Has a sort of built-in yawn factor, Laura Haddock with recapping and past mental breakdown. Anything you watch after Make Way for Tomorrow is likely to feel artificial - in one scene I could actually see the director saying 'Say your first line, then walk to the table and say your second line.'
Amidst raves, flashbacks, teeth pulling and orgies - and irrelevances, distractions, blind alleys, episodes that begin at the end - you struggle to find someone to like - though it emerges as the heavy 'Boxer' (Nuno Lopes), who Haddock shoots in the leg ('Cupid's Harpoon' is the line that wasn't actually said). And, I suppose, in the rather pathetic figure played by Daniel Mays.
The young Danny Mays is played by Cold Feet's Cel Spellman; Tom Rhys Harries is the charismatic DJ.
Angela Griffin, la la. Dysfunctional crime family blah. (Pedro Casablanc the father.) Anyone seen The Godfather lately? The trick there was we actually liked them. A lot of this is fill stuff - and that's maybe the problem of giving someone eight+ hours to fill. (That dinner party scene, for example - all talk, talk and doesn't advance the story one jot.)
The ending, the 'truth', absolutely beggars belief (almost might have had the black comedy value of the murder in Torn Curtain were it not so thoroughly implausible). The fact this is the most watched thing on Netflix demonstrates that people in lockdown are missing (1) raves and nightclubs (2) the attendant drugs (3) The Balearics (and other sunny destinations).
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