The Jinx: The Life and Deaths of Robert Durst Screen 4 articles

The Jinx: The Life and Deaths of Robert Durst


The Jinx: The Life and Deaths of Robert Durst Poster
  • The series is so manipulative, so plodding, so pointlessly morbid, so self-congratulatory, so obviously geared to deliver one, single news-making/ratings-grabbing moment that it casts a pall over the essential questions.

  • "The Jinx" is a model of post-facto filmmaking, which exists not to be seen but to be discussed. The series is a delivery, not a creation, a great and memorable investigative success, but a failure of aesthetic judgment. For much of its span, it plays like "In Cold Blood" as written by Dan Brown.

  • Errol Morris is the unabashed reference point for Jarecki’s luxuriously slo-mo recreations of Susan Berman’s shooting and the other, numerous shots that verge on portentous looming but come off just on the right side by being legitimately hypnotic... These are Big Images verging on NFL Films hyperbole, and Jarecki gets away with it.

  • I’ve never seen anything quite like the ending of the HBO series The Jinx. That’s not the same thing as saying I unreservedly love and admire Andrew Jarecki’s documentary series. But really, now: That closing scene — a static image of an empty interview room, accompanied by audio of the show’s subject, accused murderer Robert Durst, mumbling what sounded like a confession — was uniquely chilling.