Dept. Q review: A stylish yet uneven crime thriller that struggles to find its voice

Netflix's latest noir offering, Dept. Q, offers an intriguing plot, but drowns in sluggish pacing and overly dramatized explanations.

Netflix's latest sprint at offering suspenseful mystery cold-cases marks its first attempt at capturing the ongoing trend in Danish novels with its adaptation of Jussi Adler-Olsen’s bestseller. The gloomy characters with a case steeped in time should have set a gripping premise for the Nordic Noir series but the lengthy monologues and storytelling structure result in a loss of flow.

It heavily relies on the described premise with Alexej Manvelov playing a former Syrian officer with an extremely sharp intuition alongside Matthew Goode portraying Carl Morck, the emotionally shattered detective. The resulting conflict lead to a balance resting somewhere between psychological thrillers and detective stories and, though both display noteworthy skill, Dept Q continues the norm of being overly complex.

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An international blend with bold ambitions

From the start, Dept. Q describes itself as a cross-cultural experiment. It is set in Scotland, while the plot is rooted in Danish literature. The Queen’s Gambit’s Scott Frank, an American filmmaker, oversaw the writing and direction, and British writer Chandni Lakhani was in charge of co-development.

The scandinavian side of the series features silence and dread that is tightly built into nordic noir; mixed with the bleak beauty associated to British mysteries, and the more emotion driven sides typical to American drama.

The story follows Morck, a detective burdened with guilt and crippled by grief due to a violent incident where his partner was left in a coma, forcing him to take a desk job. He is appointed head of a newly created cold case department—Department Q. Vying for his attention is Salim, a man with an even more mysterious prehistory than him, an unconventional way of thinking and unsettling interview tactics.

As a team, they tackle the complicated case of a woman who has been missing for several years, presumed dead. Though the case holds an intricate web of secrets and trauma spanning entire families, communities, and even countries.

The series has stunning visual appeal. Edinburgh’s outline of greys and shadows is showcased by Justin Downing in a remarkable fashion that accentuates the sorrowful narrative. The atmosphere of the series has a distinct tune of muted and chilling horror. As far as mood is concerned, and with respect to the genre, Dept. Q serves it cold and refreshing exactly as expected.

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Strong performances, but too much talking

It is neither the characters, nor the plot's complexities that drags the series down. It is the way the story is narrated.

Less visual cues or action, and more psychological breaking down and action-packed dialogues. Probably the most astonishing thing about Dept. Q is how talkative it is compared to other noir thrillers. As opposed to capturing subtleties of tension, the show indulges in excessive dialogue and breakdowns. Everyone is keen to share – be it Morck during therapy, Salim during interrogations, or various supporting characters sharing their tragic life stories. Eventually, the series gets exhausting because of all the dialogue it unleashes.

The role is nearly unrecognizable because Matthew Goode gives a controlled performance of a distant, colder man devoid of his trademark charm. But because Morck is so emotionally constrained, and the writing so determined to explain his pain, we are bluntly told what his feelings are instead of shown. Displaying trauma and declaring it are two different things, and alas, Dept. Q all too often opts for the latter – and pays the price for it.

In the supporting roles, Kelly Macdonald (Morck’s therapist) and Jamie Sives (his injured partner) infuse the narrative with striking moments of emotion, however brief. Their scenes crackle with life, handing the audience moments of connection. Alexej Manvelov also adds depth to Salim who, with his quiet intensity and dubious history, is one of the more interesting characters.

However, action is one of the things that does very little to move the story forward. Explanation tends to take the foreground — time and time again.

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Dark themes that need more breathing room

Indeed, Dept. Q is centered on trauma, guilt, and redemption – themes plenty fit for noir storytelling. Nonetheless, the show heaps so much emotional stress onto its characters that advancing the plot becomes a challenging endeavor.

Every individual on the team has some unique mental scar they are dealing with: Morck and his survivor's guilt, a younger cop suffering from PTSD, and Salim having a past that possibly includes some form of torture. This could have added richness and weight — and at times, it does. All too often, however, the trauma comes across as a requirement, and not something deeply integrated into the story.

At the same time, the “cold case” which should be propelling the narrative forward, feels overly stylized. Plot twists come without any buildup and forced psychological ramifications, rather lacking depth. The big reveal doesn’t hit as hard, if at all. The tension that should be increasing throughout the series is layered with backstory and introspection, as the overall “smothered” environment suffocates the tension.

With all its emotional complexity, the show somehow manages to come off lacking urgency. Clocking in at 9 episodes totaling just over 7 and a half hours, some feel as if they’re moving in circles rather than advancing. While some viewers appreciate the more meditative approach, others will find themselves wanting to click the fast-forward button.

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Final verdict: A beautiful puzzle that doesn’t quite fit together

I'll give this series a 9/10⭐

Dept. Q is not by any means a failure. It is captivating in parts, well acted, and polished. However, it never fully delivers on the potential promised in its concept. It seeks to combine a noir mystery with a psychological examination, buddy-cop adventures, and an analysis of trauma all into one piece. In trying to achieve so much, it overextends itself.

For those who have the endurance for a slow-burn narrative, there are rewards to be had in character-driven dramas. The performances are compelling, the setting is engaging, and a handful of standout scenes best demonstrate what the show could have achieved, had it been more focused and the script more streamlined.

As it stands, the viewer is left feeling discomfortingly blank. While the international talent is mesmerizing, without the fuzzy ambience and poetic musings, viewers are left wanting for something more from this noir mystery than it offers.

Ultimately, Dept. Q is an emotionally volatile thriller that aspires to be something greater than it is; ultimately falling short. The series is worth watching for the performances and the ambience, but don't expect the nuanced, gripping resolutions that memorable crime dramas provide. While it is a sluggish pace — at times, too sluggish — it manages just enough of a flicker to ignite the interest of a curious audience.