![]() So they travel together, sometimes with him saving her, sometimes the other way around, as the seemingly delicate Cornelia proves surprisingly handy with a rifle, a knife, and a bow and arrow.Īs the menacing Mr. She is seeking vengeance, while he just wants to claim a plot of land he’s owed - even as everyone he meets warns him that white people won’t actually let him have it. Army’s Pawnee Scouts, who frequently had to take up arms against other indigenous people. Her trail crosses that of Eli Whipp (Chaske Spencer), a veteran of the U.S. Cornelia Locke (Blunt) is an English noblewoman who has come to America seeking revenge on the man she blames for the death of her son. It is 1890, in that hazy era when the Wild West was in the final stages of being tamed. But despite a seemingly straightforward revenge plot, its storytelling frequently turns too complicated for its own good. The whole thing looks gorgeous, and it has some thoughtful variations on Blick’s pet theme about what happens when people from one culture get mixed up in the affairs of another. Blunt is fantastic, as are many of her co-stars. The experience of watching The English while healthy, though, proved roughly the same as bingeing The Honourable Woman from a sick bed. So the premiere of his latest show, the Emily Blunt vehicle The English, provided a chance to see whether I could track a Blick narrative if the room wasn’t spinning as I watched. I never got around to Blick’s follow-up, Black Earth Rising, starring a pre- I May Destroy You Micaela Coel as a Rwandan-born law investigator living in London who gets caught up in a case tied to the Rwandan Genocide. We just couldn’t tell if this was a side effect of our temporary delirium, or a flaw in Blick’s storytelling. Written and directed by Hugo Blick, the thriller starred Maggie Gyllenhaal as an Anglo-Jewish businesswoman caught up in a web of intrigue that involved, among other things, a kidnapping, Israeli intelligence officers, and, I think, fiber optic cables? To be honest, while we loved Gyllenhaal’s performance, along with the sense of mounting tension and the visual style, we had a lot of trouble following the plot, frequently pausing episodes to ask each other exactly what was happening. Unable to do much but alternately shiver and sweat in bed together, we attempted to distract ourselves with a miniseries I had heard good things about earlier in the year: The Honourable Woman. In the final days of 2014, my wife and I both came down with a nasty case of the flu.
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