noticed it was available on Netflix. 

Knight also wrote the screenplay for the 2016 World War II thriller “Allied” (read my review). 

I went into “See” not really knowing what to expect. 

As I watched the first season, my opinion bounced around like the readout on a PKE meter. Some moments were quite compelling. Other moments left me somewhat underwhelmed. 

Overall, I found the first season of “See” to be something of a mixed bag. 

The strong points in “See” rest largely on the shoulders of Jason Momoa. 

If you’re looking to cast a brawny leader of a futuristic tribe, the “Aquaman” star seems tailor-made for the part. With his scraggly locks, bushy beard, and tattoos, Momoa brings instant authenticity to the role of Baba Voss. 

You genuinely believe he is a blind man who has developed a keen sense of hearing — and a warrior’s intuition for unseen dangers lurking at every turn — in this environment. 

Momoa definitely brings an enthusiasm to the material, and his performance is the best thing about the first season. You can tell he is having a good time in the role. 

He recently posted some fun behind-the-scenes material from “See” on his YouTube channel:

A number of the other cast members do a yeoman’s job in their roles, creating characters that show promise for the future. 

Alfre Woodard brings quite a bit of energy to the character of Paris, a spiritual elder in the Alkenny tribe (a welcome trait in a show that can plod along at times). The character is tasked with a number of responsibilities in the season’s story structure — and the exposition she doles out helps viewers make sense of this mysterious world. 

Even though I found the Queen Kane character to be overly bizarre, Sylvia Hoeks did create a memorable character. She created a character that was cunning, paranoid, and downright weird. 

I also thought that Nesta Cooper did a solid job as Haniwa (one of the sighted twins). Cooper portrays the character during her teenage years, and brings a tough feistiness to the role. It is a nice counterpoint to Archie Madekwe’s performance as her brother Kofun. 

The frustrating thing about a show like this is that a considerable amount of time is spent doing “world building” during the early episodes. While that task is necessary to establish the rules of the unique world in “See,” the added exposition can cause the storyline to drag. 

That’s why a lot science fiction and fantasy movies and TV series rely on familiar tropes when telling stories. 

Be that as it may, you have to admire the filmmakers for trying to do something different with “See.” 

“See’s” production is the real highlight of the first season. The show is filmed in some gorgeous locales around Vancouver, British Columbia. 

Lush forests and breathtaking mountain landscapes envelope much of the first season’s story. The 4K UHD video presented on Apple TV+ is really lovely. 

One of the technical aspects I didn’t care for was the show’s musical score — or lack thereof. The music (what there is of it) is composed by Bear McCreary. 

While McCreary’s score tries to convey a sense of foreboding and tension, it didn’t quite resonate with me. Parts of it reminded me of Hans Zimmer’s score for the movie “Dunkirk” (read my review) — where the score is less about the “music” and is employed to emphasize the sound effects on screen (if you get my drift).  

Despite some promising elements, the overall tone of the show is so “dreary” that it can be hard to stick with. It took me a few months to work my way through the eight-episode season (each episode runs about an hour). 

I think there are some interesting possibilities for future seasons. To that end, the season finale set things up for what could become a fascinating story as things move forward. 

(The eighth episode also features one of Momoa’s best “one liners” of the season — it happens during a fight sequence at the end of the episode. This is a “no spoilers” review, so you’ll just have to watch for yourself to see what he says!)  

I just can’t tell at this point whether or not I really like “See.” 

The show is like a bizarre mix of “Mad Max,” “Waterworld,” and “The Hunger Games.” 

It’s very possible that “See” will be a series that is more of a “slow burn” — requiring multiple seasons to develop a truly compelling narrative. 

We’ll see…

If you’d like to learn more about the series — and watch the first two episodes for free — visit the Apple TV website or watch via the Apple TV app. 

Previous post: Five Highlights From the 2020 Apple WWDC Keynote