Tag Archives: review

The Films of 2020: Dangerous Lies (dir by Michael Scott)

Posted on by Lisa Marie Bowman

As soon as Elliott Gould showed up, I knew he was going to die.

Now, of course, I should clarify that I didn’t think that Elliott Gould the actor was going to die.  Instead, I thought that the character he was playing — Leonard Wellesley — was going to die.  Leonard, after all, is a wealthy man who has no family left and who is in bad health.  He keeps trying to give money to his caregiver, Katie (Camila Mendes).  Katie consistently refuses the money, even though she could really use it.  She and her husband, Adam (Jessie T. Usher), are drowning in debt.  Even after Leonard hires Adam to work as his gardener, they’re still struggling to make ends meet. Still, Katie doesn’t want to take Leonard’s money because Katie doesn’t want to take advantage of him.

For the plot to move forwards, it’s necessary for Leonard to die, though not before changing his will to leave everything to Katie.  Normally, when this happens in a movie, it turns out that the caregiver actually manipulated her employer into changing the will before murdering him but, in this case, Katie is totally innocent.  It’s actually kind of a nice twist.  As played by Camila Medes, Katie is someone who sincerely is trying to do the right thing, even if it means her life is occasionally difficult.  As played by Elliott Gould, Leonard may be a bit eccentric but he’s still just sincerely trying to thank the person who made his final days bearable.

(Admittedly, another reason why I knew Leonard was going to die was because, whenever a veteran actor like Elliott Gould shows up in a movie like this, he’s usually going to end up playing someone who dies under mysterious circumstances.  Call it the Rule of Eric Roberts.)

Moving into Leonard’s house, Katie and Adam are surprised to discover a large trunk of cash.  While Katie wonders why exactly Leonard would have a huge trunk of money hidden away in his house, Adam is more concerned with what they can do with that money.  While Katie tries to resist the urge to get greedy, Adam starts obsessing on the money.  What else does Leonard have hidden around the house?

Meanwhile, a mysterious man named Hayden (Cam Gigandet) watches the house and plots his next move….

Dangerous Lies is a thriller that was released on Netflix back in April.  This is probably one of those low-budget movies that would have been overlooked if not for the fact that everyone was pretty much locked inside their house when it was released.  Watching Dangerous Lies provided a nice escape from the bad news of the pandemic.  Speaking for myself, it was kind of fun to watch Katie and Adam explore their new home.  After being stuck inside of mine for a month, the idea that I could suddenly inherit a mansion provided a nice bit of wish-fulfillment.

As for the film itself, it was a diverting thriller.  Elliott Gould brought some unexpected depth to the role of Leonard and Camila Mendes and Jessie T. Usher were believable as the couple at the center of the story.  They had a believable chemistry and Usher did a good job of portraying Adam’s losing struggle with his own greed.  This is the type of simple but entertaining film that you watch if you have a few hours to kill in the afternoon and there’s nothing wrong with that.

The Films of 2020: John Henry (dir by Will Forbes)

Posted on by Lisa Marie Bowman

John Henry tells the story of a man named …. well, John Henry.  He’s played by Terry Crews and he lives in South Los Angeles with his father, BJ Henry (Ken Foree).  BJ may have to carry an oxygen tank around with him but he still has enough strength to shout, “My dick is legendary,” so good for him.

(Actually, it may sound like I’m being snarky and, to a certain extent, I am.  But having Ken Foree play Terry Crews’s father is actually a brilliant piece of casting.)

John Henry used to be into the gang lifestyle but now he’s gone straight.  We see flashbacks to his former life and how he used to hang out with his cousin, Hell (Ludacris).  When John accidentally shot Hell in the face, he decided to retire from crime and he also swore off carrying a gun.  Hell, on the other hand, just got a fancy gold-plated jaw.  Years later, Hell is a crime lord and John Henry is wandering around with sledgehammer.

