Alright, folks, if you’re looking for a fresh take on the classic heist genre, Apple TV’s new series ’12 12 12′ might leave you scratching your head, and not in a good way. Starring Anthony Mackie as a disgraced FBI Agent Jack Strickland and Jamie Dornan as the cunning thief Paul Galvin, this **heist drama** attempts to bring something new to the table with a non-linear narrative, but according to the report, it straight up feels like a bad video game. The ambition was clearly there for creators Jim Keeble and Dudi Appleton, aiming to deliver a high-voltage thriller across Europe, following a historic billion-dollar robbery. However, the execution, with its bloated cast, utterly confusing storylines, and clumsy dialogue, apparently makes for a painfully puzzling watch.
The series plunges viewers right into the action, opening inside a vault at the Lindenhof Bank in Zurich, Switzerland, on Christmas Eve. We meet Alberich, a contortionist, as he emerges nude to kick off the $1 billion burglary. Simultaneously, Paul’s extensive crew jumps into gear: his brother Bobby at mass, his father-in-law Serge drilling into the vault from a train tunnel, Kira creating a diversion for the Zurich police, and Gunda setting a trap for a coworker to control the bank’s cameras. This intense introduction sets a high bar, promising intricate planning and a sprawling operation. Yet, the review points out that this complex setup quickly gets bogged down by the show’s own narrative choices.
The core concept revolves around what the FBI Principles of Crime supposedly state: a high-asset robbery takes ’12 months in planning and 12 hours in execution,’ and if a robber isn’t caught in ’12 days,’ they’re generally free. ’12 12 12′ tries to mirror this by constantly shifting between the planning phase, the execution, and the aftermath. While this could have been a dope way to build suspense and reveal character motivations, the article suggests it just muddles the waters. Instead of an engrossing narrative, viewers are left struggling to grasp what’s happening and how the characters and timelines connect, leading to a rather exhausting experience after just a couple of episodes.
Heist stories have been a fan-favorite subgenre for ages, from the iconic ‘Ocean’s Eleven’ to ‘The Italian Job’ and even Netflix’s ‘Money Heist.’ These flicks usually nail the intricate planning, the tension of the execution, and the thrill of the escape, all while building solid character dynamics. ’12 12 12′ tries to innovate on this tried-and-true formula, but the report indicates that its ambition outruns its ability. The constant chronological jumps leave little room for emotional grounding or for audiences to genuinely connect with any of the numerous characters. For real, it’s hard to root for anyone when you’re lowkey just trying to figure out which ’12’ you’re even in at any given moment.
Furthermore, the disgraced FBI Agent Jack Strickland’s quest for revenge reportedly leads him to make some maddening choices, endangering himself and Zurich police detective Lena, who tries to lend a hand. This lack of clear-headed decision-making from a protagonist, combined with the disjointed storytelling, ultimately detracts from any potential enjoyment. Even the truly stunning visuals, which include breathtaking locations like Marseille, the snowy Swiss Alps, and Milan, alongside countless explosions and gun battles, couldn’t salvage the narrative. The article mentions a huge twist toward the end of the season that was supposed to be jaw-dropping, but due to the overall confusion, it lands with the impact of a raindrop instead. It’s giving ‘missed opportunity’ vibes, periodt.
Ultimately, while Jim Keeble and Dudi Appleton clearly wanted to put a unique spin on a familiar genre, their approach of cramming every conceivable idea and character into eight overblown episodes proved to be a massive misstep. The result, according to the review, is a grand finale that feels more like a relief than a revelation. It’s a bummer when a show with big names like Anthony Mackie and Jamie Dornan can’t quite hit the mark, but sometimes, a complex concept just gets too lost in its own sauce. No worries though, there are plenty of other options out there if you’re craving some legit heist action.
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
