Built on a wearying cheerful optimism/cruel fatalism dichotomy—contrasting chords that aren’t all that engaging or novel to begin with but repeated ad nauseum regardless—it’s astonishing just how quickly the post-apocalyptic sci-fi series, “Fallout,” wears out its welcome.
Startlingly glib, one-note, and yet self-assured in its vacant design, the series reveals its shallow hand very early. “Fallout” endlessly reprises the wholesome quaintness vs.
the grotesque or freakishly ruthlessness mode of apposition and fails to do anything remotely interesting with it, reinforcing what swiftly becomes a long, tiresome pattern and slog.
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