When a Honduran refugee named Berta (Jamila Velazquez) show up at John Henry’s house, on the run from Hell’s crew, BJ’s reaction is to kick her out.  But John Henry, being the gentle giant with a sledgehammer, allows her to stay.  When Hell and his crew show up, it leads to violence, death, and …. well, that’s pretty much it.

John Henry is an odd film.  The tone is literally all over the place as the film swerves from being a comic book film to a serious drama to a comedy to a Spaghetti western.  It takes a lot of skill to take that many different tonal shifts and turn them into a coherent movie and unfortunately, that really doesn’t happen with John Henry.  The minute you start to get used to the idea of the film being an over-the-top comic book film, it suddenly tries to be a meditation on violence and guilt.  As soon as you’re getting used to the idea of it being a drama, Ludacris shows up with a huge hunk of medal on his face.  It’s hard to keep track of what exactly the film is saying because the film itself doesn’t seem to know.  I guess that could be forgiven if the film’s action managed to maintain a steady pace but instead, this felt like one of the longest 91-minute films that I’ve ever watched.

However, as our longtime readers should know by now, I’m not a fan of excessive negativity so let’s take a few moments to discuss what did work.  I already mentioned the casting of Terry Crews and Ken Foree.  They’re fun to watch together.  Ludacris’s gold-plated jaw is an amusing detail and it’s unfortunate that the film didn’t have more similarly odd details like that.  I also liked the opening credits, which basically told the film’s story in a comic book form.  The credits were fun and they hinted at what this film could have been if it had been better-paced and had fully embraced its camp potential.

John Henry played in some theaters before the pandemic outbreak.  It later found a home on Netflix and it’s in the process of developing a bit of a cult reputation.  Reportedly, there will be a sequel so I guess it’s not time to take John Henry to the graveyard just yet.

The Films of 2020: Coda (dir by Claude LaLonde)

Posted on by Lisa Marie Bowman

Coda tells the story of Sir Henry Cole and Helen Morrison.

Sir Henry (Patrick Stewart) is a world-famous pianist who hasn’t played in public since his wife died several years ago.  He’s about to embark on a comeback tour but he finds himself struggling with stage fright.  Some of it is because he still hasn’t recovered from the loss of his wife.  Some of it is because he’s getting older and his memory is no longer as good as it used to be.  And, a lot of it is because he doesn’t know who he can trust.  He fears that the only reason people will come to his recitals is because they want to hear him screw up.

Helen Morrison (Katie Holmes) is a former music student who is now a writer for The New Yorker.  She is a free spirit who desperately wants to interview Sir Henry and write a profile of him.  She is also the film’s narrator, which means that the film opens with her talking about Nietzsche.  That’s never a good sign as Nietzsche is the philosopher who is most likely to be quoted by people who are trying to sounds smart by pretending that they spend their spare time studying philosophy.

I’m tempted to say that Henry and Helen solve crimes but sadly, they don’t.  The film probably would have been a lot more fun if they had.  Instead, Henry struggles to find his confidence and Helen struggles to help Henry find his confidence and there’s a lot of scenes of Henry trying to play the notes while Helen stares off into the distance.  Eventually, it leads to a very mild love story and a few scenes of a bearded Henry walking through the Swiss Alps.  The Alps, as always, are quite impressive.

(I visited Switzerland the summer after I graduated high school.  Beautiful country but don’t even think about trying to leave dinner early.)

This is one of those films that I wanted to like more than I actually did.  I mean, it’s a serious-minded film for adults and there’s no explosions or gunfights and we’re all supposed to be in favor of that, right?  Add to that, it features Patrick Stewart doing what Patrick Stewart does best, revealing the inner humanity of a somewhat imposing character.  And make no mistake about it, Stewart gives a warm and likable performance in the lead role.  It’s impossible not to empathize with Henry when he finds himself staring down at his piano and wondering if he’ll ever again be able to use it to create beautiful music.

