The 65-minute pilot is packed with characters but light on characterization. The show slips up a bit by not clearly defining the stakes that catapult Abraham to take up his position as a Patriot – it seems more catered toward his disgust for the intruders in Anna’s home than anything else, which is not entirely convincing. Furthermore, as finely outfitted as the British soldiers are, they are all currently interchangeable villains, with the exception of a fiercely fussy major, Hewlett, who has the benefit of the sneering, intense Burn Gorman inhabiting his skin.
The show, driven by an aim to look and feel historically authentic, uses a vernacular that seems well suited to the time, although some of the accents are needlessly thick. Trying to remember that Bell is playing an American, since he is so well-known as a British actor, is a bit tough at times but overall, he does give a fine performance, his hardened face a great tool for the actor to block his loyalties. In his best scene from the pilot, he stifles back rage before pledging allegiance to King George III, in a move to rid him of suspicions with the British occupying his town.
Director Rupert Wyatt (Rise of the Planet of the Apes), who has an eye for picturesque background scenery, is behind the camera for the pilot. The horizon line is at just the right level in establishing shots, giving the episode a classical feel. And while the show’s first hour has elegant candlelit interior scenes and dreary outdoor shots, some of the nighttime exteriors are muddled and too dim. Meanwhile, Marco Beltrami (The Wolverine) brings a stirring score to underline the tension.
Out of the gate, Turn is well suited for history buffs that know the significance of the locations and the context of the drama. However, at points, the script reads more like a textbook than an engaging, character-driven thriller. Regardless, some good performances and compelling subject matter give the series potential to, ahem, turn into something worthwhile – even though fighting off the intruding army of Game of Thrones viewers could be a challenge.
As it stands, Turn is strongly acted, handsomely shot and sometimes confusing. The series expects the audience to keep up with the alliances and accents, which is an overwhelming task for any viewer not too accustomed with the events that are depicted here. Since it does not dumb down the history, diving in head first to the atmosphere of gritty political turmoil is a bit daunting. If the show can bring commentary about terrorism, violence and new world imperialism into its old America setting, then it could amount to some riveting television. Until then, Turn has some work to do to live up to the expectations of a network that has become its own sort of American revolution – in storytelling.
