Love them or hate them, the nice thing about Lifetime original TV movies is that we almost always know what to anticipate. Whether thriller or romance, rare is the title that isn't predictable, built on tropes and a common approach, and often ham-handed, usually with at least one recognizable star attached. The thing is that some are gratifyingly earnest, and many others unreservedly embrace delightful B-movie bluster; there's a fair spectrum in between those two points, and one way or another those in the latter group are most consistently my favorites. It's a pity more people don't seem to understand how the network operates, but here we are; for what it's worth, I can understand how such works will not appeal to all comers. So in looking at 2017 thriller 'A neighbor's deception,' co-starring the wonderful Gates McFadden, abject quality becomes a secondary concern as we first ponder whether it will be an honest piece or a wild romp. We get our answer fairly quickly, and this picture clearly aims to count among the more earnest type, and all that's left is to assess how successful it is, and how worthwhile. For my part I don't think this is the best example of Lifetime's features, and there are deserved criticisms to make - but still, for those who are open to the style, it's suitably well done and enjoyable in at least some measure.
By and large every constituent part is quite fine; the flick is solid more than not. There are no especial faults to be discerned in the cinematography, editing, costume design, hair, or makeup; while it's only McFadden that I'm familiar with, I have no doubt that in the appropriate circumstances everyone in the cast would demonstrate swell acting skills without exception. The core ideas in Adam Rockoff's screenplay are firm foundation for a drama, Devon Downs and Kenny Gage's direction is technically sound, and in and of itself I like the music on hand. This is all splendid, and there's potential (to one degree or another) in the premise of a woman discovering that her new neighbor isn't all that they seem to be, and being drawn down a dangerous path.
Be all that as it may, there were certain choices made in various ways that aren't outright terrible, but which don't come off as well as someone thought they would, or which seem a step too far. Sometimes we're presented with musical selections of discordant electric guitars, driving beats, or harsh electronic sound that are just too out of step with the rest of the score or the otherwise tone. More significantly, between the guidance of the directors, or possibly the oversight of producers Michael Moran and Kimberly A. Ray, in some instances the acting seems overly forceful and unnatural, no matter what the intended mood of a scene, or a character's mindset. The same quite goes for the orchestration of scenes generally, feeling as if they're defined by unfavorably hard edges, and some of the editing. In a sequence right around the one-hour mark, for example, that surely fits the formula, we're given a take of protagonist Chloe frantically trying to decide the best course of action, and star Ashley Bell effectively dances in place so bizarrely that it's all but downright laughable. In terms of the writing, meanwhile, I repeat that Rockoff whipped up some good ideas. I don't think the pieces perfectly fit together, however, and they're less than convincing; just as some Lifetime films try to be earnest but are too far-fetched to achieve the desired effect, I think this is the case to some extent with 'A neighbor's deception,' too. More to the point, each idea and beat feels a tad gawky and heavy-handed, with a lack of the nuance and finesse that would help to fully sell the viewing experience.
That's a lot of critical verbiage, yet I don't think the sum total is outright bad. It remains at least somewhat better than not. I do think the title is a bit club-footed, and unworked, like sculpting material that hasn't been sufficiently softened or otherwise prepared before a young artist tries to shape it to their will. This includes the absolutely predictable reveal of the villain that we see coming almost from the start, a monolith on the horizon whose presence isn't specifically altered by the slightly more unexpected full explanation of the scenario; writing that grows even more heavy-handed in the back end; and acting and direction that come to actively forsake all semblance of graceful tact and subtlety. The movie adopts an unremittingly glaring tenor leading up to and at the climax that more closely resembles Lifetime's B-movie blasts (e.g., 'Wheels of beauty' or 'My killer client,'), yet still tries to maintain the appearance of being a straightforward thriller. Again: the pieces don't entirely fit together.
What it comes down to is that if you're the type of viewer who is in any way receptive to what the infamous TV network offers, you're apt to appreciate this in some capacity. If you're not, this definitely won't be the picture to change your mind. Part of me wonders if I'm not being too unkind in my assessment, but the fact of the matter is that the faults and weaknesses stack up. If you're at all on board with Lifetime originals and you happen to come across it, it's an okay way to spend ninety minutes; just temper your expectations, and don't go out of your way for it.
By and large every constituent part is quite fine; the flick is solid more than not. There are no especial faults to be discerned in the cinematography, editing, costume design, hair, or makeup; while it's only McFadden that I'm familiar with, I have no doubt that in the appropriate circumstances everyone in the cast would demonstrate swell acting skills without exception. The core ideas in Adam Rockoff's screenplay are firm foundation for a drama, Devon Downs and Kenny Gage's direction is technically sound, and in and of itself I like the music on hand. This is all splendid, and there's potential (to one degree or another) in the premise of a woman discovering that her new neighbor isn't all that they seem to be, and being drawn down a dangerous path.
Be all that as it may, there were certain choices made in various ways that aren't outright terrible, but which don't come off as well as someone thought they would, or which seem a step too far. Sometimes we're presented with musical selections of discordant electric guitars, driving beats, or harsh electronic sound that are just too out of step with the rest of the score or the otherwise tone. More significantly, between the guidance of the directors, or possibly the oversight of producers Michael Moran and Kimberly A. Ray, in some instances the acting seems overly forceful and unnatural, no matter what the intended mood of a scene, or a character's mindset. The same quite goes for the orchestration of scenes generally, feeling as if they're defined by unfavorably hard edges, and some of the editing. In a sequence right around the one-hour mark, for example, that surely fits the formula, we're given a take of protagonist Chloe frantically trying to decide the best course of action, and star Ashley Bell effectively dances in place so bizarrely that it's all but downright laughable. In terms of the writing, meanwhile, I repeat that Rockoff whipped up some good ideas. I don't think the pieces perfectly fit together, however, and they're less than convincing; just as some Lifetime films try to be earnest but are too far-fetched to achieve the desired effect, I think this is the case to some extent with 'A neighbor's deception,' too. More to the point, each idea and beat feels a tad gawky and heavy-handed, with a lack of the nuance and finesse that would help to fully sell the viewing experience.
That's a lot of critical verbiage, yet I don't think the sum total is outright bad. It remains at least somewhat better than not. I do think the title is a bit club-footed, and unworked, like sculpting material that hasn't been sufficiently softened or otherwise prepared before a young artist tries to shape it to their will. This includes the absolutely predictable reveal of the villain that we see coming almost from the start, a monolith on the horizon whose presence isn't specifically altered by the slightly more unexpected full explanation of the scenario; writing that grows even more heavy-handed in the back end; and acting and direction that come to actively forsake all semblance of graceful tact and subtlety. The movie adopts an unremittingly glaring tenor leading up to and at the climax that more closely resembles Lifetime's B-movie blasts (e.g., 'Wheels of beauty' or 'My killer client,'), yet still tries to maintain the appearance of being a straightforward thriller. Again: the pieces don't entirely fit together.
What it comes down to is that if you're the type of viewer who is in any way receptive to what the infamous TV network offers, you're apt to appreciate this in some capacity. If you're not, this definitely won't be the picture to change your mind. Part of me wonders if I'm not being too unkind in my assessment, but the fact of the matter is that the faults and weaknesses stack up. If you're at all on board with Lifetime originals and you happen to come across it, it's an okay way to spend ninety minutes; just temper your expectations, and don't go out of your way for it.