The review of From, the horror thriller drama from 5 October on Paramount + with a weekly appointment, in which Harold Perrineau guides a small town in the US hinterland where you can enter but which you can no longer leave.
From: Harold Parinneau in one scene
The fledgling Paramount + platform, after the catalog proposed upon its arrival on September 15, begins to flesh out, recovering series that have remained pending in Italy, as well as serial news simultaneously with the original programming. So here we are writing the review by Fromthe ten-part horror thriller drama from October 5th on Paramount + with a weekly appointment, already renewed for a second cycle of episodes. From starts from an assumption that is as abused as it is intriguing: what would happen if there were a small town in the US hinterland that you can enter but cannot leave?
That road in the woods
From: a scene photo
From begins with all the typical horror styles like Scream, letting us enter medias res in the narrative and immediately showing us the two dimensions that will coexist in the story. On the one hand, the town in the woods where we soon realize there is a threat that comes from the surrounding woods when it gets dark. Everyone runs into the house barring doors and windows, and intimidating their fellow citizens to do the same, first of all Sheriff Boyd Stevens (Harold Perrineau, who finds himself an isolated place from the known world after the island of Lost). On the other hand, there is a happy family who is taking a trip by camper through the United States, with their parents (Eion Bailey, also a subscriber to the isolated places after the coastal town of Once upon a time and Catalina Sandino Moreno, seen in The Affair) who evidently have a background and their two children (Hannah Cheramy and Simon Webster) bickering with each other. The roads of these two realities will meet (literally) when the Matthews find a tree blocking the road and a group of mysterious and seemingly doomed ravens flying over it in a circle. Everything is about to change for them, but not in the way one would expect, as happened for example in Wayward Pines.
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That town in the woods
From: the cast in a scene
In fact, the entry of the Matthews into the city occurs through a serious accident that also involves another car with two passengers on board, clearly under the influence of some substance. Two cars bumping into the town at the same time is an event that, we soon understand, had not happened for years. Forced on the one hand to help newcomers, on the other to defend themselves from the dark and to look suspiciously at the patrons, the citizens find themselves a large group of new entries ready to upset the already precarious balance of the town. Already precarious because obviously, as in any self-respecting drama, the supernatural element is inextricably linked to the tangible element of dysfunctional families, whether they are intended as biological nuclei or at a city level. Everyone has their own cats to peel behind the domestic walls and tries not to “wash their dirty clothes” outdoors but behind carefully shuttered windows. Why can’t you leave that town anymore and how does it choose its new inhabitants? What are the mysterious and disturbing creatures that appear only in the dark and attack only those who let them in (element reminiscent of vampires) literally tearing apart their body and face? From also extends the narrative topos of the Haunted and Haunted House: after “it was the house”, we can say “it was the city”.
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That house in the woods
From: a scene from the series
The house headed by Donna (Elizabeth Saunders), Colony House, is a sort of control outpost from which new arrivals to the city are managed, apart from the primary city nucleus, where, for example, the sheriff’s son has chosen to live. A place to understand if new entries are a threat or a possible resource. The Matthews will have to learn to accept the “new normal” that has presented itself before their eyes and accept that over the years the other inhabitants have arrived, covering roles such as that of sheriff, doctor and so on. There is also another mystery to be solved: is the seemingly happy little family actually hiding or running away from something? And above all, who are the other two customers involved in the accident and why an event of this magnitude happened after many years: does it mean something or is it pure coincidence? Also because the sheriff’s son creates paintings that represent visions common to little Matthews, winking at Manifest. From, born from the mind of John Griffin and nominated for a Saturn Award for Best Horror Series and Best Actor to Harold Perrineau, tackles the ancient dualism between Science and Faith, between Destiny and Free Will made perfectly by Lost, the watershed of modern seriality. From visually mixes it with a dark photograph and a direction that takes its time with Stephen King tones, like those seen in Castle Rock, another town in the television imaginary full of secrets and mysteries to be revealed. How much are we masters of our choices and how much has already been decided by a predetermined path?
At the end of our review of From we confirm that it is a successful supernatural drama that brings back on TV the duo Science and Faith / Destiny and Free Will from Lost, mixing it with thriller and horror tones à la Stephen King, adding another disturbing town to the long list of TV places we don’t want to live, after Twin Peaks, Wayward Pines and Castle Rock.
Because we like it
The incipit in medias res takes the viewer directly into the story. The arrival of the Matthews family in the less canonical town than expected. The photography and the general atmosphere given to the town and its inhabitants. Come From plays with the narrative styles of the genre.
The pace and some passages may be slow for some viewers. Not all storylines, as often happens in these cases, have the same pathos, the same goes for the performances of the performers.