Duster premieres on May 15 on Max.
By Elazar Abrahams
Set against the sun-bleached backdrop of 1972 Arizona, Duster is the latest Max original produced by J.J. Abrams and co-created with LaToya Morgan. It has the polish, the pedigree, and the premise to be something special. And while it’s a solidly made crime drama with a distinct visual identity and admirable historical grounding, it never fully rises to the occasion.
Rachel Hilson leads the series as Nina Hayes, the first Black woman in the FBI, who recruits Jim Ellis (Josh Holloway), a rugged getaway driver, to help her dismantle a growing crime syndicate run by Ezra Saxton (Keith David). Hilson is the true star here, and she carries the series with grit and presence. Holloway plays second fiddle effectively, offering a grizzled charisma that works in contrast to Nina’s relentless idealism.
The show nails its 1970s aesthetic. From the burnt-orange palette and muscle cars to the twangy score and grainy cinematography, the setting feels fully realized. One of the more interesting aspects of the series is how it ties into real-life figures and moments from American history, giving the narrative unexpected depth. These cameos are best discovered in the moment, but they lend an air of authenticity that elevates the world-building.
But for all of that, Duster never quite becomes more than the sum of its parts. The action is competent, the pacing steady, and the characters likable enough. Still, the show rarely thrills. It doesn’t offer the emotional weight or narrative propulsion that might make it feel epic or essential. With J.J. Abrams attached and a premise built for intrigue, the bar was simply higher.
Despite the strong lead performance and stylish execution, Duster often feels too restrained. It’s not especially fun, nor does it lean fully into pulp or prestige. It plays things safe, which might make it dependable for genre fans, but leaves those expecting a bolder vision wanting more.
In the end, Duster is a decent ride through the backroads of American crime fiction. But given the talent and potential on display, it’s hard not to wish it had taken a few more risks.
TV and City 