‘On Call’ Review: Amazon’s Dick Wolf-Produced Generic Cop-Flavored Background Noise

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While it might be considered a subtle compliment to note that each episode of “On Call” lasts just half an hour, it’s also fair to say that such praise is faint. Yet, even faint praise is still praise, and there are certainly worse things than a show that recognizes its own limitations. However, the Amazon Prime Video series never quite reaches the level of complexity or captivation needed to make a 44 to 65-minute investment in a police drama feel justified.

But enough to pass 22 to 30 minutes? Sure. Why not.

In its debut, overseen by director Eriq La Salle (who also serves as executive producer and stars in the show), the opening minutes are briskly paced. The first two minutes see a police officer, played by Monica Raymund as Delgado, getting shot on the street. Shortly after, we meet the rookie Diaz, portrayed by Brandon Larracuente, who begins his first day at the Long Beach Police Department. He’s paired with training officer Harmon, played by Troian Bellisario, who quickly establishes herself as a hard but fair mentor when she introduces herself saying, “I have a low tolerance for complainers, but if you put in the effort, I can teach you what you need to know.” Five minutes later (and ten minutes into the series) the duo is responding to their first call together.

Instead, the storyline alternates between two aspects: the random incidents that Harmon and Diaz are dispatched to due to radio calls, and the continuous hunt for Delgado’s killer. The first often merges into a hazy mix of unremarkable boyfriends, drug-dependent individuals, and erratic drivers. The second progresses at a consistent pace, yet lacks unexpected twists – perhaps because it fails to generate enough emotional attachment to create anticipation for any significant changes. Regrettably, the writing seems to show minimal interest in either the principal characters or their surroundings.

While On Call may have some drawbacks regarding runtime, it does boast several strengths. For instance, from a promotional perspective, it’s executive produced by Dick Wolf, a renowned figure in the law enforcement and emergency services genre. His son Elliot Wolf and Tim Walsh are also involved as creators. A more significant plus is its cinematic approach, reminiscent of productions like End of Watch. It skillfully blends dash cam, body cam, cell phone footage with traditional handheld camera work, creating a raw, almost documentary-like atmosphere that sets it apart from other scripted shows.

In essence, the characters’ portrayals carry the narrative. Bellisario skillfully infuses tender feelings, gentle tones, and even wit beneath Harmon’s stern demeanor. Larracuente is delightful as Diaz, inexperienced enough to struggle with acting nonchalant; his raw emotional responses to job-related incidents add authenticity, highlighting the intense or nerve-wracking nature of their work. The duo’s relationship, more collaborative than passionate, holds up well under repeated scenes of Diaz professing full trust, then doubting, and then reaffirming it.

Despite completing an eight-episode season, there’s still a sense that we’ve barely delved into the depths of these characters. Their personalities are sketched with broad strokes, and their backstories follow common patterns. For instance, Harmon’s ex-police sister is introduced, but we don’t fully grasp the complexities surrounding her feelings towards him. Similarly, Diaz’s brother being in prison and his mother disliking cops is revealed, yet we don’t understand why someone with such a background would still opt for a career in law enforcement. Even when characters face gruesome situations like finding a severed head or experiencing emotionally devastating events such as a critically injured dog, On Call tends to hurry past these moments, failing to let us share the weight of their emotions or delve into the aftermath they leave behind.

The secondary characters, such as Sgt. Lasman (played by La Salle), drug unit officer Koyama (Rich Ting), and team leader Lt. Bishop (portrayed by Lori Loughlin), are less well-developed; their traits are essentially “traditional,” “amicable,” and “additional.” Long Beach, as a setting, is characterized by its vague nature – it’s composed of beaches, suburban streets, mansions, and homeless campsites, all inhabited by residents who are consistently frustrated with the police for either overstepping boundaries or not acting decisively. The city is portrayed in such a neutral manner that it could represent any American city; this might have been an intentional decision to make the narrative more relatable, but it ultimately results in a less distinctive storyline.

Part of the ambiguity in the narrative could stem from an underlying sensitivity towards the main topic, which involves police characters. These characters often mention their current surveillance, hinting at the ubiquity of body cams, dash cams, and social media scrutiny. However, they tend to avoid discussing the reasons for public mistrust directly. Some characters express concerns about modern society, suggesting that people are too ‘aware’ or ‘woke,’ leading to a reluctance to incarcerate wrongdoers. The protagonist of the series, Harmon, is portrayed as one of the ‘good’ officers who follows the rules. She generally proves correct in her actions, but there’s little praise for her efforts.

Despite the series’ frequent portrayal of bravery, its hesitation to delve deeply into tougher topics can come across as weak. However, in this case, conciseness proves effective. Specifically: It’s simpler to overlook lingering conflicts when the speed of events is so rapid that there’s little room for prolonged contemplation.

The shallow approach taken by “On Call” in not delving deeply into what’s being presented on-screen makes it challenging to become fully immersed within its storyline. However, not every program aims for such close scrutiny; some are simply meant to play as background noise. If you’re seeking a complex and ambitious examination of contemporary policing in America, then this may not be the show for you. But if all you desire is an experience that replicates flipping through channels and landing on a typical “Law & Order” episode without fear of missing crucial plot points, then this series should meet your expectations.

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2025-01-09 11:25