'The Last Days of Ptolemy Grey' review: Apple's ambitious drama is worth the investment

In storytelling memory loss and the act of ageing has always made for good drama. A tradition that series creator and Hollywood heavy hitter James Mosley taps into once again, with Apple TV+ original The Last Days of Ptolemy Grey.

Elixirs that promise eternal life and offer endless opportunities to remember, experience and celebrate past glories, go hand in hand with these thematic ideas. Likewise, audiences have always hankered after moral fables, cautionary tales and allegorical fireside segues that offer salvation from the ravages of time.

An old-fashioned story grounded by Samuel L. Jackson, in a performance which watches him being slowly eroded away from the inside. In the process posing a simple question that audiences everywhere will identify with. If they were given the opportunity to remember with absolute clarity everything in life, would they want to, bearing in mind that some things are best forgotten.

Existing within a cocoon of fragmented memories as his mind undermines him, Ptolemy Grey lives day to day. With his caretaker Reggie, played with compassion by Omar Benson Miller, he is haunted by past transgressions and afraid of a world he no longer understands. Surrounded by bric-a-brac and hoarding his personal belongings in an effort to simply remember, it is a life defined by limited routines and periodic visits from indifferent family members.

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In the early episodes, beyond a rock solid turn from Samuel L. Jackson, any success in establishing dramatic intent should go to production designer Gregory Weimerskirch. Through the subtle manipulation of set dressing and cleverly conceived lighting set-ups, time periods are traversed while tensions mount.

Cinematographer Shawn Peters also plays a large part in elongating Ptolemy’s apartment for dramatic effect, demonstrating both the degenerative condition and its immediate impact. Beyond the presence of Samuel L. Jackson as Ptolemy and the limited contributions from Omar Benson Miller’s Reggie, this series takes its time gaining momentum. It is only with the arrival of Dominique Fishback as Robyn that things really get going.

Taking over as Ptolemy’s caretaker in the absence of Reggie, this show lives and dies on the chemistry which exists between them. From the outset this feels like a two-way street of paternal guidance and maternal admonishment, which works well in opposition.

Moments of genuine tenderness bring these two generations together, while benevolent intentions add an organic warmth elsewhere. So much so, that when Walton Goggins is introduced as Doctor Rubin, which in turn kick starts an intriguing sub-plot, audiences will be fully committed.

What follows is a medically induced rejuvenation and momentarily relapse, which allows Ptolemy to regain his dignity. With clarity comes youthful curiosity, as synapses are restored, memories get sharper and a resurgence of mental acuity gives him back his faculties.

However, this goes beyond a simple haircut, shave and new threads. Ptolemy rises like a phoenix from the ashes of his mental ailment, righting wrongs and administering sage advice to underhanded family members out for their inheritance.

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Unfortunately, as much as this new man and new memories act works well for a spell, this series manages to morph into something more lightweight. More intriguing themes which would have made for a more satisfying dramatic pay off get lost.

Memory loss, mortality and the times shared with a lost love and soul mate get bypassed. Performances from Damon Gupton as Coydog or Cynthia Kaye McWilliams as Sensia feel less resonant, as domestic squabbles make way for more murderous conundrums.

Thankfully, both Samuel L. Jackson and Dominique Fishback remain riveting in their respective roles, as this family drama with segues into senility play out. Their dynamic grounds the more formulaic elements and is guaranteed to keep audiences tuned in, despite some more obvious plot twists.

People may not remember The Last Days of Ptolemy Grey as a series with great pace or consistent gravitas, but it will be celebrated for something of equal importance.

With a masterful display of production design and cinematography, Apple has delivered something of ambition that attempts to tackle more than dementia. Beyond the central performances and staggering ensemble cast, it says a great deal about contemporary attitudes towards identity, empowerment and the older generation.

That it then develops into something with less backbone and softer edges may feel like a dramatic failing, but nonetheless this still makes Ptolemy Grey worth the investment.

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If nothing else it confirms that Apple is in this for the long haul, intent on supporting those artists with challenging things to say. This latest contribution from the firm that brought you the iPhone, can comfortably sit alongside more contentious titles like Severance, knowing they are in good company.

The six-episode series The Last Days of Ptolemy Grey will debut globally Friday, 11 March on Apple TV+ with the first two episodes, followed by one new episode weekly, every Friday.