But, ultimately, the film doesn’t really work.  It’s a bit too slowly paced and the dialogue is full of lines that are meant to be profound but actually feel rather empty.  Katie Holmes does her best but Helen never feels like a fully-realized character.  For the most part, she’s just there to inspire Henry before vanishing from the movie.  Fortunately, once Helen’s gone, other characters show up to continue to inspire Henry.  It really does seem like a full-time job, keeping Henry inspired.

The film did improve a bit when Henry arrived in the Alps, largely because the Alps are lovely and there’s a scene where Henry has a dream about standing next to Beethoven while staring over the edge of a cliff.  The imagery was breath-taking but it’s not enough to save the movie.  That said, if anyone ever makes a documentary about Patrick Stewart hiking through Switzerland, I’ll be the first to watch it.

 

The Films of 2020: I Still Believe (dir by the Erwin Brothers)

Posted on by Lisa Marie Bowman

I Still Believe is based on the true story of musician Jeremy Camp (played by KJ Apa) and his first wife, Melissa Henning (Britt Robertson).  Jeremy meets Melissa in college.  They become friends.  They try to date but the relationship is complicated by the fact that Jeremy’s mentor, Jean-Luc LaJoie (Nathan Parsons), is also in love with Melissa.  Over the Christmas break, Melissa is taken ill and discovers that she has Stage 3C liver cancer.  Jeremy and Melissa marry and try to find happiness and maintain their faith in the time that Melissa has left.  Though Jeremy grows angry and has his moments of doubts, Melissa remains convinced that, though it may be hard to understand, there is a deeper reason for her suffering and it’s all apart of a bigger plan.

I Still Believe is the type of film that will bring out the cynic in most professional critics.  That said, it’s also the type of film that’s pretty much critic-proof.  It really doesn’t matter how much time or energy one might spend criticizing the film or its script or its belief system, the target audience of I Still Believe will love the film.  I Still Believe is a film that’s either going to inspire snark or it’s going to inspire tears.  It all depends on how you feel about the idea of a terminal illness all being a part of God’s plan.

(As far as that’s concerned, I’ll be keeping my own opinion to myself.)

Unlike a lot of the faith-based films that I’ve reviewed for this site, I Still Believe actually feels like a real movie.  As opposed to the God’s Not Dead films, there are no cardboard atheists standing around and waiting to be shown up by the clever heroes asking how they can be angry at God if God doesn’t exist.  The film, for the most part, avoids the trap of getting preachy and, to its credit, it treats Jeremy’s moments of doubt with respect.  It doesn’t shame him for getting upset over something that, regardless of what you may or may not believe, seems terrible unfair.  KJ Apa and Britt Robertson are both appealing performers and they have a believable chemistry as Jeremy and Melissa.  Finally, the film look gorgeous.  The farmlands of Indiana and the California campus where Jeremy and Melissa meet both feel vibrantly alive in this film.

At the same time, there’s nothing particularly surprising about I Still Believe.  It’s a predictable film and the minute that Jeremy gets that phone call telling him that Melissa has been taken to the hospital, you’ll be able to guess everything that’s going to follow.  If you’re not inclined to view Christian faith sympathetically, the film will not change your mind.  When I was looking over some of the other reviews of this film, the most common complaint I saw was that the film “preaches to the choir.”  It’s a valid complaint but, at the same time, I think it can also be argued that almost every film ever made has preached to one choir or another.  You could say the same thing about the political films of Adam McKay and Jay Roach or, for the matter, the majority of outspokenly anti-religious films.  Most message films tend to appeal to an audience who already agrees with what the film has to say.  Typically. when someone complains that a film preached to the choir, what they’re really saying is, “It didn’t preach to my choir.”

I Still Believe is a well-made film that will probably be best appreciated by people who already share its view of life and religion.  Though production on the film obviously started before the pandemic, it does feel like a film specifically made for these quarantined times.  It’s a film that argues the faith and strength can be found in even the worst of circumstances.  Whether that’s true or not is up to the viewer to decide.

