“The Rainmaker” in the United States is a traditional television legal drama | TV / Streaming

To vibrate with “The Rainmaker”, you must first be broken with its network, USA. The basic cable standard is not known for its advanced or award -winning content (such as, for example, FX). But he produced a reliable stable of procedures, public favorites and even some cultural moments (see “costumes”). The American network certainly has its own aesthetics – a brilliant veneer for the beautiful people to cross. In addition, the characters who treat lightly, with some of the most dramatic events that human experience has to offer, in particular murder, betrayal and the cost of ambition.

“The Rainmaker” is true, and it’s not a bad thing. Yes, it seems that the cast also values net jawlines and acting capacity. But the worst performance sin is a certain flatness of our two tracks, Milo Callaghan and Madison Iseman. They are not bad, but they are not completely credible either. It is difficult to enter Matt Damon’s shoes, perhaps especially in a serial network version of his 1997 film, directed by Francis Ford Coppola. Admittedly, the weakest part of the show is the romantic tie of the tracks. Their connection is the whole conflict and misunderstandings, which some scenes of kissing that discolour black do not thwart. It is not a couple to place themselves.

Based on a novel by John Grisham, the author serving as an executive producer, “The Rainmaker” also plays quickly and in design with the details of the legal profession. Sometimes procedural law comes into force. Other times, we do not know everything. And if you have even been a friend with someone who took the bar, you will know “The Rainmaker” is pure shenanigans with regard to his student pipeline at Lawyer.

However, the central case is convincing. A bereaved mother (Karen Bryson doing the best possible with the role) is sure that the hospital killed her son of Toxicoma convalescent when he entered the flu. Rudy Baylor (Callaghan) decides to take his case after losing his job in the prestigious company Tinley Britt, where his girlfriend Sarah Plankmore (Iseman) works. Tinley Britt represents the hospital and, not surprising anyone, the two lawyers find themselves on the opposite sides of the case.

Along the way, there are hearing battles, more deaths, prosecution, clues to find, and more. It is quite clear from the start which is bad and which is good, but not how everything will take place. From showrunner Michael Seitzman, action scenes are effective, thanks to a strong rhythm, to music that improves rather than distracted and the angles of the camera which reinforce the suspense. It’s old -fashioned television / film, and when it’s done well, as it’s there, it leads the public through the nose.

Our young tracks can be green around gills, but their support casting is not. In a frequent role that works completely, Lana Parrilla is the stone of Jocelyn “ bruiser ”, the sexual fighter of Rudy of a boss. She spends a good time and her eyes sparkle with misdeeds, her body ooys confidence, and when she is questioned, her energy will get off well. PJ byrne plays the shifflet deck, the role of Danny Devito in the film and the long -standing partner to Bruiser and Rudy’s new partner in crime. He is perfect, winning his comic rhythms while never failing. How he calls Rudy “Boo-Boo” made me laugh each time.

Then there is John Slattery as an accomplice partner of Tintley Britt. An self -proclaimed tyrant, he nails the relaxed cruelty and the sharp manipulation. But he is also able to embody a certain ambivalence and humor which prevents his character from descending into a roar villain.

The costumes also report well, the characters even chatting about their cabinets. The sexy blacks and the sexy mauves to bruise and the faarrah fawcett hair of Sarah transmit their different versions of femininity. Likewise, the variation in combinations of male lawyers tells us, whose fantasy, whose and which are worth this type of class signifier.

Together, all of this is added to a comforting watch. “The Rainmaker” is sufficiently stimulating without asking wider questions. The closest we get is a single wink to the pain relievers leading to opioid dependence, but Kathy Bates’ “Matlock” is not the case. There is no broader interrogation in the pharmaceutical industry, no mention of health insurance companies, and nothing that is based on our cocovio time. Instead, “The Rainmaker” is organized around what seems to be a punctual crime with concealment, at least not in the first five episodes given to the criticism to screen.

Because the problem is not systemic, for example, sexual abuses in the Catholic Church, “The Rainmaker” has much to say. This is only one story with, theoretically, no broader involvement. Expect an adaptation of a 30 -year novel to offer a significant overview of our current world can be too much. But “Forever” did this this year on Netflix. “Nautilus” manages to keep the historic framework of Twenty thousand leagues under the sea And resonates with our modern concerns. “The Rainmaker” does not even try. It goes for a world without politics, and it succeeds. There is nothing reprehensible, but nothing to chew either.

Five episodes projected for examination. First on August 15.