’12 12 12′ Apple TV Review: Anthony Mackie Hunts Jamie Dornan in an Intricately Structured, Twist-Heavy Heist Series

Built around a three-part narrative structure that initially seems more complicated than it actually is, 12 12 12 revolves around a multimillion-dollar bank heist in Switzerland and an FBI agent’s relentless efforts to catch those responsible. Cleverly constructed, if occasionally overstuffed with plot twists, and driven by two volatile characters on opposite sides of the law, this heist thriller is an entertaining, if somewhat overlong and convoluted, addition to Apple TV’s year-end lineup.

The story revolves around two central figures. On one side is the hunter, FBI agent Jack Strickland (Anthony Mackie), whose career has taken a nosedive following an operation in which a female colleague, with whom he was romantically involved, was killed, apparently as a result of his own mistake. Still obsessed with finding the person responsible for that tragedy, Jack sees an opportunity to track down the man behind a spectacular bank robbery in Switzerland: Paul Galvin (Jamie Dornan). Convinced that the two cases are connected, he sets out to catch him in the act, by whatever means necessary.

The show employs a narrative device supposedly inspired by the actual timeline of a major heist: twelve months of preparation, twelve hours to pull off the job, and twelve days to make a getaway. The theory is that once those twelve days have passed, the chances of catching the perpetrators become considerably slimmer. Using clearly marked title cards, the series jumps back and forth between the past, present and future, interweaving the three stages of the operation and delivering new revelations, complications and surprises along the way.

The present-day storyline, covering the twelve hours of the robbery itself, follows Paul, his brother Bobby (Jack Kesy), and their team of specialists and inside contacts as they break into the safety deposit boxes of an old bank in Zurich. The target is reportedly holding around a billion dollars in cash belonging to a Russian oligarch. Meanwhile, Jack, who has been stationed in the city for some time, begins to sense that something suspicious is happening right under his nose.

The flashbacks to the twelve months leading up to the heist reveal how Paul gets involved in the operation, initially somewhat reluctantly, and sets about assembling his crew, rehearsing the plan and dealing with the various obstacles that arise along the way. This is also where Jeanne Balibar appears as the enigmatic Madame Bazin. In parallel, we follow Jack’s struggle to adjust to his assignment in Zurich as he starts investigating Paul and his associates. The gang also includes the criminal’s French wife (Agathe Rousselle), who happens to be pregnant.

The third timeline, covering the twelve days following the robbery, focuses on the increasingly complicated escape plan, which turns out to be considerably more difficult to execute than anyone anticipated. As Jack closes in on the gang, his pursuit becomes increasingly obsessive. He is determined to find Paul and his accomplices, wherever they may be and whatever it takes. As the series moves between these different time frames, it gradually becomes clear that the situation is far more intricate than it first appeared, with additional layers of deception, betrayals and unexpected turns lurking beneath the surface.

12 12 12 is an effective, reasonably gripping thriller of the sort that makes you want to watch «just one more episode» as each installment ends, largely thanks to the mysteries and unanswered questions it keeps introducing. But with eight lengthy episodes to fill, the creators eventually overcomplicate their own design. By the time the finale rolls around, the accumulation of twists and supposed revelations has become downright excessive. The initial momentum inevitably fades, coincidences pile up, and the plot starts to strain credibility. Still, the writers, the directors of the various episodes and, above all, the sizable ensemble cast manage to keep the whole contraption reasonably convincing.

The characters themselves are drawn in fairly broad strokes, each burdened with personal trauma and seemingly convinced that succeeding in their respective missions will somehow help them overcome it. The cat-and-mouse dynamic between Jack and Paul occasionally brings to mind Heat, but neither character has quite the depth or psychological complexity needed to generate the same kind of mutual fascination and tension. The creators have plenty of time to develop their protagonists more fully, but they choose instead to devote much of it to constantly revising, expanding and second-guessing the mechanics of the heist. The result is a series that can be deceptive, occasionally addictive viewing, but ultimately doesn’t amount to much more than that.