 

 

The Films of 2020: Bad Boys For Life (dir by Adil & Bilall)

Posted on by Lisa Marie Bowman

Bad Boys For Life came out in January of this year.  It was the first big release of 2020 and despite some skepticism (mostly from people like me, who pointed out that it had been 18 years since the release of the previous Bad Boys film), it went on to become the most financially successful January release of all time.  Not only did audiences love it but critics were surprisingly positive as well.

When I watched the film last week, I occasionally felt as if I had stepped into a time machine.  Even though the movie was just released a few months ago, it really does feel like an artifact from another age.  I mean, here we have a film named after the theme song of Cops, a once inescapable reality show that has largely been memory-holed as its uncritical depiction of the police has fallen out of fashion.  The film even features several scenes of the heroes singing the Bad Boys song, a song that declares that there’s nothing you can do now that the police are coming for you.

Of course, the film itself is about the type of supercops who, up until a few months ago, were popular in films and television.  These are the type of cops who are always quick with a quip and who have no problem trampling all over the Constitution in their pursuit of the bad guys.  The film celebrates the idea of the “super cop” in a way that seems almost unthinkable in our current cultural moment.  Defund the police?  How could you possibly want to do that when the cops are as charming as Will Smith and …. uhmm, Martin Lawrence?

Smith and Lawrence return as Miami Detectives Mike Lowery and Marcus Burnett.  Played by Smith, Mike is a confident and cocky playboy whose carefree façade hides a complicated path.  As played by Lawrence, Marcus is a mild-mannered family man who thinks that his partner needs to settle down and perhaps show a little bit more caution with some of his life choices.  Together …. THEY SOLVE CRIMES!

No, this time I’m not joking.  That is literally what they literally do.  They’re famous for solving crimes and Mike is known as being the “bulletproof cop.”  However, they’re both getting older.  Mike’s beard is going gray.  Marcus wants to spend more time at home.  Even their old boss (Joe Pantoliano) is talking about his retirement.  Unfortunately, a man named Armando (Jacob Scipio) is riding around Miami on a motorcycle and murdering anyone who was involved in the arrest and incarceration of an infamous Mexican drug lord.  He’s doing so on the orders of his mother, Isabel (Kate del Castillo), who is also known as La Bruja.  When Armando targets Mike, everyone is forced to reconsider their plans.

That may sounds simple and straight forward but the film complicates things with a third act twist involving Mike and Armando’s relationship.  It’s a twist that really shouldn’t work and yet it does, largely because Will Smith is a strong enough dramatic actor that he makes Mike seem like an actual human being, as opposed to being just an infallible action hero.  Smith gets not only the best dramatic moments but also some of the best comedic ones, especially when he ends up working with a bunch of younger cops who aren’t as impressed with Mike as Mike is with himself.  Martin Lawrence doesn’t get to do as much as Smith but he has a few funny moments and, most importantly, the friendship between Mike and Marcus feels real.  Lawrence and Smith have an undeniable chemistry that works in both comedic and dramatic scenes.  When Marcus says that he can’t stand to see Mike putting his life in danger, you believe him.  When Mike reacts to Marcus’s desire to retire as being some sort of personal betrayal, you understand exactly what’s going through Mike’s head to make him overreact.  You believe that Mike and Marcus really do care about each other and it adds a surprising amount of emotional depth to certain scenes.

Bad Boys For Life is a good action film, one that has a surprisingly big heart.  The action scenes are well-handled.  The chase scenes are exciting.  Will Smith again shows why he’s a movie star.  Though the film may seem like a relic of a bygone era, it’s undoubtedly entertaining.   (Considering the ADD-nature of popular culture nowadays, it’s easy to imagine that supercops will be back in fashion sooner than later.)   Naturally, it ends with the promise of sequel and I imagine that we’ll eventually get one.  The only real question is whether or not Marcus and Mike will still be singing their theme song.  Let’s hope so.

