When Gillian Flynn (Widows) announced she was going to tackle the remake of this UK, well if not classic, certainly watershed, I was dubious. Even more so when she asserted she was going to focus more on the dark emotions and avoid the pervasive violence of it all. To be clear, what she has done, and done well, is not toned down the violence so much as gotten creative with its portrayal; there is less in-your-face splatter and more moments of unseen or cleverly filmed action. In other words, this is still exceedingly dark and violent, which it needs to be. But there is also some nice, if not complete, character work.
This remake starts off very much along the same thread as its inspiration. So much so that I was frankly getting a little impatient, even with the different approach. And then it took a hard left turn at the end of the second episode and I was hooked.
Certainly the cast is a good one. Sasha Lane (Hellboy) builds on her varied career as a borderline sociopath in search of her father. And Christopher Denham (Fast Color) expands as an actual sociopath on her heels. But around them are a slew of recognizable faces and performances. From John Cusack (Singularity) and Rainn Wilson (The Boy) at one end of the experience spectrum to Desmin Borges, Dan Byrd (Cougar Town), Ashleigh LaThrop, and Javon ‘Wanna’ Walton at the other. And plenty of other faces show up as well, like Jessica Rothe (Happy Death Day 2U) and Camryn Manheim (Cop Car).
But Flynn is a dispassionate writer, willing to go very dark places without compunction, but not very good at building sympathy. I found it difficult to connect with any of the characters beyond sympathizing with their shock. Only Denham and the two youngest characters, Farrah Mackenzie and Walton, really had me in sync with them. I didn’t have a similar challenge with the UK version. I think this is something to do with the scripts and assumptions made by Flynn about how deeply or demonstrative the characters needed to be to bring us on board. It probably wasn’t helped by American-style casting, which tends toward less real looking people in favor of pretty.
All that said, the show has some interesting reconceptions and some odd accelerations as compared to the UK plot. The ending is rather rushed and, frustratingly, rather wide open (not to mention a bit absurd in many ways). But I was left curious…which is what they wanted to do. I’d go back to see if they can actually build on the first series. But, it’s also worth noting that for a lot of the viewing public, this is either a show dead-on for the times or far too close to the bone for many people to watch. Also some of the messaging is a bit off for what we need now…so there’s that.
Here’s the thing: If you’ve never seen the original UK version of this story, I still highly recommend it. Like Misfits and other dark and unexpected tales of their times, they were blazing new trails in storytelling for television. They were doing it in style and with a clear sense of violating norms (that have admittedly become more the norm due to their success). Give this version a shot as well, but be prepared for some very un-American plot choices and a story that may ultimately infuriate rather than entertain, despite a few amazing performances (or perhaps because of them). I’m definitely curious to see if they can fully win me over in a second series by building on what they did in the first, and taking into account the world now as it has changed (our real world, that is).