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Duster Review: Josh Holloway and J.J. Abrams Reunite for ’70s Thriller
This Duster review contains no spoilers.
Would you look at that? Actor Josh Holloway and creator J.J. Abrams have reunited for the first time since Lost crash-landed onto ABC 20 years ago. I have slight memories of the series — I was more of a Heroes watcher — but never felt inclined to revisit. Nonetheless, I can understand the joy in seeing them collaborate on a new project after all these years. But this time, they’re trading vehicles and genres. Abrams and LaToya Morgan’s Max period crime thriller series, Duster, in which Holloway portrays a getaway driver tapped to be a mole by the FBI, bears a pulpy and cartoonish exterior, though its constant tonal whiplash prevents its engine from roaring as loud as it should.
Jim Ellisis the quintessential getaway driver men don’t want to mess with and women want to be with. He’s a cool, alluring, charming dude whose business varies between wheelman, courier, and blackmailer. Most of his jobs are for his crime lord boss, Ezra Saxton, who has the Southwest crime strip on lock and whom he’s loyal to thanks to the friendship his dad Wadeshared with him. Whenever he’s not under Saxton’s thumb, he’s a supportive uncle to his fellow courier driver ex-girlfriend Izzy’sdaughter Luna. Although Jim leads a low-key lifestyle, it’s evident that he is going through a transition brought on by the unresolved death of his beloved brother, Joey who was also a wheelman in the past and died in an explosion.
Enter the driven and hard-working Nina Hayes, who makes it into the FBI as the first Black woman agent. Because it’s the ‘70s, all the white males within her unit, whether it be her peers or superiors, do their best to belittle her. The sole person she establishes a friendship with is Awan, a comic book-loving Navajo nation-based agent who is assigned as her partner.
Hayes and Ellis’ worlds collide, and she propositions him to be her mole for the FBI to take down Saxton and his entire crime syndicate. Unknown to her FBI allies, Hayes has additional motivations for wanting to bring Saxton down. Jim’s loyalty to his boss is frequently put to the test during the season’s perilous assignments, causing him to question his loyalty to Saxton. Hayes faces the same moral compass challenge as she is compelled to work outside the law and actively pursue information.
Despite the serialization of the plot, Duster bears a high-spirited eccentricity that works in its favor for most of the series. At least on Jim Ellis’ part, where it adopts the “mission of the week” episodic format. Every episode follows Jim going job to job for Saxton, which results in him either facing off against assassins or crime lords straight out of an ‘80s animation. Jim’s quests get unabashedly cartoonish to the extent that one episode features a stunningly animated dream sequence where Jim envisions himself in a Looney Tunes cartoon. When he’s not fighting in his orange Plymouth Duster, Jim’s wheelman missions involve him interacting with icons of 1970s pop culture, such as Colonel Tom Parker and Adrienne Barbeau.
Abrams and Morgan’s use of campy worldbuilding is largely attributable to the charismatic supporting actors who confidently embellish their roles, as opposed to the straight-laced nature of the two leads. Jim’s smooth persona, in particular, bounces off quirky characters, resulting in strong comedic moments. Some of my favorite scenes are when Jim fights with his stepmother Charlotte, who despises him to no end even though they both have a close bond with Wade the patriarch.
Duster‘s heart simply lies in how Jim and Nina navigate this kooky, crime world and their reliance on each other to thrive in their paths. Holloway’s smooth wit and personable bravado contribute to the show’s welcoming gravitas. Hilson on her part excels with a tough, self-assured backbone that adds so much charm to the conventional cop-criminal dynamic she and Holloway share.
It’s clear that Duster is a different engine from Lost, but Holloway hasn’t lost his star touch. The series thrives on being brainless, fast-food TV that is often wildly entertaining, accompanied by stylish and cool action sequences. Whether it be combat or car chase sequences with adrenaline-inducing practical crashes, it feels like a remnant of pulpy action thrillers with an adult edge not often around in modern television. Much of that credit is attributed to director Steph Green, who keeps the energy buoyed throughout each episode despite elements of the overarching investigation Nina and Awan feeling like a chore to get through.
Some episodes have trouble keeping a consistent tone. Mostly when it tries to make timely social commentary about workplace diversity, racial identity, and equality, especially within Nina and Izzy’s subplot. It’s a good attempt, if not absolutely necessary, especially since many studios are cutting back on diverse content in a Trump 2.0 administration. But it all contradicts the ridiculous scenes that follow, like Jim facing an assassin whose shtick is throwing projectile blades or a ceiling fan landing on a racist patron’s crotch.
Duster is an all-around enjoyable and engaging historical thriller, supported by a warm, campy energy and wit, incredible action scenes, and strong performances from Josh Holloway and Rachel Hilson.
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The first episode of Duster premieres Thursday, May 15 at 9 p.m. ET on Max. New episodes debut Thursdays at the same time, culminating with the finale on July 3.