The Films of 2020: Bloodshot (dir by David S. F. Wilson)

Posted on by Lisa Marie Bowman

As a result of the COVID-19 pandemic, 2020 is the first year since 2008 not to feature any new Marvel films.  Despite the fact that Wonder Woman 1984 still has a Christmas release date, it wouldn’t surprise me if it still got moved back into 2021.  With the exception Tenent, 2020 has been the year of the anti-blockbuster.

I have to admit that, at first, it really bothered me that I was going to have to wait to see both Black Widow and the new Wonder Woman film but, as more time has gone by, the less I actually care about either one of them.  I think one reason why comic book films have been so popular over the past few years is because they were relentless.  There was always a new one coming out.  If you were disappointed with Captain Marvel, you could still say that the trailer for Endgame looked really good.  If you were less than thrilled with Batman v Superman, you could at least look forward to Wonder Woman.  Now that we’re no longer being inundated on a daily basis with new MCU trailers and DCEU gossip. it’s a lot easier to realize that a few of those films were surprisingly good (and I stand by my declaration that Guardians of the Galaxy was the best film of 2014) and some of them were notably bad but the majority of them were entertaining without being particularly memorable.

That bring us to Bloodshot.  Depending on whether or not Wonder Woman 1984 holds onto that Christmas release date and if The New Mutants are forgotten about, Bloodshot could down in history as the only major comic book film released in 2020.  It stars Vin Diesel as Ray Garrison, a dead Marine who is revived and turned into an invulnerable super soldier.  Dr. Emil Harting (Guy Pearce) sends Ray after the people who previously killed him and his wife, Gina (Talulah Riley).  Ray kills a lot of people over the course of Bloodshot.  He also continually wakes up in that laboratory, with no memory of who he is.  Could Harting just be using Ray to kills own enemies?  It’s possible, if just because I don’t think there’s been a heroic character named Emil in a comic book movie.

As a film, Bloodshot is …. well, it’s okay.  If you’re going to make a movie about a relentless super soldier who can’t be killed, Vin Diesel is probably the best actor that you could get to star in it.  (Yes, Dwayne Johnson could play the physical aspect of the role but his natural likability would go against the whole relentless killer thing.  Diesel, on the other hand, can actually convince you that he’s planning on murdering everyone that he sees.)  And if you need someone to play a smarmy mad scientist named Emil Harting, Guy Pearce seems like the obvious choice.  The action scenes are well-done, even if they do go a bit overboard on the slow motion.  The CGI is convincing.  When Ray gets a bit of his face blown off, it legitimately looks like a chunk of his face is breaking off of him.  (Fear not, Ray has super healing.)  Much like Ray, the film has a job to do and it doesn’t let much get in the way of doing that job.

And yet, the film itself is never exactly memorable.  There’s none of the little quirks or unexpected moments that distinguish the better comic book films.  Instead, Bloodshot feels like a throwback to the days before comic book films became a big deal.  We know that Guy Pearce is evil from the minute he shows up, just as we know that the film is going to end with a battle the involves a lot of flashy CGI.  No effort is really made to take anyone by surprise.  Bloodshot goes through the paces and hits all of the expected notes but it’s never really lively enough to be engaging on anything more than a “Hey, did you just see Vin Diesel kill that guy!?” sort of way.  Bloodshot is a film that’s just there.  Occasionally, it’s entertaining but ultimately, it’s rather forgettable.

Lifetime Film Review: The Secret Life of a Celebrity Surrogate (dir by Mark Gantt)

Posted on by Lisa Marie Bowman

So, put yourself in this situation.

You’re an aspiring writer, which is a really nice way of saying that you don’t have much money.  Because you haven’t paid your rent in four months, you’ve just gotten kicked out of your apartment.  As bad as that is, you can take some comfort from the fact that your incredibly hot boyfriend owns a really nice and really big apartment and he probably won’t have any issue with letting you live there.  I mean, he’s always eager for you to sleep over so why not just move in?  So, you head over to his place to give him the news and….

