The fact that John Ridley, of 12 Years a Slave, created and executive produces American Crime is probably, oddly, too informative for the show’s own good.
If you know the film, you are correct about your estimation of what you’re going to get from the show, generally speaking, except insofar as the scope of the subjects up for analysis. This could be a turn off for some viewers, just based on the “everything can’t happen to this one set of people,” theory of non-watchability.
If you don’t know the film, you probably aren’t any more moved to see the show than you were the movie, and you should really try your best to overcome that, because the show is gripping, powerful, and engaging, almost in spite of itself.
The show kicks off with Russ (Timothy Hutton) having to identify the body of his son, Matt Skokie.
If you know the film, you are correct about your estimation of what you’re going to get from the show, generally speaking, except insofar as the scope of the subjects up for analysis. This could be a turn off for some viewers, just based on the “everything can’t happen to this one set of people,” theory of non-watchability.
If you don’t know the film, you probably aren’t any more moved to see the show than you were the movie, and you should really try your best to overcome that, because the show is gripping, powerful, and engaging, almost in spite of itself.
The show kicks off with Russ (Timothy Hutton) having to identify the body of his son, Matt Skokie.
- 3/5/2015
- by Marc Eastman
- AreYouScreening.com
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