THE CAST – Colin Farrell, Jin Ha, Raymond Lee, Tony Dalton, Laura Donnelly, Sasha Calle & Shea Whigham

THE TEAM – Sam Catlin (Showrunner/Writer)

To those out there, including myself, who actually tuned in for the first season of the bizarrely hypnotic Apple TV+ original “Sugar,” we were rewarded with more than an entertaining neo-noir that contained one of the wildest zags out of any program in ages. No, but seriously, if you’re reading this and haven’t witnessed one of the most bonkers plot twists in television as of late, leave because it’s truly something to behold. Besides audiences sticking around to find out what oddity compelled them through most of the series’ first season, “Sugar” at times is essentially a litmus test to see if viewers would be satisfied enough with just watching Colin Farrell drive through the streets of Los Angeles in his baby blue 68′ Corvette Stingray while constantly referencing classic Hollywood films. It turns out it’s actually more than enough, as the mystery itself that props up Sugar’s journey is solid enough before the series dialed in on the genre elements that made this such an enigma when it first aired in 2024. Luckily for us, the second season only continues to double down on what made it work in the first place, as “Sugar” is still as enjoyable as ever, while still managing to find a few new tricks up its sleeve.

When we left our favorite extraterrestrial private detective, John Sugar, he forgoes the opportunity to flee Earth with the rest of his colony after their presence is exposed, in hopes of finding his missing sister, Djen. Sugar’s desire to find this absence within his soul, a part of himself which he long thought was gone, has left him a lonely wanderer on this planet, slowly spiraling. At least he’ll always have Los Angeles (and issues of American Cinematographer) to come back to as Sugar decides to dive into the work to set his mind free, this time looking for the missing brother of an up-and-coming boxer, Danny Moon, played by Jin Ha. Of course, the simple task of finding Ji Moon, played by Raymond Lee, eventually leads to a larger conspiracy involving crooked police officers, Chicano gangbangers, stolen drugs, and a whole lot of trouble.

Sam Catlin, who wrote for the first season, serves as the showrunner this time around, contributing to some of this season’s improvements. One of which is its efficient pacing, even as the series navigates the expected deviations that come with most serialized detective stories. The sci-fi elements are somewhat pushed to the back burner as the narrative attempts to have Sugar balance the missing-persons case involving Ji Moon while also digging into the affairs of the powers that led to his people’s expulsion. The latter of which is ultimately left to fill in the context of Sugar’s past and emotional headspace for where he is this season. Catlin certainly has a more grounded approach, which, while entertaining to witness, feels like they’re not going headfirst into the eccentricities of clashing these two differing genres. It’s a gradual windup, like it was back in the first season, building towards larger revelations about the Sugars’ secret life, some of which set the stage for interesting character dynamics in the future of the series.

There is something to be said about the absence of Fernando Meirelles’s visual flair as the acclaimed filmmaker isn’t involved with the second season. The series doesn’t degrade visually, but this time around, a noticeable sheen is developing, quickly becoming associated with the look of most Apple Original Series as people compare it to Netflix programming. “Sugar” still retains its signature editing style, injecting clips from classic films as Farrell’s narration sets the mood. It’s an at-times masturbatory tactic that unfortunately plays to my sensibilities, such as a moment where Sugar, playing pool for information on his case, is juxtaposed with scenes from Robert Rossen’s “The Hustler.”

What keeps the series flowing is that Farrell is great as always, continuing to embody the classic archetype that has surrounded this cool, calm, and collected protagonist. Sugar’s sincerity is what makes him stand out to the people who enter his life this season, but even this is ultimately challenged as his prolonged presence on Earth leads him to question everything he’s ever known. This crisis of belief allows Farrell to bring more nuance to the character, peeling away at someone who has plenty to offer beyond being a well-suited charisma machine. One of the ways he’s pushed to his limits is with the presence of Laura Donnelly’s Charlotte Fischer, a resident of the hotel where he lives, whose flirtatious banter slowly develops into something more. It’s fascinating to see Sugar, who mostly manages to present himself as human as possible, crumble whenever some form of intimacy is offered to him.

The inclusion of Tony Dalton as Lieutenant Ray Vega also leads Sugar to challenge his morals, as this powerful figure in the LA County Sheriff’s Department constantly comes to blows with Him, impeding his investigation. It’s a nice touch by the writers to give Sugar a rival of equal pedigree, even as Dalton conjures up some of the nefarious magnetism he brought to a character like Lalo Salamanca in “Better Call Saul.” It’s refreshing to see Sugar on his back foot, both tactically and emotionally at times, which gives this season an edge compared to the novelty of the alien reveal that shrouded the series last time around. It’s far from the best series out there, yet at least “Sugar” remains worth one’s time, especially when you add someone like Shea Whigham to fill in for audiences and Sugar himself on key information. The ending certainly packs in all the weirdness one was expecting more of, but even if used as a hook for a possible third season, it doesn’t take much convincing for me to watch another John Sugar mystery.