….some blonde that you’ve never seen before opens the door and asks you who you are!

Okay, now you’re in trouble.  Not only do you not have an apartment but you also don’t have a boyfriend.  You have no money and you have no family to fall back on.  While many writers wrote some of their best work while living in boxcars and drifting across the country, you’re not sure that’s what you want to do with the next few years of your life.  So, you get on social media and you let the world know that you need a job.  ANY JOB!

That’s what happens to Olivia (Carrie Wampler), the character at the center of The Secret Life of a Celebrity Surrogate.  It all happens during the first 10 minutes or so of this movie and it does make Olivia into an instantly likable character.  There’s no way that you can’t sympathize with her because everything that could go wrong in her life has gone wrong in just the course of a few hours.  When Olivia is contacted by Cassidy (Jordyn Aurora Aquino) and told that there is a job opportunity for her but that it requires Olivia to be discreet, you can’t blame Olivia for jumping at the opportunity.  What else is Olivia going to do?  Starve?

It turns out that Cassidy works for Ava (Brianne Davis) and Hayden (Carl Beukes) von Richter, a celebrity couple who, after Ava’s last few films flopped at the box office, are now mostly famous for being famous.  Ava and Hayden hire Olivia to act as a surrogate to carry their child.  Olivia will get $150,000 once the baby is born and she’ll get to stay at Ava and Hayden’s fabulous mansion.  The main conditions seem reasonable: Olivia will have to be discreet and she’ll also have to stay healthy and be regularly checked out by Ava’s army of doctors.  Olivia agrees.

And, at first, everything seems okay.  Ava and Hayden are charming, even if Ava is a bit high-strung and Hayden often seems like he’s lost in thought.  Olivia bonds with Cassidy and chef Peter (Kenneth Miller).  Ava can be demanding but that makes sense and …. wait, a minute, did Ava just do cocaine in a public restaurant?   And what exactly is Hayden doing with that hypodermic needle?

Needless to say, Ava and Hayden are not as perfect as they initially seem and Olivia soon starts to have doubts about whether or not they should even be parents.  Hayden, especially, seems to get creepier (and more and more gropey) with each passing day.  Soon, that fabulous mansion starts to feel like a prison and Olivia comes to realize that her employers are even more dangerous than she originally suspected….

The Secret Life of a Celebrity Surrogate is a film that’s very much of the moment.  We live in a society that is obsessed with celebrities, even faded ones like Ava and Hayden.  We also live in a world where ordinary people — like Olivia — can actually connect with celebrities via social media.  At the same time, though people may not always be quick to admit it, we all secretly suspect that most celebrities are actually crazy and probably have a dungeon underneath their mansion.  Even our favorites are often suspected of harboring dark secrets, as seen by the eagerness of the twitter mob to cancel their former heroes.  As such, we can all relate to Olivia’s willingness to be a part of Ava and Hayden’s seemingly glamorous life while, at the time, Ava and Hayden’s “quirks” serve to confirm what we’ve always suspected about what goes on behind closed doors in Beverly Hills and on Park Avenue.

The Secret Life of a Celebrity Surrogate strikes a good balance between thriller and satire.  It embraces the melodrama while also retaining enough self-awarness to be fun.  Brianne Davis and Carl Beukes are both entertainingly sleazy as the celebrity couple from Hell while Carrie Wampler is sympathetic and likable in the role of Olivia.  This is an entertaining Lifetime movie that will be enjoyed by anyone who has ever looked at a celebrity tweet and thought to themselves, “What a weirdo.”

Music Video of the Day: The Drugs Don’t Work, covered by Boh Doran (2020, dir by Jesse Hines)

Posted on by Lisa Marie Bowman

Today’s music video of the day is for a cover of The Verve’s The Drugs Don’t Work.

