Netflix New Sci-Fi Thriller Into The Night Is Being Compared To Lost
Darkness has long been drama’s playground for evil. However, in Into the Night, it’s sanctuary from a rising villain: the sun.
It’s a well-trodden formula: a ragtag group of everyday folks thrown into an unprecedented fight for their lives. In Lost, it was the island. In Snowpiercer, it was aboard a climate change train. In Netflix’s new series, we start on a plane with no endgame in sight.
All six parts of the Belgian sci-fi mystery are available to stream right now. From the first episode, there’s a killer concept in play: if we can’t trust daylight, ‘the whole f*cking world is ending’.
Check out the trailer for Into the Night below:
We start by getting our disparate cast to the airport, such as Sylvie (Pauline Etienne), a downtrodden passenger dealing with a bereavement, a young boy set for life-saving surgery in Moscow and a presumed Instagram influencer of-sorts.
There’s also the stock disaster-movie aristocrat arsehole á la 2012 and Snakes on a Plane – upon being told to wait on champagne, he sneers: ‘First class, hardly.’
A mundane domestic flight goes haywire when gun-wielding NATO officer Terenzio (Stéfano Cassetti) comes aboard, panicked and demanding the flight take off immediately. Passengers presume him to be a terrorist, but he urges he’s trying to safe their life. Why? ‘Sunlight now means death’, so they must go west quickly.
Created by Jason George with directors Inti Calfat and Dirk Verheye, there’s a right anxious energy in the opening half. Background news reports show worldwide collapse, with corpses en masse at the hands of the sun. Yet, the airport is mostly serene – in a world of constant connection, you’d expect panic almost immediately.
Little is given away in the first episode, with tragedy unfolding much like the initial scenes of M. Night Shyamalan’s The Happening – not the finest comparison I know, but Into the Night appears to have a stronger, less-ridiculous hook without any faux-Wahlberg shock.
Character sketches are mostly archetypal from the off, with Sylvie and Terenzio making the strongest impressions in the first chapter. However, the following episodes are titled by others’ names, so one can expect some degree of development in the rest of the series.
However, it’s extremely crisp visually, with sturdy film-making evoking that oh-so-crucial cabin fever that makes any dramatic hijacking effective. Episodes are only around 40 minutes long, and while the first occasionally loses momentum, there’s enough meat on the bones to warrant venturing forward into its story.
In one moment, the words ‘into the night’ are said with such cheese it may as well have been followed with CSI Miami’s Horatio putting on a pair of sunglasses and cuing ‘Yeeeeaaah!’. However, for a show battling the imminent end of the human race, it’s reassuring to know there’s still fun to be had.
Into the Night is available to stream on Netflix now.
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