TV

"I'm None": Netflix's hit series does not even manage to bore them properly

Netflix's hit series has a host of issues that make it memorable, marginal and mostly not worth watching.

The main one is the plot, which moves in agonizing and boring monotony.

The little action is wrapped in tedious flashbacks that manage to fend off and finally completely bury the little interest that still exists

David Rosenthal

21/03/2022

Monday, 21 March 2022, 08:00 Updated: 08:29

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Trailer for the series "I Am None" (Pieces of Her) (Netflix)

Sketches and thrillers are a completely different genre.

The sketch is essentially short, using a straightforward and matter-of-fact technique like a 100-meter sprint, while the thriller is gently woven like a marathon - building itself slowly, changing rhythms, getting unexpected twists and increasing only towards the end.

And yet, despite the essential difference, there is one common denominator for the two: the final, not the primary, impression is what determines.

Comic writers agree with one rule: a good punch can save a mediocre sketch.

This is also true for a movie or suspense series.

Assuming your stamina is great, if you managed a thriller that shuffled slowly, an ending that leaves an open mouth may leave you with a taste of wow.

"Pieces of Her", the series that recently aired on Netflix and captured the Israeli audience and the rest of the world, needs a lot of endurance.

There's only one problem: her punch really does not justify it.

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Surprisingly, with the help of external aids, the finish line can be reached.

Tony Colette, "I'm None" (Photo: Netflix)

"I Am None", based on the book by Karin Slaughter and directed by Minky Spiro ("Downton Mansion"), sets off from the starting point of many suspense series - with a protagonist whose dramatic event she is currently experiencing makes her delve into her past and find problematic details, to say the least .

Andy Oliver (Bella Hitcott) stumbles upon a mass shooting incident along with her mother Laura (Tony Colette).

Laura is injured, but in a cold-blooded freeze kills the attacker.

The mother's nonchalant reaction, which is in complete dissonance to the trauma that Andy herself experienced, causes the daughter to investigate who her mother really is, and wonder of wonders - she quickly discovers that she is a completely different character.

This series, which like most of the short suspense series on Netflix lasts eight episodes, has a host of issues that make it memorable, marginal and mostly not worth watching.

The main one is the plot, which moves in agonizing and boring monotony.

The little action is wrapped in tedious flashbacks that manage to fend off and finally completely bury the little interest that still exists, and in addition there are also ridiculous narration clips (voice over) of "voices in the head".

The casting of the characters is also puzzling.

It is not clear, for example, the visual and stylistic connection between the older Laura, played by Colette, and the young Laura, in whose shoes Jessica Barden enters, in a role that corresponds well with her character in "The End of the Fucking World."

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What's the connection between her and Tony Colette?

Jessica Barden with Terry O'Quinn, "I'm None" (Photo: Netflix)

But both Colette and Barden are good actresses, which is hard to say about the cast.

If we have already mentioned casting, it is not clear what made the creators of the series insist on it.

Is this the desire for an all-Australian connection with Colette?

If so, it is not clear what it serves.

There are rare cases, even on Netflix, where a lead actor performs his role so poorly.

The heroes of thrillers must radiate real emotions that will draw the viewer inside.

Hitkut fails at this completely.

Whenever she tries to produce an expression of worry / fear / sadness, her poor acting abilities are evident.

Take for example Rosamond Pike in "Gone" or Laura Linney in "Ozark" and you will find the difference between a protagonist with superpowers and an actress who is not even close to conveying such feelings.

In one of the scenes where the brawl is supposed to startle I am willing to swear I saw her laugh, even if that was not the intention.

And that, of course, was not the intention.

Being the main character, Hitkut's bad acting creates a big problem: it completely disconnects the viewer from the situation.

And so, right from the opening you will find yourself staring at the screen with a sense of emptiness and carelessness.

Live, die, find out what you find out about her mother - it's not really interesting to anyone.

Only it's over already.

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What a terrible actress.

Bella Heathcott, "I'm None" (Photo: Netflix)

The main bright spot in "I Am None" is that despite its great boredom, quite surprisingly and with considerable help on the second screen (which soon becomes the first screen), it is possible to somehow reach the finish line, even with some expectation that the catharsis will cover the ongoing mediocrity.

Here we return to the matter of the punch: it is weak in a way that is almost unthinkable.

Let go of the fact that the coming release is taken into account already from the third episode or so, if you still did not watch this ending, it is not strong enough to impress you, easy and material to make up for lost time.

Colette and Barden's dramatic abilities are swallowed up in a nightmare of unnecessary happenings shrouded in poor gameplay, too little action and a weak ending.

Do yourself a favor, take the fragments of the memory of "I am nobody" and quickly throw them in the trash of history.

Any attempt to merge them along with the hiccup will cost you a waste of precious time.

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