I like the video.  It has definite drowning feel to it, which is appropriate for the song.

Enjoy!

Lisa Reviews The Premiere Episode Of Filthy Rich

Posted on by Lisa Marie Bowman

I have to admit that I have a sneaky admiration for network television.

I mean, on the one hand, the networks are dying.  After decades of dominating America’s free time, network television was pushed aside first by cable and now by streaming services.  It’s been a long time since anyone looked to the big four networks in search of ground-breaking entertainment.  (Don’t even get me started on the CW.)  In many ways, the networks feel like relics of a bygone era.  Why structure your life around staying at home on a certain night so that you can catch whatever’s on NBC, ABC, CBS, or Fox when you can just DVR it or watch it online at your own convenience?

And yet, the networks carry on.  In the middle of the Streaming Revolution, the networks continue to insist that they’re at the forefront of American culture.  “Look,” they say, “We have football!  We have the awards shows!  We have game shows hosted by formerly funny comedians!  We have the smarmiest late night talk shows host around!  We have the nightly news!”  There’s something oddly touching about the refusal of the networks to admit that they’re no longer particularly relevant.  They’re like Charles Foster Kane, isolated away in Xanadu and insisting that he’s still as powerful and important as he’s always been.

I guess that’s why I’m always fascinated by the start of a new television season.  That never-say-die spirit just appeals to me and I always imagine a bunch of network executives saying, at the start of each season, “This time, we’re going to show Netflix and HBO how it’s done!”  With the Emmys now over and done with, the 2020-2021 network television season has begun.  For me, It’s always interesting to see which shows become a surprise hit and which shows end up getting cancelled after just three weeks.  Oddly enough, the previous television season brought us no real hits and only a few dramatic cancellations.  That’s the first time I can remember anything like that happening.  It was strange.

This new season is also going to be strange because, as a result of the COVID-19 pandemic, production on a lot of shows were halted.  Of the few new dramas and sitcoms that are scheduled for this season, the majority of them are starting in October.  Even once the season does get started in earnest, most nights are going to be dominated by celebrity-themed games shows and reality competition programming.  That said, I remain an optimist.  Surely, there will be at least one good new drama or sitcom on network television this season, right?

Well, it probably won’t be Filthy Rich.

Filthy Rich, which premiered on Fox on Monday night, is the latest primetime soap opera.  It’s a show about a wealthy Southern family that owns a Christian television network.  When the patriarch of the family is killed in a plane crash, it leads to all of his bastard children coming out of the woodwork so that they can get their inheritance and blah blah blah.  It’s meant to be campy and over-the-top and satirical but, judging from the pilot, it just tries too hard.  Kim Cattrall plays the scheming matriarch and her erratic southern accent serves to remind that us that Kim Cattrall doesn’t exactly have the greatest range as an actress.  Meanwhile, none of the children are really that interesting and even the big, ornately decorated mansion seems rather dull.  It’s all a bit too calculated to be genuinely subversive.

With its portrait of scheming rich people and Christian hypocrites, Filthy Rich feels like the edgiest show of 1999.  Unfortunately, it’s airing in 2020 and, at this point, we’ve all seen enough Ryan Murphy productions to be able to guess every single thing happens in the pilot for Filthy Rich.  (Admittedly, Filthy Rich is not actually a Ryan Murphy production.  Instead, it was developed by the director of The Help, Tate Taylor.)  There’s not a single surprise to be found.  The show seems to think that it’s blowing our minds but, at this point, it takes more than a supporting character smoking weed to be shocking.  What would have made Filthy Rich better?  It probably would have helped if it had aired on HBO or maybe even FX.  Instead, it’s a primetime network show that tries hard to convince us that it’s edgy when it’s actually totally mundane.

Anyway, it’s hard to imagine Filthy Rich surviving against Dancing With The Stars and The Voice so hopefully, everyone involved will move on to better things.