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‘Nocturne’ Review: Liev Schreiber & Stephen Graham Elevate An Absurd But Entertaining Crime Thriller

administrator Verified Critic
Nov 01, 2026 29 min read 9 Views 0

When the story of prestige television in the 2020s is written, an interesting thread worth exploring will be its preoccupation with crime and detective stories set in and around Philadelphia and Delaware County. Of course, we’ve had “Mare of Easttown” and “Task,” Brad Ingelsby’s duology of gritty working-class environments and the criminals they produce. But we’ve also seen “Long Bright River,” “American Rust,” and even Hulu’s “Dopesick.” All have used the gritty, post-industrial landscape of Pennsylvania as a lens to explore repressed masculinity, alcoholism, and the social conditions that plague the region. Now we can add “Nocturne” to the ever-growing Pennsylvania crime canon.

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Based on the Lars Kepler Joona Linna novels, particularly “The Sandman” and “Lazarus,” the series finds co-creators Rowan Joffé and John Hlavin grafting a Scandinavian thriller onto Pennsylvania, Americanizing the narrative without exactly grounding it in the cultural specifics that make Ingelsby’s work feel so authentic.

Yet, despite the oddness of taking a distinctly regional subgenre like Nordic noir and transplanting it to the U.S.—something “The Killing” did to much better effect nearly fifteen years ago—“Nocturne” is decently entertaining, almost in spite of itself.

When the show begins, Jonah Lynn (Liev Schreiber) is an ex-cop still reeling from his last case. After putting away serial killer Jurek Walter (Stephen Graham), Lynn was never able to recover the bodies of two missing children long believed to be Walter’s victims. Years later, one of those victims, Michael Frost, suddenly reappears, stumbling onto a local road, blind and emaciated from his captivity. With Walter confined to an isolated cell at a psychiatric hospital, Lynn is called back by his protégé Saga Bauer (Zazie Beetz) to see if they can find Michael’s missing sister and confront Walter once again.

Of course, the case gets (much) more complicated as Lynn and Walter essentially face off against each other. There are enough familiar tropes here to create a drinking game: the hardened ex-cop returning to solve the case that nearly broke him, his surrogate daughter forced to put her life on the line and go undercover at a psychiatric hospital, the Hannibal Lecter-lite sociopath who can seemingly orchestrate crimes even while locked up, and, of course, the grizzled police chief (Bill Camp) whose main job is to yell at Lynn for doing something illegal or unethical and over-explain the steps in AA.

Which, again, is not to say that “Nocturne” is bad. Across the seven episodes (of ten total) screened for critics, it’s a decently propulsive noir, one that capably dresses up its absurdities in the trappings of prestige TV. And there are plenty of absurdities, starting with Walter’s almost preternatural ability to manipulate those around him, including a puppy-doggish nurse (Rory Culkin) whom he uses to transport messages to the outside world. Graham, whose performance in last year’s “Adolescence” showcased the nuances of an actor often cast as the heavy because of his physique, returns to his more menacing mode. It’s a good performance, but not one that exactly breaks new ground.

The same goes for Schreiber, who can furrow his brow and play stoic with the best of them. Beetz, on the other hand, feels out of place, playing an FBI agent whose relationship with Lynn is never fully developed and whose decision to go undercover at the hospital to get close to Walter interrupts the far more interesting narrative of Lynn’s investigation.

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Still, despite “Nocturne’s” over-reliance on formulaic storytelling and characterization, the show proves surprisingly digestible, even pleasurable. Which is an odd thing to say about a series that, at least on the surface, resembles those other Pennsylvania-set crime dramas. Yet, unlike Ingelsby, Joffé and Hlavin are far less interested in familial cycles of abuse and addiction. Here, crime is not a window into social, political, and economic turmoil. Instead, it’s just an airport thriller about a sociopath who likes to kill people and a morally compromised cop who will quite literally do anything to stop him. Sometimes, everyone just needs a ridiculous palate cleanser. [B-]


Christian Gallichio
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Senior Entertainment & Cinema Columnist at Filmibee. Passionate about world cinema, screenplays, box-office stats, and film aesthetics.

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