"A Series of Unfortunate Events" Season 1 Review

In my youth, I read the A Series of Unfortunate Events book series. I liked the books a lot and still have the collection sitting on my shelf. I also remember going to the theatre to see the 2004 film adaptation, which I do not remember liking very much. Granted, I only saw it the one time and that was over a decade ago. But now Netflix wants to take a shot at interpreting this series. I will try to avoid any major spoilers, but I will be referencing specific moments from the show in this review. You have been warned.

After a terrible fire has destroyed their mansion and killed their parents, the Baudelaire children (Violet, Claus, and Sunny) are sent to live with Count Olaf, who is apparently their closest living relative. However, it turns out that Olaf is after the Baudelaire fortune, meaning that the orphans are in significant danger.

Neil Patrick Harris is splendid as the sinister Count Olaf. His wide range of acting capabilities definitely comes in handy here and Harris undoubtedly makes the character his own. There are times when Olaf is strikingly similar to Barney from How I Met Your Mother, another Harris character. This took me out of the experience slightly, but aside from that, Harris' performance left me floored. He nails the character of Count Olaf and embodies the various disguises with tremendous ease and to great comedic effect. A Series of Unfortunate Events is a showcase of what a powerful and versatile actor Harris is.

The inclusion of Patrick Warburton as Lemony Snicket is surprisingly effective. He frequently narrates the story and indulges in exploring tangents about grammar and literary devices. Warburton's dry intonations and natural voice fit the series perfectly. I cannot put my finger on it, but for some reason Warburton's interruptions to spout exposition or give writing advice enhance the story and tone drastically. The creative decision to include a narrator and have Warburton portray him was genius.

As for the children, both are great in their respective roles. Malina Weissman plays Violet, the eldest of the three Baudelaires. Weissman carries a charm that translates well to her character. Claus is played by Louis Hynes, who illustrates the character's intelligence with confidence. The two work off of each other exceptionally and are able to keep up with the adult actors. Speaking of adults, we have K. Todd Freeman as Mr. Poe, the banker in charge of the Baudelaire fortune. Freeman excels at milking the characters' ignorance with a condescending and authoritative attitude. Also great are the actors that portray Olaf's henchmen. All of them are enjoyable for different reasons, with Usman Ally being my favorite as the Hook-handed Man.

The books were famous for being highly, intentionally dark. Miserable circumstances were abundant for no other reason than for the sake of being hopeless. This aspect of the novels carries over to the series fittingly. The children are consistently placed in unfavorable circumstances, and whenever it seems like they might have a chance at escape or rescue, Lemony Snicket intervenes to remind us that this is a dreadful story. For instance, Olaf attempts to marry an under-aged Violet in order to gain control of the fortune. That is disturbing, but the fact that he tried to do it under the guise of a play is undoubtedly clever and even funny.

One of the best and most startling features of the show is the twisted sense of humor. This was also an element in the books, but I feel it has been amplified for this iteration. A good chunk of the humor comes from Harris as Olaf (especially when in disguise), as well as from his henchman. For example, there is a scene where Olaf is holding Sunny but he might drop her. So the children and Olaf's henchman outstretch their arms to try to catch the baby...including the Hook-handed Man. Another instance of the dark humor that permeates this series is when the Hook-handed Man escorts the children to their room and tells them, "Get into your pajamas and say your prayers. Unless your atheist." This is brilliant writing. Warburton's narration is also filled with laughs and Sunny's subtitles can be quite humorous.

A Series of Unfortunate Events is also not shy of breaking the fourth wall and disrupting the diegesis. There are several occasions where the characters speak directly to the audience, with one of the running jokes being their attempt to persuade the viewer that long-term streaming television is better than film. Similarly, the story seems to take place in the 1920s, but every now and then a modern reference or joke will be thrown in. Normally, this would vex me to no end. But the way it is executed actually sat well with me.

The show is also terribly well paced, progressing rapidly and lacking any dull moments. Season 1 covers the first four books of the series, with two episodes per book. At just eight episodes in length, A Series of Unfortunate Events is a quick watch and wastes no time. Something of interest is always occurring to propel the plot further or strengthen the mood. Each episode finishes within the blink of an eye, and before you know it, you will have finished the season. This is the result of a solidly written and tightly wound script. Even as someone who has the read the books I found myself caught up in the tension, awaiting what would happen next.

The production values are very impressive. The sets are beyond elaborate, each one adorned with countless background items that magnify the tone and atmosphere. The homes for each of the guardians seem like they were painstakingly put together, each one with a vastly different identity and color tones. The visual effects are an odd point to talk about. The majority of the time, it is obvious what is digitally created because it does not mesh with the realistic aspects. Usually, I would dock this as a negative. However, I found that the strange and out-of-place green screens and effects made the experience even better. It helped to set this world apart from our own and gives this series a unique look. On a side note, the direction is often very ironic, with many perfectly framed and centered shots (much like Wes Anderson's pictures), which clashes with the disturbing and disparate world on display.

The music is also interesting. The score was composed by James Newton Howard and he did a swell job. I cannot exactly pinpoint which instruments were used for the main compositional theme, but the implementation of such foreign sounding music works very well, once again further separating this world from our own. The opening theme is excellent, continuously telling the viewer to "look away" because of how dismaying the story is. Also, the show has a couple of musical moments where characters break out in song. "It's the Count" is a damn catchy tune and "That's Not How the Story Goes" perfectly represents how the show is always depressing, ironically delivered through a musical number.

I was not expecting too much from A Series of Unfortunate Events, aside from some mild entertainment. But what I received was far more than just that. For all its dark story points and sorrow-filled plot, this is a highly enjoyable show. The performances are wonderful all around, with Harris and Warburton being particularly spectacular; the editing and pacing are well-handled; the story is always engaging; the music and visuals are individualistic; and the series is downright hysterical. I laughed myself sick countless times and I now find that I quote the show on a daily basis. If I were to nitpick one or two factors, it would be that Harris can, at times, seem like he is playing one of his previous roles, and a few of the expository lines given to the children are poorly written and cringeworthy. Aside from that, this is a fantastic interpretation. One of the show's incongruous features is that amidst all the sadness and depression, the series remains delightful and even inspiring and hopeful. If the quality of these episodes is anything to go by, then I cannot wait for the remaining seasons to air. A Series of Unfortunate Events completely gripped me and I might re-watch this season in the near future.

Grade: A