The Beast Must Die

“The Beast Must Die” is a must-watch for the amazing performances from Cush Jumbo and Jared Harris. The finale wraps things up a bit too quickly to keep in line with British shows penchant for short seasons, and Howle feels like a third wheel, but if you’re hoping to indulge your crime urge, this will more than satisfy the craving.

It feels surprisingly high-end – the acting is top notch and the cinematography (from Joel Devlin) is impressive.

It sets the bar pleasingly high, with a stellar cast giving uniformly great performances. (Jumbo was made for grief and fury, while Howle is tremendous as a nervy bundle of torments.) It also boasts a lovely, allusive script (particularly in the scenes between Strangeways and his therapist, played by Nathaniel Parker), and a well-paced plot that only occasionally depends on slightly unconvincing breakthrough moments in Frances’s amateur investigation.

It becomes a compelling dance between three very different people from different walks of life, and the dialogue is strong enough that the sometimes unbelievable twists are tolerable. In the end, it’s the rare pulp mystery in which the people carry the plot instead of the other way around, and that alone makes it an interesting option this summer.

More often than not, that structure comes off stiff and clunky rather than genuine and flowing. ... That’s not to say that the dialogue from Gaby Chiappe, who adapted Cecil Day-Lewis’ novel (though seems to change quite a bit, including Frances’ gender) isn’t sharp. It’s what we enjoyed about the first episode the most, including Jumbo’s and Howle’s performances (Harris doesn’t appear until Episode 2). But we just wish Frances’ way to George didn’t look so damned easy.

Everything works well until writer Gaby Chiappe enters into the final act. The story line, and the character motivations, get a bit mired, though certainly not terminally so. The last chapters don’t completely satisfy the show’s early ambitions, but that doesn’t ruin the experience as a whole. Jumbo is superb throughout, holding contrary emotions at once.

The Beast Must Die is tightly written, with a measured pace and that Nordic-noir style of direction that makes every long shot look like an advert for an expensive car. ... We’ve seen it all so many times. This is a perfectly polished start, but Britbox will have to take more risks if it wants to show us something new.