CaffeineJunky

I'll start by saying I haven't read the original novels nor watched the Danish version, so I can't speak to the accuracy of this adaptation. What I can say is that this one is brilliantly executed and easily the best crime drama I've seen in quite a while.

From the outset, the reveal of the cold case the team is set to work on is confusing but unique. Definitely not your standard TV mystery setup, which kept me on my toes right from the start. The narrative unfolds with a suspenseful, almost hypnotic pace, and it never lets go of its hook.

Matthew Goode as Carl Morck is a perfect casting choice; he wears the character's trauma and intensity like a second skin. Alexej Manvelov, as Akram Salim, brings an enigmatic presence that adds a layer of mystique to the team. I especially liked Leah Byrne as Rose Dickson; her performance is dynamic, shifting from cheerful optimism to darkness and sadness, and back again, all in a way that feels authentic and earned. She brings real energy to the ensemble.

This is an emotionally intelligent crime drama. The show leans into its neo-noir grading and heavy atmosphere, which fits the story's tone and gives every scene a sense of weight. The production design and moody visuals make Edinburgh itself feel like another character in the series.

This series has suspenseful storytelling, complex characters, and a willingness to break free from genre clichés.

It tries to do too much and ends up a confusing mess. It juggles one major plot and two minor ones, but even the minor plots splinter off into unnecessary subplots. The result is a chaotic narrative that feels overstuffed and poorly paced.

The pacing swings wildly. Too slow at times, then abruptly rushed. Characters often make baffling decisions that create new problems just to keep the story going. What should have been a multi-season arc is crammed into one mini-series, and it shows. Honestly, even if this were stretched into three seasons, the writing doesn't seem strong enough to carry it.

Plot holes and continuity errors are everywhere. The major plot's resolution is especially disappointing, relying on a big plot hole that makes everything feel forced and unearned. There are moments where the show tries to drop subtle hints, but without context, they're easy to miss. Before you can process a scene, it's already jumped to the next, breaking any emotional or narrative connection.

Despite all this, it is still somewhat watchable but only in the way a soap opera is. You might stick around for the drama, but don't expect a coherent or satisfying experience.

While the movie does have its cringey moments, along with some unrealistic surprises and coincidences, I really appreciated how grounded the writing felt. It captured the details of everyday life, like friends teasing one another, random conversations, and a scene where Dhea's younger brother Sakti interrupts her while she is brushing her teeth just to ask for his phone back. These mundane moments made the characters feel real.

Kikan's interactions with her husband were also a highlight. Their relationship felt like a real marriage, including honest touches like having less sex and exploring the husband's fetishes. It was refreshing to see a portrayal of intimacy that was true to life rather than sensational.

As with some Indonesian dramas, the movie presents an upper-middle-class facade with stylish homes and polished lifestyles. However, beneath that glossy surface, there are subtle realistic details that are rarely found in many movies today.

The film is also genuinely funny and enjoyable. It is an easy two-hour watch that has good pacing. It does lack deeper character development, especially regarding Dhea's backstory and the impact of her parents' passing, but this is not meant to be an emotionally heavy movie, so the omission is understandable.

Overall, I really liked it. It is light, funny, and fun to watch. Dea Panendra's performance alone makes it worth it and she carried the movie well.