The opening shot of Citadel (2023) is a slow-motion sprint through a crumbling European city, Richard Madden‘s Mason Kane dodging bullets with the kind of effortless grace that feels ripped from a John Wick sequel. It’s a promising start for this $300 million Amazon Prime Video spy thriller, which aims to be a globe-trotting, memory-wiping answer to Mission: Impossible. But while the series has ambition and style to spare, it stumbles in the storytelling department, leaving us with a polished but hollow espionage spectacle.

Created by Josh Appelbaum, David Weil, and Bryan Oh—with the Russo brothers serving as executive producers—Citadel follows Mason Kane (Madden) and Nadia Singh (Priyanka Chopra Jonas), two top Citadel agents whose memories are wiped after a brutal attack. Years later, they’re pulled back into action by Bernard Orlick (Stanley Tucci), a spymaster who helps them reconstruct their pasts while fighting off a resurgent threat. The premise is simple but effective: What if Jason Bourne was a family man? Unfortunately, the execution often feels muddled, as the show struggles to balance its emotional core with its bombastic action set pieces.

The series’ production design and cinematography are undeniably impressive. The locations—spanning Italy, Spain, Mexico, and India—are captured with sweeping, wide-angle shots that emphasize both their beauty and their peril. The action sequences, particularly a rooftop chase in Valencia and a high-stakes heist in the Alps, are choreographed with precision and shot with kinetic energy. Madden and Chopra Jonas hold their own in these moments, selling the physicality of their roles even when the dialogue falters.

But Citadel‘s biggest weakness is its storytelling. The first season’s six episodes suffer from pacing issues, with too many slow-burn character moments interrupting the forward momentum of the plot. The show’s attempts at emotional depth—particularly in the strained reunion between Mason and Nadia—often feel forced or underdeveloped. Chopra Jonas, in particular, is saddled with some clunky lines about motherhood and identity that ring hollow rather than resonant.

The supporting cast fares better, with Stanley Tucci stealing scenes as Orlick, a morally ambiguous spymaster who delivers dry wit with effortless charm. Lesley Manville, as the enigmatic Dahlia Archer, brings a fascinating layer of complexity to her role, even if her character’s motivations remain frustratingly opaque until late in the season.

Where Citadel truly excels is in its originality—at least in concept. The idea of amnesiac spies navigating a world they no longer remember is fresh, and the show’s commitment to global storytelling sets it apart from other espionage dramas. However, this originality doesn’t always translate into compelling execution. Too often, Citadel feels like a pastiche of better spy thrillers, borrowing heavily from Bourne, James Bond, and even The Americans without fully committing to its own identity.

And then there’s the Russo brothers’ influence. Their signature style—high-energy action, rapid-fire editing, and a penchant for post-credits teasers—is all over this series, but it doesn’t always serve the material well. The first season’s finale, in particular, suffers from an overreliance on twist endings that feel more gimmicky than genuinely surprising.

Ultimately, Citadel is a solid but forgettable entry in the spy thriller genre. It looks great and moves fast, but it lacks the depth or emotional resonance to stand out in a crowded field. If you’re in the mood for mindless action and globe-trotting spectacle, it’s worth a watch.

But let’s dig deeper into what Citadel is trying to be. At its heart, the show is a love letter to classic spy films, blending the high-stakes action of James Bond with the psychological intrigue of The Bourne Identity. The series leans heavily into its international setting, using each location as more than just a backdrop but as an integral part of the story. This global approach is one of Citadel‘s strongest assets, offering viewers a visual and cultural feast that few other shows can match.

However, this international scope also becomes one of the show’s downfalls. With so many locations and subplots to juggle, Citadel often feels like it’s trying to do too much at once. The narrative threads occasionally become tangled, leaving viewers to piece together connections that aren’t always clearly drawn. This is particularly evident in the second season, where new characters like Jack Reynor’s James Hutch and Celine Rohr are introduced with little context or emotional grounding.

The show’s attempts at world-building also suffer from inconsistencies. For example, the Citadel organization itself remains vaguely defined, its purpose and structure shrouded in mystery even as the series progresses. This lack of clarity can be frustrating for viewers who crave a more grounded understanding of the world they’re being asked to invest in.

Despite these flaws, Citadel has moments of genuine brilliance. The chemistry between Madden and Chopra Jonas is undeniable, particularly in scenes where their characters grapple with the emotional fallout of their erased memories. There’s a raw vulnerability in these moments that cuts through the show’s more bombastic elements, offering glimpses of the deeper story that lies beneath the surface.

The series also benefits from its supporting cast, which includes standout performances from Roland Møller as Anders Silje and Ashleigh Cummings as Abby Conroy. Møller, in particular, brings a chilling intensity to his role as a rival agent, while Cummings delivers a heartfelt portrayal of a woman caught in the crossfire of a global conspiracy.

In terms of genre fit, Citadel is a mixed bag. It excels as an action-packed thriller, delivering set pieces that are both visually stunning and thrillingly executed. However, its attempts at drama and emotional depth often fall flat, leaving viewers with a sense of unfinished business. This inconsistency makes it difficult to recommend the show wholeheartedly, particularly for those looking for a more cohesive narrative experience.

Ultimately, Citadel is a series that’s easier to admire than to love. It’s a technical achievement, with impressive production values and a commitment to global storytelling that sets it apart from other entries in the genre. However, its narrative flaws and emotional missteps hold it back from true greatness.

For fans of high-octane action and international intrigue, Citadel offers plenty to enjoy. But for those seeking a more nuanced or emotionally resonant experience, the series may leave them wanting more.