“Lovecraft Country” Episode 4 loses steam with slow beginning, but recoups some in its fun second half

We’re almost halfway through HBO’s flawed, yet groundbreaking “anthology” series Lovecraft Country, and episode four has been released, dubbed “A History of Violence.” Remember when the show was fixated on dealing with racism while providing good horror entertainment, well now it’s kind of screwed both, and turned into a creepy riff of Indiana Jones. Nonetheless, while this is the weakest episode, I’m still dazzled by the characters, performances, camera work and decent twists.

What part four is truly lacking is the oddness that made the first three so fantastic, and despite a couple innovative music choices, it does fall flat in the first half. Only does it start to get truly entertaining after a good 25 minutes of dishearteningly mediocre TV. What do I mean about the soundtrack? There are a few instances where we get realistic performances of Roy Brown’s “Boogie at Midnight” and Louis Jordan’s “Is You or Is You Ain’t My Baby”, or times when lyrics start interrupting scenes with Rihanna’s “Bitch Better Have My Money” and Jade Josephine’s “Get ‘Em”. It just makes you question what HBO’s new…Creation is attempting to convey with these occurrences.

Since episode three decided to shove that middle finger up in two’s face, this attempts to pick up that plot with Christina Braithwaite. This week’s episode takes a stab at an abbreviated version of “Abdullah’s Book”, one of the earlier chapters in Matt Ruff’s novel. After George’s tragic death, the challenge of finding Titus’ missing vault is left to Atticus, Montrose, and Leti. Together, they journey to Boston with Hippolyta and Dee under the false pretense of a family road-trip. Although the majority of the episode focuses on the series’ core three characters, it actually juggles three in total.

Christina is now attempting to challenge the Chicago branch of the Order of the Ancient Dawn, and Ruby, Leti’s sister, is seduced by one of Christina’s henchmen, William, who managed to survive the explosion in Ardham. How? God, I don’t know! Besides these, we cut to an underground pulp adventure that brings back memories of classic adventure serials like Raiders of the Lost Ark, complete with luscious music, outstanding visuals and a couple exceptional performances from Jonathan Majors and Jurnee Smollett-Bell. There’s brass horns, flutes, violin swells, making an unmistakable reference to John Williams’ best scores.

Anyway, our protagonists find the entrance to the vault, and travel to a whole new subterranean world jacked with booby traps, and Tic announces: “This is some Journey to the Center of the Earth-type shit!”, shocked at the massive size. I feel you. From crossing an extensive wooden bar, avoiding fatal traps, and swimming through freezing waters, this is when the episode is at its absolute best. Like a combo of Tomb Raider and Harrison Ford’s iconic hero on acid, I found hefty amounts of entertainment. Baffling music choices, self-aware dialogue and surprisingly hilarious jokes propel “A History of Violence” beyond the decidedly mediocre filler it could have been. Also, audiences can’t get enough of Tic and Leti’s nagging at each other, making this a duo to ship like hell.

Another aspect that was clearly an improvement on previous episodes was the development for Montrose, Atticus’ now-found father. He’s a main focus point of this continuation, and you feel his grief as mumbles around his apartment, completely piss drunk, burning objects. Most importantly, the Order of the Ancient Dawn bylaws George gave him before he died in order to protect the family. Atticus isn’t fond of him, either, as they argue constantly. His shortcomings as a father are shown gracefully throughout. Ruby also get’s some love from the creators, as she receives her own subplot, albeit a strange one. William, one of Christina’s henchmen, seduces her, and I hope to see more of the character in next week’s episode.

It’s too bad we have to get through so much time before this episode really turns on the engines. Because of this unfortunate predicament, “A History of Violence” plays some serious catch-up during the last 35 minutes, saving it from disaster. Don’t get me wrong, there are several moments when this part goes above and beyond, but there are a tad too many factors keeping it from being as good as its predecessors. That is, however, arguably hard to accomplish. The whole beginning keeps you bored out of your mind, and it falls to just exposition and lore, which plagued the second episode as well. Overall, though, I’m still going to turn on the television for number five, even if it’s with lower expectations.

The final opinion is: Lovecraft Country’s “A History of Violence” is let down by a tediously slow start, but slams down on the gas pedal towards the end, crafting an entertaining, self-aware pulp adventure peppered with impressive technical aspects and two superb sub plots. For the most part. I would say…BROWSE IT

TV Review: Lovecraft Country - Episode 4

“Lovecraft Country” Episode 4 loses steam with slow beginning, but recoups some in its fun second half

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