Critic Reviews

Chance is paced extremely well, building with tension from the outset. It’ll hook you, then surprise you.

One of the best new fall series and--double bonus points--it stars the great Hugh Laurie and Ethan Suplee, who ruthlessly hijacks his scenes.

Chance sometimes feels like it’s a mystery without a question, operating best when Eldon is the focus instead of Jaclyn, his indefinable patient. The series is also far from a pulse-pounding ride, a la “Breaking Bad,” as most of the first five episodes are spent establishing motivations. But Chance is buoyed by a strong supporting turn from Embry and an aptly nuanced take from the hot-like-fire Laurie, meaning audiences open to a little self-reflection should volunteer to be victims for this one.

Chance is provocative, mysterious, overdone, and, bottom line, entertaining.

Laurie is excellent and quickly establishes Dr. Eldon Chance as a distinctly separate character from Dr. Gregory House. He is also damaged, but in his own somewhat mysterious way. Chaos proves compelling, at least for viewers.

There’s a revelation in episode 3 that adds a new shade to Laurie’s paranoid performance. And Mol brings humanity to what could’ve been Hitchcock pastiche.

Creators Alexandra Cunningham (who lit slow fuses on Desperate Housewives) and Kem Nunn (who played a similar long game on John from Cincinnati) have crafted a tersely cerebral drama in which not a single frame feels unintentionally out of place.

A series like Chance seems natural for binge watching, and that makes Hulu's strategy of releasing episodes week by week, just like on television, seem frustrating. Fans of psychological thrillers, though, are likely to find Chance worth the wait.

There is little in the way of humor. What relief there is comes from supporting characters, like Chance's office manager, Lucy (Greta Lee), who let in a little fresh air from the normal world offstage. The performances are enjoyable.

At its best, the TV show has a bit of a Hitchcock feel (the doomed romance of Vertigo) and an even stronger pull toward Brian De Palma’s Hitchcock homage Obsession (1976). At its weakest, Chance is melodramatic.