Critic Reviews

Turner and Dillane’s magnetic pull toward each other is captured perfectly on screen. A deep understanding and a ribbon of distrust add to their intense chemistry. Like most British dramas, nothing is wasted in “Joan.” The limited series is nimble and engaging without the superfluous characters and plot points that often clog up American television shows.

It seemed obvious that some hardships were being glossed over to present a zippy, mesmerising tale set to a banging 1980s soundtrack. I’m sure life for the real Joan Hannington was much harder than it’s made out here. But Turner steals every scene with a magnetic performance.

So far, so glamorous, lively and gritty.

The switch from battered girlfriend to ball busting crime boss is so sudden, it’s hard to reconcile the instantly experienced crook Joan becomes with the desperate mother she is. Turner handles this inconsistency brilliantly, maintaining viewers’ attention with her razor-sharp turn as Joan. Additionally, the ‘80s setting makes up for the storytelling deficiencies in many ways.

The series written by Anna Symon (The Essex Serpent) doesn't stand out in comparison to other dynamic heist dramas like Lupin or Money Heist. Yet, the production does function as a testament of Turner's ability to take on meaty lead roles, and the character's stunning wardrobe will surely make you wish you could steal it.

It’s a straightforward production, with what I think of as classic British visual values — not exactly kitchen sink, but unfussy, realistic. Turner is very fine in a role meant to be at once empowering and tragic — which makes the series a little frustrating. As Maxwell Smart used to say, if she had only used her power for good instead of evil.

It’s a better performance than this drama often deserves, and one worth tuning in to see, though many viewers will likely find themselves wondering what might have been had the show leaned in a bit harder into showing us Joan’s rough edges. Maybe Season 2, should it exist, will.

Turner certainly feels like she’s got more in the tank when it comes to playing this complicated crime figure. The series just needs to be willing to take Joan to task with the same equality she demands from her male counterparts.

The serviceable script doesn’t ask too much of the strong cast (including Gershwyn Eustache Jr as Albie, Boisie’s warmly menacing best friend and fence), but they produce as solid a piece of entertainment as you could ask for, offering a little bit of escapism and a soupcon of suspense. It’s enough to while away an autumnal evening or six.

Joan is part giddy heist, part social drama, and the two genres combine unevenly in a series that feels torn between escapism and the desire to be something grittier.