THE GOOD – Colin Farrell is great, as always, in a more streamlined mystery with plenty of twists and classic film references.

THE BAD – Those hoping for more sci-fi weirdness are going to be disappointed, as they’d have to enjoy it sparingly with this season’s more grounded approach.

THE EMMY PROSPECTS – None

THE FINAL SCORE – 7/10

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THE CAST – Michelle Mao, Haley Lu Richardson & Jin Ha

THE TEAM – Kogonada (Director/Writer)

THE RUNNING TIME – 99 Minutes

It’s tough when an artist just doesn’t work for you. Oftentimes, it can feel like you’re the problem, especially when many respectable voices highly praise said artist. Such is the case with myself and Kogonada, the video essayist turned filmmaker. While I can recognize the unquestionable beauty of his patient, contemplative films “Columbus” and “After Yang,” something about their deliberate pacing and introspective dialogue keeps me at a distance (I skipped his latest film, the tepidly-received “A Big Bold Beautiful Journey,” altogether). But like any good cinephile, I’m always willing to give additional chances, and the enigmatic, supernatural-sounding plot description of his new film “zi” caught my attention. But alas, all of the qualities that make a Kogonada film unique and distinctly his are here. Which is to say, anyone who found themselves swept up in and enchanted by the stories and worlds he crafted in his past films will likely feel similarly about “zi,” but it won’t convert any skeptics.

The titular Zi is played by Michelle Mao. She’s a young woman in Hong Kong whom we meet at the start of the film, visiting her parents’ graves. And from an early phone call, it can be gleaned that she’s awaiting some sort of diagnosis to explain neurological issues she’s been having. Through her perspective, we quickly see what’s disturbing her: she keeps seeing visions of herself, but slightly removed from her current position and in the future. This premonistic ability leads Zi to El (Haley Lu Richardson), a young woman similarly wandering Hong Kong. El is an American dancer who, tired of receiving rejections at auditions, fled her home country. She approaches a distressed-looking Zi on the street, who claims to have seen El in the future. The concerned El attaches herself to Zi, hoping to help her and, maybe, herself at the same time.

From the very beginning, the film adopts a deadly serious tone. Every single thing every character says, no matter how far-fetched, is taken at face value by those they’re interacting with, and thus by the movie itself. Every line is cloaked in meaning, begging the audience to feel as profoundly about the characters’ circumstances as the characters do. This humorlessness is simply tiring and makes the film feel taxing, like getting stuck talking to a self-important freshman philosophy major at a college party. The meandering structure – both in the light plot and in the literal actions of the characters – calls to mind Kogonada’s first feature, “Columbus.” But that film at least used the framing device of the main characters’ shared appreciation for the unique modern architecture of Columbus, Indiana. This gave their ambling a purpose. Here, it’s a much more aimless outing. 

Every element of the film contributes to its melancholy feeling, including the sparse, sad (but admittedly pretty) musical selections. And as is always the case with Kogonada’s movies, it’s shot and cut with an inarguable beauty. Cinematographer Benjamin Loeb frames the characters against the concrete structures of Hong Kong, emphasizing their smallness amid the region’s vastness. Wide shots are especially effective when depicting Zi’s futuristic foresight, giving them an eerie quality. And the editing, done by Kogonada himself, swirls and stirs the narrative, making the audience feel as untethered to linear time as the main character.

Haley Lu Richardson is a frequent muse of Kogonada’s; this film marks their third collaboration after “Columbus” and “After Yang.” And clearly, the pair works well together. Richardson is fantastic, investing El with a bohemian energy that feels appropriate, given her artistic background. This helps sell her instant connection with Zi better than the writing does. Even if this isn’t perfectly explained, Richardson’s spirit helps make the fast bond feel less sudden and strange. Michelle Mao is a captivating presence as Zi, managing to make an underdeveloped character compelling. Jin Ha plays Min, a friend of El’s, and just like Mao, he does his best to make a flat character captivating. At least he gets a chance to show off his beautiful singing voice; it’s no wonder that he’s performed on Broadway.

Despite being well-shot and beautifully constructed, as all Kogonada films are, “zi” is a ponderous, rambling journey. Its director’s brand of deeply earnest, conversational movies, revolving more around characters exchanging ideas than a typical plot, may be a desired flavor for his fans. However, for others, such as this critic, he remains an acquired taste that’s still frustratingly unacquired.

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