The Good Samaritan

I’ll admit, I went into *The Good Samaritan* expecting a standard serial-killer chase, but Grant subverts that fast. The real hook isn’t the whodunit—it’s the *why*, and how Corbin’s obsession with catching this killer forces him to confront his own complicity in a broken system. The killer’s MO—leaving evidence of the victims’ crimes at the scene—isn’t just a gimmick; it’s a narrative gut-punch. Every reveal made me pause the audiobook and sit with the discomfort. That said, the secondary characters sometimes feel like chess pieces moved into place for Corbin’s arc, and the final act’s twist, while bold, stretches credibility just enough to pull me out of the moment. Art Brown’s performance is *exceptional* for how understated it is. He doesn’t overplay Corbin’s rage or the killer’s menace; instead, he lets the writing’s moral ambiguity seep into his tone. His pacing is deliberate, almost clinical, which makes the rare bursts of emotion hit harder. The production quality is top-notch—no distracting edits or volume spikes—but I did wish for more atmospheric sound design in the killer’s scenes. They’re so *quiet*, and a hint of ambient unease (a distant hum, a breath held too long) could’ve amplified the dread. Still, this is a thriller that lingers, the kind you’ll argue about with friends: *Is the Good Samaritan a hero or a monster?* And isn’t that the point?