Netflix’s I-Land Had One Of The Most Promising Previews I Have Seen This Year.
Netflix’s The I-Land initially sparked high hopes with one of the most promising previews I’ve encountered this year.
Despite its low-key promotion, the streaming giant managed to generate excitement by showcasing a montage of compelling scenes. The tactic successfully drew in many viewers, myself included.
Spoilers ahead.
The show stars Natalie Martinez, Alex Pettyfer, Kate Bosworth, and more as a group of strangers who wake up on a mysterious island with no memory of how they got there.
The series plunges into mediocrity within the first 15 minutes, exuding an unfortunate aura of subpar quality. Despite the early disappointment, there’s an inexplicable curiosity that keeps viewers, myself among them, hooked.
the i-land is possibly the best thing on netflix. the writing, the acting and lighting is so bad its actually good.
— harvey (@RubbishUsrname) September 12, 2019
I’m 20 minutes into “The I-land” on Netflix and it’s so fucking stupid I’m obsessed
— Lorena (@lorenalatorre_) September 12, 2019
The show starts to scrape the bottom of the barrel early, completely destroying any potential with a bizarre twist that boxes the storyline in.
By the time the third episode unfolds, it’s akin to witnessing a peculiar offspring of Hunger Games and LOST born in a metaphorical trailer park, aptly named “I-LAND.”
This Tweet isn’t off the mark…
I started watching The I-Land and WHY DOES THEIR FIRST SURVIVAL INSTINCT IS TO BE DUMB AS FUCK
— Mads @ ZANE ZANE ZANE ZANE ZANE (@Mads_five) September 12, 2019
GOD
The “LOST” size cast doesn’t last for long
I-Land begins by following several different characters, you are taken on a journey through their pasts and then abruptly, any chance of forming a connection with these characters is severed as the show sharply focuses on a single character for the remainder of the season.
Many of the I-land characters are killed off in what feels like a hastily budget cut, a show that can only afford a big cast for 3-4 episodes.
Texan Sci-Fi Themes Clash Unfavorably
Chase, one of the characters, emerges from the I-Land simulation, finding himself in a prison that resembles a bizarre amalgamation of a Texan brothel and a Star Trek spacecraft—a disorienting blend akin to suffering from vertigo in the midst of a burlesque nightclub.
The set appears to draw inspiration from a Puppet Show Theatre nestled within the Millennium Falcon, resulting in a peculiar aesthetic that contributes to the list of grievances with “I-LAND.”
Despite its shortcomings, there are silver linings. Natalie Martinez injects the series with some exhilarating fight scenes, showcasing her kick-ass prowess. Additionally, Kate Bosworth’s commendable acting skills bring a layer of intrigue to her scenes, providing a positive note amidst the plethora of issues plaguing the show.
There are so many plot holes & confusing messages
- Book washes up which seems like a guide, a girl tosses it aside and you never see it again.
- You don’t get an in-depth look at everyone’s past, just a couple of characters
- The show is called I-Land, not 1-land, but during the show, it is pronounced “ONE” Land…
- There is a character stranded with a cannibal on an adjacent Island, but you never see him/her
- The Texan Warden is an evil overlord of sorts, but his motives just don’t make sense
- I immediately assumed the nurse (and his ally) is an android, judging by her behaviour….but apparently she’s not and this is just her character….nobody is that stiff and lifeless.
- They stumble on an old resort, you might be thinking SWEET! This is where they start to make a home and character build…nope… it’s never utilised. Half the series is spent arguing about whether to leave the beach or not.
So far the series has a 2 Star IMBD Rating and the poor reviews on Rotten Tomatoes are starting to rack up.
I truly believe this show had promise, there is room for another show that carries on a sort of “Legacy” left behind from series like “LOST” and “The 100”.
The post-apocalyptic fight for survival theme that movies like Maze Runner and Hunger Games made popular doesn’t have to end.
It’s going to take better writers and set designers who keep things simple without throwing in overbearing ideas into the mix. The post-apocalypse does not feature burgundy velvet chairs and cowboy hats.
It’s disheartening to witness Netflix, amidst customer frustration, produce shows of subpar quality. The cancellation of superior shows like Sense8, Jessica Jones, Daredevil, and Shadowhunters, all of which exhibited far better quality than The I-Land, adds an extra layer of surprise and disappointment to the streaming platform’s recent offerings.