Instead of becoming more chilling, it’s eye-rolling. Gleeson portrays this killer as a robotic brat. The portrait of a serial killer painted here is too heavy on the presentation, with extra bushy eyebrows to go with extra vacant stares and the flatness of Gleeson’s line-delivery bleeds into the killer’s general monotone presence. For how searching the role itself is-so desperately trying to say something about Dunkin’-sipping, compulsive, antisocial mama’s boys who like Kenny Chesney-Gleeson comes up with so little.
Known as the " John Doe Killer" for how he steals the wallets of his victims, Sam proves to be the dull symbol of a regular American psycho.
Some daydreams take us to his past, and to his therapist, tangents that become more interesting than the frantic therapy sessions. "The Patient" is a long journey to create empathy in the darkest of minds, but overall it makes for an overlong, dull mind game.ĭirected in part by Chris Long of FX's "The Americans," "The Patient" is stuck on how to make this often two-hander set-up visually interesting instead, we get more dread from the details of the basement, like the unlocked glass sliding doors that are ten feet in front of Alan's reach. Episode by episode, "The Patient" repeats beats of looking at Carell’s face, exhausted, collecting his thoughts, stuck. The premise of it runs out, leading to a runtime that does a disservice to the pieces that can be effective within one man’s quest to get his captor to learn what it feels like to be in someone else’s shoes.
“The Patient,” created by Joel Fields and Joseph Weisberg, tries to engage true crime culture by finding its own snazzy way into the mind of a killer while engaging with our hunger to psychoanalyze a disturbed character.
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