A chilling game of revenge unfolds in the new Amazon Prime thriller,Malice, starring David Duchovny and Jack Whitehall. The series centers on Adam, a charismatic tutor who insinuates himself into the lives of the wealthy Tanner family during a Greek holiday, a seemingly innocent act that masks a deeply calculated plot.
When the family’s nanny falls ill, Adam seizes the opportunity to move into their London home, and it’s there, within the walls of privilege, that his true, vengeful nature begins to surface. He expertly manipulates Jamie and Nat Tanner, driving a wedge between them while secretly orchestrating their downfall, fueled by a long-held obsession with Jamie.
The narrative draws comparisons to classic thrillers likeThe Talented Mr. Ripleyand the suspenseful intensity ofYou, promising a dark and twisting journey. However, despite a compelling premise and a talented cast,Malicestruggles to fully realize its potential.
One particularly striking scene reveals Adam kneeling before weathered tombstones in a London graveyard, meticulously scrubbing away overgrowth to reveal his parents’ names. A moment intended to expose his motivations, it instead feels blunt, a heavy-handed attempt at exposition that diminishes the scene’s impact. This pattern of unsubtle storytelling unfortunately permeates the series.
Whitehall delivers a captivating performance as the villainous Adam, showcasing a chilling duality between charm and menace. He excels in moments of unsettling normalcy, like casually browsing pornography in a coffee shop or attending lavish, questionable parties. His scenes with Duchovny, particularly a tense encounter at a Greek strip club, are among the series’ strongest.
Yet, even these compelling moments are often undercut by awkward dialogue and predictable plot twists. The series frequently sacrifices suspense for convenience, revealing too much too soon and robbing the narrative of its potential for genuine surprise.
A particularly jarring sequence exemplifies this issue: Adam, having committed murder, drives with a corpse in the trunk while oblivious children ride in the back. The tension is immediately deflated when he’s pulled over for using his phone, receiving only a ticket before unleashing a string of obscenities at the officer. The scene feels tonally disjointed, leaving viewers questioning the intended emotional response.
Ultimately,Malicepresents a cast of characters who are difficult to fully invest in. Adam is undeniably despicable, while the Tanners are portrayed as aloof and entitled. This lack of sympathetic figures makes it challenging to feel a strong connection to their fates.
While Whitehall demonstrates his acting range, he might be better suited to projects that lean into his comedic strengths. The script, unfortunately, doesn’t offer him the nuance needed to truly shine. Duchovny and Van Houten, though seasoned performers, are similarly hampered by the material.
In a crowded television landscape,Malicefails to distinguish itself. It offers glimpses of a gripping thriller, but ultimately falls short of delivering a truly captivating and memorable story.