#duster #review #josh #holloway #abrams
Duster Review: Josh Holloway and J.J. Abrams Reunite for ’70s Thriller
This Duster review contains no spoilers.
Would you look at that? Actor Josh Holloway and creator J.J. Abrams have reunited for the first time since Lost crash-landed onto ABC 20 years ago. I have slight memories of the series — I was more of a Heroes watcher — but never felt inclined to revisit. Nonetheless, I can understand the joy in seeing them collaborate on a new project after all these years. But this time, they’re trading vehicles and genres. Abrams and LaToya Morgan’s Max period crime thriller series, Duster, in which Holloway portrays a getaway driver tapped to be a mole by the FBI, bears a pulpy and cartoonish exterior, though its constant tonal whiplash prevents its engine from roaring as loud as it should.
Jim Ellisis the quintessential getaway driver men don’t want to mess with and women want to be with. He’s a cool, alluring, charming dude whose business varies between wheelman, courier, and blackmailer. Most of his jobs are for his crime lord boss, Ezra Saxton, who has the Southwest crime strip on lock and whom he’s loyal to thanks to the friendship his dad Wadeshared with him. Whenever he’s not under Saxton’s thumb, he’s a supportive uncle to his fellow courier driver ex-girlfriend Izzy’sdaughter Luna. Although Jim leads a low-key lifestyle, it’s evident that he is going through a transition brought on by the unresolved death of his beloved brother, Joey who was also a wheelman in the past and died in an explosion.
Enter the driven and hard-working Nina Hayes, who makes it into the FBI as the first Black woman agent. Because it’s the ‘70s, all the white males within her unit, whether it be her peers or superiors, do their best to belittle her. The sole person she establishes a friendship with is Awan, a comic book-loving Navajo nation-based agent who is assigned as her partner.
Hayes and Ellis’ worlds collide, and she propositions him to be her mole for the FBI to take down Saxton and his entire crime syndicate. Unknown to her FBI allies, Hayes has additional motivations for wanting to bring Saxton down. Jim’s loyalty to his boss is frequently put to the test during the season’s perilous assignments, causing him to question his loyalty to Saxton. Hayes faces the same moral compass challenge as she is compelled to work outside the law and actively pursue information.
Despite the serialization of the plot, Duster bears a high-spirited eccentricity that works in its favor for most of the series. At least on Jim Ellis’ part, where it adopts the “mission of the week” episodic format. Every episode follows Jim going job to job for Saxton, which results in him either facing off against assassins or crime lords straight out of an ‘80s animation. Jim’s quests get unabashedly cartoonish to the extent that one episode features a stunningly animated dream sequence where Jim envisions himself in a Looney Tunes cartoon. When he’s not fighting in his orange Plymouth Duster, Jim’s wheelman missions involve him interacting with icons of 1970s pop culture, such as Colonel Tom Parker and Adrienne Barbeau.
Abrams and Morgan’s use of campy worldbuilding is largely attributable to the charismatic supporting actors who confidently embellish their roles, as opposed to the straight-laced nature of the two leads. Jim’s smooth persona, in particular, bounces off quirky characters, resulting in strong comedic moments. Some of my favorite scenes are when Jim fights with his stepmother Charlotte, who despises him to no end even though they both have a close bond with Wade the patriarch.
Duster‘s heart simply lies in how Jim and Nina navigate this kooky, crime world and their reliance on each other to thrive in their paths. Holloway’s smooth wit and personable bravado contribute to the show’s welcoming gravitas. Hilson on her part excels with a tough, self-assured backbone that adds so much charm to the conventional cop-criminal dynamic she and Holloway share.
It’s clear that Duster is a different engine from Lost, but Holloway hasn’t lost his star touch. The series thrives on being brainless, fast-food TV that is often wildly entertaining, accompanied by stylish and cool action sequences. Whether it be combat or car chase sequences with adrenaline-inducing practical crashes, it feels like a remnant of pulpy action thrillers with an adult edge not often around in modern television. Much of that credit is attributed to director Steph Green, who keeps the energy buoyed throughout each episode despite elements of the overarching investigation Nina and Awan feeling like a chore to get through.
Some episodes have trouble keeping a consistent tone. Mostly when it tries to make timely social commentary about workplace diversity, racial identity, and equality, especially within Nina and Izzy’s subplot. It’s a good attempt, if not absolutely necessary, especially since many studios are cutting back on diverse content in a Trump 2.0 administration. But it all contradicts the ridiculous scenes that follow, like Jim facing an assassin whose shtick is throwing projectile blades or a ceiling fan landing on a racist patron’s crotch.
Duster is an all-around enjoyable and engaging historical thriller, supported by a warm, campy energy and wit, incredible action scenes, and strong performances from Josh Holloway and Rachel Hilson.
Join our mailing list
Get the best of Den of Geek delivered right to your inbox!
The first episode of Duster premieres Thursday, May 15 at 9 p.m. ET on Max. New episodes debut Thursdays at the same time, culminating with the finale on July 3.
#duster #review #josh #holloway #abrams
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