Lanterns review: "A shining beacon of light when the DCU is at its shakiest"

Dead bodies. Danger. A small-town conspiracy. A grizzled vet and a plucky upstart trying to crack the case.

Stop me if you've heard this one before.

At first glance, Lanterns treads old, murderous ground in the 'backwater' of Rushville, Nebraska after a mass shooting at a high school football game. The grimy tendrils of True Detective, Top of the Lake, and even Fargo stretch out in familiar fashion across the grounded superhero detective show's first seven episodes.

But then, a flash of green light and we're suddenly stepping into the territory of two sets of three letters: HBO and – perhaps more intriguingly for comic book fans and crime aficionados alike – the DCU.

Those hungry for a prestige procedural, as fans of the channel that brought us The Wire and Mare of Easttown can rest easy, even if they may be quick to raise an eyebrow over its DC trappings.

The origins of the incumbent Green Lantern Hal Jordan (Kyle Chandler, in superbly irascible form throughout) – essentially a space cop, with jurisdiction over Earth in 'Sector 2814' – are wisely breezed over in favor of Lanterns' magnetic not-so-buddy-buddy cop dynamic.

Hal, world-weary and just as quick with a vicious barb as he is at manifesting green-hued matter through his Lantern ring, has been in the job for decades by the time we meet him in 2016. There, he descends on a town filled with upstanding law enforcement, suspicious benefactors, and a John Dutton-esque patriarch in the shape of Garrett Dillahunt's fearsome cowboy William Macon.

In Hal's rear-view mirror is his trainee: hungry young lion John Stewart (Aaron Pierre), all restless charisma and eager to prove he's more than a "backup quarterback."

In brightest day...

A promising premise if ever there was one, only bolstered by an all-star creative team (Ozark's Chris Mundy, Watchmen and The Leftovers' Damon Lindelof, and comic book legend Tom King) injecting the sort of narrative momentum that puts most glacially-paced miniseries to shame.

In Lanterns, cliffhangers are sudden and meaningful. Each episode ends on a beat that will make the week-long gap between new entries excruciating and exciting in equal measure.

The plot, too, moves with such immediacy that you'll scarcely have time to take in the vivid and sharply-drawn wider cast, including Kelly Macdonald as the perma-conflicted Sheriff Kane and Laura Linney as a matter-of-fact Guardian of the Universe pulling strings in the background (not to be confused with James Gunn's Guardians of the Galaxy, it should be said).

One mid-season episode could even be mistaken for a finale; such is the speed the investigation – which soon introduces an alien race familiar to DC fans – unspools and later resolves itself.

Thrillingly, the writers appear to have thrown plot armor to the wayside, too. Rushville is a nasty, odd, and lethal place to live – and Lanterns makes that known at every turn.

It's a brave and bold approach which, from the jump, turns this DC adventure from a twist on standard comic book fare into HBO's most dangerous show since Boardwalk Empire or classic Game of Thrones. At any given juncture, no one is safe, and Big Moments can happen at any time.

But this isn't just about the crime; it's mostly about the characters. In Hal Jordan and John Stewart, Lanterns couldn't have chosen a better pairing. It also ensures any danger of the HBO series falling into comfortable, uninspired genre rhythms is soon swept away in favor of exploring the fiery side to the duo's relationship – and a shared history that, admittedly, dilutes the uniqueness of how Green Lanterns are chosen. More on that in a moment.

Not only does the pair being at constant loggerheads scratch the Rust Cohle and Marty Hart itch we've been clamoring for ever since True Detective's first season, it skilfully turns expectations on what a hero truly is in this fledgling universe on its head.

This isn't Superman's good-natured intentions, nor is it a flawed Supergirl or Guy Gardner's cocky bluster. Lanterns teases something far richer, the sort of emotional complexities that can only be drawn out by spending eight hours with our protagonists. There are even shades of Damon Lindelof's Watchmen in how Lanterns subtly confronts deep-rooted race issues in America alongside Hal's rapidly decaying sense of self-worth.

...in darkest night

Yet, it's not all perfect. There are times, particularly in an oddly-placed third episode that over-explains John Stewart's backstory, where Lanterns loses faith in itself and attempts to outwit an imaginary comic book audience.

In a series of events that will likely rankle with a dyed-in-the-wool DC pack, Green Lanterns lore is twisted, reframing John's lay-up of a hero's journey as a faintly unpalatable 'destiny' that robs him of most agency and comes dangerously close to a dual act of character assassination for both John and Hal, who also has an indirect part to play in John's childhood.

Those misdemeanors, though, are mild and don't derail the show – even if the lack of faith partially betrays Lanterns' primary mission of frontloading narrative shocks amid a surprisingly restrained use of CGI and color.

Yes, let's talk about the green elephant in the room. No, Lanterns is not a wide-eyed spectacle that looks like it's leapt off the pages of Geoff Johns' classic Green Lantern run. Its palette is frequently brown, muddy, and muted. Nor does it come close to approaching cosmic territory, save for a sprinkling of Sinestro (Ulrich Thomsen) that feels almost unfair in both how good it is and how infrequently the DC supervillain is deployed.

But does it matter? Absolutely not. This is, in many ways, a deliberate departure from 2011's Green Lantern movie. Not that you'll be thinking about the Ryan Reynolds bomb here. You'll be too busy getting lost in a captivating mystery, drenched in subtle character work and wrapped around a masterful Hal/John dynamic that almost begs to be wrung dry across multiple seasons.

Dead bodies. Danger. A small-town conspiracy. You know the rest. Yes, we've been here before. Lanterns, though, is a fascinating blend of comic book caper and murder mystery. Its core pairing of Hal Jordan and John Stewart – despite some controversial deviations from their traditional origins – crackles with tension and genuine physical threat in a manner that feels novel to both the superhero genre and the many detective shows it successfully emulates.

Better yet, it's a confident story being told at a time when the foundations of the DCU are at their shakiest. After all, Supergirl faltered big time at the box office, and James Gunn's post-Man of Tomorrow plans have not yet materialized. The DCU needed this win.

Whether it's in brightest day or blackest night for the DCU, Lanterns is guaranteed to be a shining beacon of light among its superhero TV contemporaries – and close to essential viewing, whether you're a DC fan or otherwise.

Lanterns airs on HBO and HBO Max Sunday, August 16 in the US and on HBO Max in the UK on August 17.

For more on what that means for you, check out our Lanterns release schedule.