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M. Leary
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I can't really recommend this latest Netflix bingewatch lure. It has a somewhat interesting premise, but that is played off through a series of flashbacks slowly revealing key information about the family history of the Rayburn family. These flashbacks provide motivation for the loose narco-drama happening in the present.

 

This structure depends on the flashbacks being coherent and interesting enough to engage our interest throughout, otherwise they just draw attention to the flimsiness of a plot that requires flashbacks in the first place. I leave you to be the judge of whether they work or not. Spoiler:

They don't. The way this show hides its cards is often a cheap way to build suspense.

 

The only real saving graces of the show are its performances and a really well done Florida Gothic vibe (I think that is a thing, right?). 

Edited by M. Leary

"...the vivid crossing of borders between film and theology may save the film from the banality of cinema and festival business, and it may also save the church from the deep sleep of the habitual and the always known."

(Hans Werner Dannowski)

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