The Final Frontier Review
A federal marshal’s peaceful life gets turned upside down when a plane filled with notorious criminals crashes near Fairbanks, Alaska. This is the essence of The Final Frontier, a sequel to the popular series from Jon Bokenkamp, creator of The Blacklist. Featuring Jason Clarke, Haley Bennett, and Dominic Cooper in leading roles, this show marks Bokenkamp’s shift from traditional network drama to the more creative realm of streaming television. It seems that the premise might reflect his own journey—liberating yet risky, hopefully without any getting-lost-in-the-North-Pole mishaps. The pilot episode shows hints that this idea could indeed hold some truth.
Opening scene: Police lights twinkle in the distance while the sounds of engines roar on the tarmac.
Key moments: Those lights belong to a security detail escorting hooded, goggled, earplugged, handcuffed, and footcuffed men to transport planes at Alaska’s Eielson Air Force Base. Inside the plane, it’s a scene filled with orange jumpsuits, facial tattoos, and intense gazes. Among these men are some of the worst of the worst. Does that include Johnny Knoxville? And what about Clifton Collins Jr.? Not a stretch to say yes. When the plane takes off, disaster strikes quickly—an engine catches fire, pieces of the aircraft break off, and prisoners (including at least one woman) start to escape, apparently unbuckled and falling to their doom. Even the more calm among them handle the chaos with a weird sort of grace, managing to float like a superhero amidst the wreckage.
On the ground, a kind man and his son are camping when part of the plane—specifically a burning boot—lands right on their land. They attempt to flee to their truck but are soon struck by debris. Ironically, an Elvis song plays as the plane clips its wings and crashes into a clearing. Then, chaotic thugs spill out to confront the surviving plane security officers. A particularly unsettling character catches the viewer’s eye, with a Unabomber-style beard and shifty eyes that say he’s been involved in some nasty business.
Now, let’s skip to Fairbanks. Here we meet Frank Remnick (portrayed by Clarke), who leads the federal marshals. During his morning run, he greets everyone in his path, even stopping for a moment to make eye contact with a moose—perhaps named Omen, though that’s just a guess—before he returns home to his wife, Sarah (played by Simone Kessel), a nurse, and their teenage son, Luke (Tate Blum). He’s got good news: they’ve had their offer accepted on a cabin they’ve targeted. The family dreams of Frank leaving his job to manage a guest house in the Alaskan wilderness. A backstory is hinted at; Sarah mentions “what you went through” that brought them back together, though it remains vague, providing just enough context to understand his attachment to his badge and gun.
Frank isn’t bad at his job, not at all. He heads into work with a box of Dunkin’ donuts and shares some laughs with his colleagues, including a friend who has plans to play hopscotch after hours. I think his name might be Doomed—ironic, right? They hop onto a helicopter to investigate smoke rising on the horizon. After a short search at the crash site, they find an injured marshal. When Frank flips him over, the sole word he utters is “Ambush.” The chaotic visuals of prisoners bursting out of hiding with wild abandon and Frank grappling with them felt reminiscent of something I’ve seen before. Right, the director Sam Hargrave, known for the Extraction films on Netflix, pulls off the action well here. It’s absurd, perhaps, but undeniably entertaining.
Now, switch to CIA headquarters. Alfre Woodard plays the lead there, and she’s not happy. She summons Sidney Schofield (Bennett), who just left her niece’s birthday bash—where she may have indulged in some smuggled vodka, if you catch my drift. The prisoner transfer was a black ops mission, explaining why the marshals walked right into an ambush. Woodard’s character insists that “Havelock is involved.” We quickly realize there’s more to Sidney than meets the eye, placing her in a precarious position between the CIA and FBI—it’s all rather complicated.
As Sidney makes her swift arrival in Fairbanks, we find Luke skipping school to bring his girlfriend to their newly acquired home. I’m sure it’s not anywhere near the path of fleeing criminals. Safety first! Sidney and Frank collide and then clash again. Meanwhile, we follow the shady bearded guy for a while, see Sarah preparing for chaos in the emergency room after the crash, and try to piece together how all these threads will eventually connect. At this point, you could almost feel your assumptions shifting.
Show comparisons: The Final Frontier draws on elements from other works. Think of the crash vibes from Yellowjackets or The Gray, mixed with aspects of Con Air, bringing in a touch of the U.S. Marshals world as seen in Justified—though we’re not quite at Raylan Givens territory just yet.
Overview: The pilot of The Final Frontier gears up nicely. Even the quieter scenes deliver crucial exposition regarding characters and their relationships. Frank stands out as a dedicated family man who’s been through a lot in rural Alaska, and he’s still capable enough to fend off the bad guys. A particularly well-executed action moment includes him taking out adversaries effectively, which should not be underestimated.
Clark and Bennett’s exchanges offer enough intrigue and excitement, almost overshadowing the action itself as their skills come through. The creative talent involves director John Curran (from The Painted Veil) and writer Glenn Kessler (known for Compensation for Damages) alongside Akela Cooper (famous for M3GAN). There’s a need to see if all these creative forces mesh well. The debut does experience tonal inconsistencies, shifting from ridiculous comedy to serious family drama. It might feel a bit like whiplash at times. The pilot could use a tighter runtime—perhaps 45 minutes would be better than stretching to a full hour—but it still delivers engaging entertainment, without fully leaning into the expected prestige feel.
Gender and representation: Nothing notable at this moment.
Final thoughts: A lingering shot reveals Frank’s troubled look.
Sleeper standout: It’d be hard to believe Woodard won’t deliver multiple passionate speeches by the end of this ten-episode journey. She’s already on her way after just one episode.
Notable quote: Frank remarks, “The city has been as quiet as a smile my whole life.” Sounds a bit early for insight.
Final verdict: Whether or not The Final Frontier can maintain its initial energy for the rest of the season remains uncertain. However, it’s started strong, with future episodes set to explore even more thrilling aspects beyond the family drama. Stick around for a couple more episodes before making any decisions. Happy streaming!
