We’ve all seen stories told in reverse before, but you’ve never seen anything quite like Rellik. It sustains the trope for 5 of the six episodes in its story (5 of the 6 hours) and keeps working its way backwards in varying increments to reveal the surprises. I still got well ahead of it, but that didn’t really matter because the reverse telling keeps you off balance. Your sense of narrative is totally mucked because you keep trying to think forward but are going backward. Honestly, it was a lot of work and probably drawn out too long. Still, it had quite the list of revelations to play with, though it certainly lost track of some folks as they became unimportant in the past (a flaw in the design since they become important again in the future).
The writers, who also created The Missing, played fast and loose with medical and police matters. But as a mystery and and a police suspense, it kept my attention despite any missteps.
I’m not entirely sure what to make of the performances as, again, we watch them devolve rather than evolve. In particular, Richard Dormer (Fortitude) felt wrong going in this direction while Jodi Balfour (Primeval: New World) managed to stay in focus for me. Rosalind Eleazar also manages a rather interesting and creepy character for the run.
It isn’t a perfect mystery/suspense, but it is somewhat unique if you can deal with the effort. Sometimes “new” is enough. Certainly the gaps weren’t with the performers or director. Any weak choices for me came from the script, especially the forced denoument of discovering the killer’s identity with such hand-wavy tech that I actually threw insults at the screen and then got on with it. It certainly isn’t the first show to go with an easy answer because they watch too much CSI, and it won’t be the last. It wasn’t enough to spoil the trip which, in the end, is all that mattered.