Weekend Watch - The Sandman

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give you a review and recommendation for watching it. This week, the subject is Netflix’s latest horror series: The Sandman, based on the graphic novel by Neil Gaiman. It features Tom Sturridge as the titular “Sandman” or “Morpheus” or “Dream” and also Boyd Holbrook, Patton Oswalt’s voice, Vivienne Acheampong, Vanesu Samunyai, David Thewlis, and many others. It follows the story of the King of Dreams after he escapes one hundred years of imprisonment in the human world and seeks to set his realm and the things associated with it back to relative normalcy. Let’s get into it.

Letter Grade: B+, there’s a lot of potential here, but it still needs some work to be great

Should you Watch This Show? If you are at all a fan of the graphic novel, yes! If you are looking for a dark fantasy show with really good worldbuilding, then also yes. I don’t think this show is as universally watchable as some of Netflix’s other releases (read Stranger Things) though.

Why?

                Let’s start with some of what makes the show good. From what I can tell, fans of the graphic novel are highly pleased with most of what the show has done with the source material, which is always a good sign for adaptations (we’ll see how Amazon fares next month with their Rings of Power series). The aesthetic of the art comes through well in the visuals, which are mostly phenomenal to behold – some of the more intricate CGI leaves a little to be desired, but for a television show, the effects are pretty solid. The world of the novel also comes through well in the worldbuilding of the show. The many realms and mythical characters come into the story naturally and with adequate explanation, leaving very little confusion as to the role of each new character. The worldbuilding also leaves you wanting more by the end of the season – at least, it did for me, the sucker for good worldbuilding. Unfortunately, because of all of the characters and story arcs that are brought into the ten-episode season, the story sometimes gets left by the wayside and then caught up with later, rather quickly. The two main stories that feature in this season are deeply interesting in their own right, but because of the exposition that also has to occur, the stories both resolve rather quickly and conveniently with little payoff of things set up earlier in the show. At the same time, it feels like this show wants to set up for an adaptation of the entirety of The Sandman, the graphic novel, as many characters have now been introduced who have larger roles to play later on in the greater story, so that’s promising. (That does mean that we need even more watchers when season 2 drops in the future so that Netflix doesn't cancel it as they so often do. In addition to the solid worldbuilding and oddly paced storytelling, the shows acting is at times great and, at others, only so-so. Vanesu Samunyai, whose first credit is this show, puts forth a valiant effort as Rose Walker, the Dream Vortex and focus of the second half of this season, playing to the levels of the actors in her scene. When across from Tom Sturridge, Boyd Holbrook, and John Cameron Mitchell, she brings a very solid A-game, showcasing the emotional and emotive range of a far more experienced actress, holding her own and even upstaging these more seasoned actors. At the same time, in scenes with Razane Jammal’s Lyta or Eddie Karanja’s Jed, the show reverts to acting more on the level with a CW superhero show (still entertaining in a popcorn-y way, but definitely with more cheese). In addition to the performances of Sturridge, Holbrook, and Mitchell, the true highlights of the show come from David Thewlis as the villain of the first arc – the very creepily unhinged John Dee, whom he portrays with just the right amount of menace – and Kirby Howell-Baptiste and Vivienne Acheampong as the two positive mythical influences in Dream’s life – Death and Lucienne the librarian respectively. Death’s one episode in the middle of the season serves as a high point in both the acting and worldbuilding of the show, showcasing its potential, highlighted in Howell-Baptiste’s subtly emotional portrayal of the avatar of Death, who is apparently Dream’s favorite sibling and the one with the most influence over him. In similar fashion, Acheampong plays Lucienne, the librarian of the realm of Dream, and the closest thing Dream has to an advisor or a friend in his own realm. Her acting is consistent throughout the show, delivering a lot of exposition without ever feeling unnecessary and while having a legitimately involved character arc at the same time, developing alongside Dream. All told, the first season of The Sandman is a mixed bag of great worldbuilding, inconsistent storytelling, and acting that is all over the board. The show’s potential to get better makes it worth watching, along with its skillful adaptation of the original source material.