There’s not a ton of angst or resentment regarding her upbringing beyond the usual late-teens restlessness, and the first few episodes tend to drop the idea of Kim being socially unaware whenever it suits the plot. She’s presumably never really encountered boys or romance growing up, for example, but it’s hardly a spoiler to say that things begin heating up between shy brother Nicky and our heroine about 30-minutes after they meet in a dingy pub.
Which is to say that the show’s characters are its weakest element and, if it wasn’t for the zippy action and winning performances, it would struggle to find any kind of rhythm.
Things improve immensely once the set up is done and Kim can begin her mission, and the entrance of Clifford as mum Tina is a particular highlight. The character is best described as a less haunted, more cynical, very British Sarah Connor, which makes a lot of sense given her taste in films. Clifford and Williams’ chemistry is excellent, and the scenes in which they’re able to bounce off each other elevate things above the ‘just okay’ level.
Really, the entire cast is good here, with Rizwan as Nicky also impressing, and it’s a shame that such a solid bunch of actors haven’t been given anything more remarkable to work with. Things do get a bit more interesting as the plot moves on and new foils are introduced, with the half-hour episodes also helping the plot to zoom along at a pace that covers up some of the show’s wonkier elements.
And let’s face it, most viewers will be tuning in to see Williams run down another list, no matter its contents. In this regard, Two Weeks to Live just about delivers, and certainly allows its lead actress to offer up something different from what we’ve seen from her before. Otherwise, it’s Hanna with slapstick, which only occasionally works.