Advertisements
Netflix TV TV Reviews

Netflix’s Safe Review Dexter's Lass

Netflix Original - Safe - Review
THIS REVIEW OF SAFE IS BASED ON THE EPISODES THAT WERE (EVENTUALLY) PROVIDED TO PRESS AND THUS DOESN’T CONTAIN A SCORE. IT’LL LIKELY BE UPDATED WHEN THE FULL SEASON DEBUTS ON NETFLIX, MAY 10.

Everything is off in Netflix’s new drama Safe, although I can’t say whether it’s intentional or not. In it, Michael C. Hall plays a widowed pediatric surgeon struggling to come to terms with his wife’s death and relate to his two daughters, especially the rebellious Jenny (Amy James-Kelly), who goes out to a party one night and never returns. Hall’s character, Tom, is British. He speaks in a consistent British accent that is often impeccable and somehow never once believable. That’s the first thing about Safe that – by design or otherwise – makes no real sense.

Hall is undeniably the selling point of Safe, which makes the accent a problem because it’s difficult to take seriously, even when he turns amateur gumshoe and starts delving into the mystery of his daughter’s disappearance. One of the inexplicable ways he does this is by turning up at a train station and asking commuters if they’ve seen her, despite the fact she caught a train 24 hours prior.

That Hall’s character, Tom, doesn’t know how public transport works is hardly a surprise – except it is, as everyone knows that isn’t how train stations operate, providing they choose to operate at all. But Tom hails from a weird private enclave built for security and privacy, an upper-class warren of bizarre secrets and endless deceit. Every single one of his seemingly upstanding neighbors is hiding something – from a divorce to a sex-scandal to a dead body – and could potentially be a suspect. It’s exhausting but oddly compelling in a weird, off-kilter way; you find yourself eager to devour the next episode, in no small part because you’d like things to start making sense.

They never do – at least not in the episodes that were (eventually) provided to press almost a month after the embargo lifted but only two days before the show’s May 10 release date. Safe was written by acclaimed American novelist Harlan Coben, a few of his 30-odd novels I’ve read. The eight-episode series feels like something his addled imagination might dream up; a typically layered and convoluted suburban mystery. It can’t excel as a serious drama as it simply isn’t one, but it would take a more resolute man than me to not tune in on Thursday and find out what happens next.

Here, for the sake of my word count, is what has happened so far. Tom’s investigation is helped along by his best friend Pete (Marc Warren), his new girlfriend Sophie (Amanda Abbington), who happens to be a local detective, and Emma (Hannah Arterton), who arrives for reasons she won’t divulge and whom swiftly becomes Sophie’s partner. New revelations and mysteries continue to crop up, and I continue to watch, somewhat astounded by the show’s bizarrely weaponized inconsistency.

I have no idea what Safe is trying to be, which I suppose is part of the appeal. If it’s some kind of exaggerated satire nobody told Tom, whose concern is utterly serious, but how else do you explain that dead-body cover-up subplot, which quickly descends into farce? This is to say nothing of how young characters in the show treat social media and texting, and what the party that Jenny disappears from actually looks like, which is most assuredly not a party in 2018.

In Safe’s opening credits, the title is written into the severe metal gates of the community in which Tom lives, which I found quite amusing. Thus far, I have no idea why anything that happens in Safe actually happens, or what purpose it serves other than to perplex me. And I am indeed perplexed, but mostly about whether Safe is cleverly tweaking familiar genre staples, or if it’s simply nonsense. I’m leaning towards the latter.

Advertisements
Like what we do? We need you. Support Ready Steady Cut on Patreon for as little as $1 a month to help the site grow.

7 comments on “Netflix’s Safe Review Dexter's Lass

  1. Caroline

    Loved Michael C. Hall’s performance in this British series. Hope he stays in the UK for more. Had no problem with his accent. The narrative comes together completely in the last episode. My only criticism is that the story failed to investigate the partygoers thoroughly, just a few questioned, and little attention shown toward exploring the social media postings which seemed to be discovered by accident along the way. This is a great series in my view.

    • Jonathon Wilson

      You might well be right. Press weren’t given access to the full season so I couldn’t judge the ending in the review.

      • I’ve now seen this from beginning to end, more in the spirit of optimism than anything else, and ended up with just one question – “Why?”. This could have been a decent series. so what happened? Did the cast have major bills they needed to pay? I’d be interested to see what you think of the final result, Jonathon.

      • Jonathon Wilson

        I’m definitely going to check out the conclusion when my schedule frees up a little.

        Thanks for checking out the review.

  2. Declan Groves

    To be honest the accent was pretty good and not distracting for the relentless pace of this social satire. It was utterly bonkers.
    Marc Warren was great. He shone. He deserves his own gumshoe character series. I need to lay down now in a dark room…
    Declan
    Leeds UK

    • Jonathon Wilson

      Yeah, couple people have mentioned not being bothered by the accent. I think what threw me is that it was much better than I was expecting and I found it… I dunno, distracting.

      Glad you enjoyed the season. I’ll catch the end when I can.

  3. Suspension of disbelief is an immediate requirement for viewing SAFE. ‘Gated communities’ are an American phenomenon, not a British one. To set SAFE in the UK when the very storyline hinges on this type of suburbia is, well, odd to say the least. After one adjusts to that, going with Hall’s passable accent is a relatively simple matter. As social satire, series 1 is energetic, well acted, and at points, hilarious.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: