Unoriginal, tired and poorly done, there’s not a shred of originality in this No Good Deed from Sam Miller, a television director making his feature film debut here, proving that he’s far more adept at episodic narratives rather than those of the full-length variety. Stretched past the narrative breaking point, despite its brief running time of 84 minutes, this is a film that wastes its two leading actors as well as the audience’s time as this movie has been done better and before, far too often.
Terri (Taraji Henson) is a stay-at-home mom who, despite loving her two young children, misses her job as a prosecuting attorney. Feeling underutilized, as well as ignored by her workaholic husband (Henry Simmons), this beleaguered woman could use a break. Unfortunately, Terri’s not going to get one anytime soon. With her husband away for the weekend, she hopes to reconnect with her best gal pal Meg (Leslie Bibb), an overbearing attention-seeker, for an evening of female bonding. However, a fly appears in the ointment of this best laid plan in the form of Colin Evans (Idris Elba), an escaped convict whose specialty is kidnapping and killing young women. Showing up on Terri’s doorstep, claiming he’s had a car accident and lost his phone, the deadly charmer ingratiates himself into her home.
There’s nothing subtle about this movie, either in acting or story, with the most egregious example being the music by Paul Haslinger, used to accentuate even the most mundane moments to heighten suspense that isn’t there. Colin drinks wine (ominous music), Colin walks down the hall (OMINOUS music), Colin stands by a window! (OMINOUS MUSIC) This is indicative of the sledgehammer approach that Miller takes throughout, making Deed the sort of movie that tries to distract us from the fact that is has nothing new to say.
For a full review, go to http://www.news-gazette.com/arts-entertainment/local/2014-09-18/chuck-koplinski-slow-steady-perfect-tombstone.html
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