If ever a series failed to live up to its title, this is certainly it: Far from there being "No Second Chance" there are extra chances aplenty, for the central character to either redeem herself or rescue her daughter.
I cannot forget the sole example of Coben's work I have read - an appalling novel about some golfer-agent. Years after the reading, it still stays with me for its amateurish, poorly-written prose and dialogue. It simply reads like an early-teen's first draft. Many like his work though and that in itself is a great mystery.
There is too little credibility for any of the characters to possibly suspend disbelief. Alice Lambert is shot and nearly dies (her husband is not so fortunate), and her baby kidnapped. The police seem determined to blame her, despite no explanation as to why the baby is kidnapped, nor how Alice accomplished this whilst unconscious and bleeding to death. Not until episode 4 of 6 do the bumbling, accusatory, superficial, and plain stupid police ask this and other fundamental questions. Alice's lawyer Louis is loyal beyond all reason, openly risking his practice by aiding Alice to break the law and when she is a fugitive, helping her escape. There are many more plot holes and inconsistencies if a viewer cares enough to look.
By the end of episode 4, the future seems to be panning-out clearly as a badly clichéd series of circumstances and premises that have been roundly done to death years ago. Nothing new to see here, folks, so move along!
In the tradition of US pulp TV dramas, when Alice recalls something she gazes trance-like into the camera and the memories then roll. That way the audience has a marker to indicate that it is a recollection and not commence howling at the screen that the "baby is saved" or similar. Sadly her acting range is so finite that this is barely different to her routine expression. The remainder of the cast (particularly Pascal Elbe, who seems to trying to impersonate Jeffrey Dean Morgan with no discernible success) are similarly unconvincing. Add-in subtitles that appear to have been done by someone who does not speak English, and the result is an unappealing mess, the end of which cannot arrive soon enough.
Others have opined that the French often do some pretty good work and I tend to agree. This is not one of them and deserves to be ignored, then forgotten.
I cannot forget the sole example of Coben's work I have read - an appalling novel about some golfer-agent. Years after the reading, it still stays with me for its amateurish, poorly-written prose and dialogue. It simply reads like an early-teen's first draft. Many like his work though and that in itself is a great mystery.
There is too little credibility for any of the characters to possibly suspend disbelief. Alice Lambert is shot and nearly dies (her husband is not so fortunate), and her baby kidnapped. The police seem determined to blame her, despite no explanation as to why the baby is kidnapped, nor how Alice accomplished this whilst unconscious and bleeding to death. Not until episode 4 of 6 do the bumbling, accusatory, superficial, and plain stupid police ask this and other fundamental questions. Alice's lawyer Louis is loyal beyond all reason, openly risking his practice by aiding Alice to break the law and when she is a fugitive, helping her escape. There are many more plot holes and inconsistencies if a viewer cares enough to look.
By the end of episode 4, the future seems to be panning-out clearly as a badly clichéd series of circumstances and premises that have been roundly done to death years ago. Nothing new to see here, folks, so move along!
In the tradition of US pulp TV dramas, when Alice recalls something she gazes trance-like into the camera and the memories then roll. That way the audience has a marker to indicate that it is a recollection and not commence howling at the screen that the "baby is saved" or similar. Sadly her acting range is so finite that this is barely different to her routine expression. The remainder of the cast (particularly Pascal Elbe, who seems to trying to impersonate Jeffrey Dean Morgan with no discernible success) are similarly unconvincing. Add-in subtitles that appear to have been done by someone who does not speak English, and the result is an unappealing mess, the end of which cannot arrive soon enough.
Others have opined that the French often do some pretty good work and I tend to agree. This is not one of them and deserves to be ignored, then forgotten.