Summary
A British thriller that does not stop accumulating improbable situations and behaviors and a certain moral pretentiousness. The brevity of the miniseries invites you to follow it to the end, to see its resolution and if it was all a big joke and it is heading towards black comedy and ends up justifying its inconsistencies in some way. But it doesn't: it gets more and more serious and continues in the same vein until the end.
Review
An English vicar is dragged into a violent act and unusual decisions, the result of moral dilemmas while in the US a man sentenced to death for the murder of his wife solves crimes from prison.
As they read it. The script will be in charge of linking both narrative lines.
If there is something that a good scriptwriter must deal with, it is credible: the story must be accepted and believed by the viewer, show some internal coherence, beyond the genre of the series or movie (a science fiction or fantasy can also and must be plausible). The excellent opening scene in a subway (full of tension) promised something interesting. But From Within is a miniseries that from the first chapter does not stop accumulating inconsistencies. Characters consistently make the worst possible decisions for themselves (and others), get entangled in pseudo-dilemmas, and commit the most outrageous acts.
If it were a black comedy (for a moment it threatens to be one and some humor appears here and there) one could consent to the degree of improbability of what one sees. But no: it is a dramatic thriller with moral dilemmas and false dilemmas triggered by a brief series of "oversights" very little credible. Neither are the privileges of the prisoner incarnated by Stanley Tucci (who during half the series solves cases of crimes in an unlikely way and in the other philosopher with a certain pretentiousness).
Still, if one manages to get around and put up with the shortcomings of believability and script strains, there are some tense dialogues and enjoyable moments of suspense and tension and good performances from David Tennant as Priest Harry, from the named Tucci as Prisoner Grieff, Dolly Wells (the unforgettable nun from the Dracula series, by the same author and creator, Steven Moffat) as Janice, Harry's son's math teacher) and Lydia West (Years And Years), who does what she can with Beth , a troubled journalist who will serve as an articulating link.
The brevity of the series invites you to follow it to the end, to see its resolution and if it was all a big joke and ends up justifying its inconsistencies in some way. But it does not: it continues with the same tonic until the end.
A British thriller that does not stop accumulating improbable situations and behaviors and a certain moral pretentiousness. The brevity of the miniseries invites you to follow it to the end, to see its resolution and if it was all a big joke and it is heading towards black comedy and ends up justifying its inconsistencies in some way. But it doesn't: it gets more and more serious and continues in the same vein until the end.
Review
An English vicar is dragged into a violent act and unusual decisions, the result of moral dilemmas while in the US a man sentenced to death for the murder of his wife solves crimes from prison.
As they read it. The script will be in charge of linking both narrative lines.
If there is something that a good scriptwriter must deal with, it is credible: the story must be accepted and believed by the viewer, show some internal coherence, beyond the genre of the series or movie (a science fiction or fantasy can also and must be plausible). The excellent opening scene in a subway (full of tension) promised something interesting. But From Within is a miniseries that from the first chapter does not stop accumulating inconsistencies. Characters consistently make the worst possible decisions for themselves (and others), get entangled in pseudo-dilemmas, and commit the most outrageous acts.
If it were a black comedy (for a moment it threatens to be one and some humor appears here and there) one could consent to the degree of improbability of what one sees. But no: it is a dramatic thriller with moral dilemmas and false dilemmas triggered by a brief series of "oversights" very little credible. Neither are the privileges of the prisoner incarnated by Stanley Tucci (who during half the series solves cases of crimes in an unlikely way and in the other philosopher with a certain pretentiousness).
Still, if one manages to get around and put up with the shortcomings of believability and script strains, there are some tense dialogues and enjoyable moments of suspense and tension and good performances from David Tennant as Priest Harry, from the named Tucci as Prisoner Grieff, Dolly Wells (the unforgettable nun from the Dracula series, by the same author and creator, Steven Moffat) as Janice, Harry's son's math teacher) and Lydia West (Years And Years), who does what she can with Beth , a troubled journalist who will serve as an articulating link.
The brevity of the series invites you to follow it to the end, to see its resolution and if it was all a big joke and ends up justifying its inconsistencies in some way. But it does not: it continues with the same tonic until the end.