Take the title with a grain of salt. It might also help to forget the name brand talent attached with a producer credit.
More than Amazing Stories lacking its titular description, this is most definitely not a Steven Spielberg production. And even then, it’s funny to even consider the comparison to Spielberg who acts as a series executive producer, reviving his initial foray into TV because that was met with muted praise compared to his trailblazing films that have defined ’80s pop culture.
This revival now pales in comparison to a show that set a rather low bar.
It only seems fair to invoke Spielberg’s name in a review as it’s been plastered all over the marketing for the series. It’s possibly one of the most important things about the series. And if that doesn’t tell you enough about Apple’s effort…
Branding this as a Spielberg production for audiences truly sets up expectations down the wrong path. His name is the first one to pop up on the series trailer, and that’s followed by a montage that evokes his iconography and spirit (namely Close Encounters of the Third Kind and E.T.). But as far as the first episode provided for review “The Cellar” is concerned, you’d never know the world’s most famous filmmaker was attached if you didn’t read the credits. That’s not a critique prodding the series to become an homage vehicle like Stranger Things, or to even evoke his style. It’s simply to note his involvement bears little impact on the final result.
Simply put, as far as “The Cellar” is concerned, it’s more akin to a Hallmark romance than a Spielberg film. It’s a rather high concept episode: Boy gets trapped in the past, needs to get out but finds a reason to change his life while meeting his dream girl. Doesn’t that sound like 11.22.63, Hulu’s excellent Stephen King miniseries? But the stakes here are relatively muted in comparison to stopping the JFK assassination. Instead, all that must be done is return to the future a couple times with the main goal being to save the romantic interest from an unfulfilled life.
Though, the episode does pull some life out of it’s premise thanks to Victoria Pedretti (fresh off her amazing work in You season two) doing a wonderful job of being both of the past and present, a truly timeless figure. Conversely, Dylan O’Brien (Teen Wolf) in the opposite role struggles to pull off the same effect as a man born in the wrong time, something that probably could have had more effect stretched over the course of a few episodes because there are still a few interesting bolts in here.
However, just as it feels a bit rushed how fast Pedretti believes that O’Brien is actually from the future after stumbling in the cellar of her house (which he and his brother are renovating for their business in present day), the rest of the episode feels hurried to get to the titular “amazing” moments. By the time it finally gets there, it’s too late (too soon?) to have much significance.
Overall Grade: 5 out of 10
