How does one top a cultural phenomenon? For Jean-Marc Valée, the answer is simple: grab another best-selling book, hire another A-list actress, and call HBO with your pitch. While following Big Little Lies certainly won’t be an easy feat, Sharp Objects pulls out all the stops in its first object to rope you into what should be a twisted 8-week mystery.
Adapted from the Gillian Flynn novel of the same name, Sharp Objects follows Camille Preaker (Amy Adams), a reporter with a drinking problem who returns to her hometown to investigate the murder of two young girls. But Camille has demons from her past and, as she reunites with her mother (Patricia Clarkson), half-sister (Eliza Scanlen), and various other figures from her past, it becomes clear that something sinister has been happening in this town for decades – long before these two recent murders.
What makes Sharp Objects work, both on the page and screen, is that it’s much more than just a murder mystery. On their own, the thriller elements in the story feel like an episode of Law & Order: SVU; they are interesting in their own way, but rather low-rent and schlocky. But Flynn is famous for her ability to explore gender politics, and create complicated women in the process, and Sharp Objects is no difference. At it’s core, Sharp Objects is a story about regressive social attitudes and how misogyny bleeds into all aspects of life when it’s deeply imbedded in a town’s way of life.
Sharp Objects is also a thrilling character study, with a trio of fully developed women brought to life by three fully realized performance. Adams is one of Hollywood’s most reliable performers, constantly disappearing into completely different roles. Here, she takes on her darkest material yet, but sells it in a way that feels understated and lived-in. Where another actress may have gone for histrionics, she chooses to play the part subtly. Patricia Clarkson, meanwhile, effortlessly walks the fine line between camp and realism as Camille’s Southern belle of a mother. Only an actress as seasoned as Clarkson could sell this over-the-top character, bringing out the hidden suspicious and sinister qualities to her character. And, with just one major scene in the pilot, Eliza Scanlen emerges as a major talent. As Camille’s mysterious half-sister, she perfectly sums up the theme of the series with less than 5 minutes of screentime: no one is as they appear. It’s chilling work, and indicative of the great things we’ll see all season.
Valée is also something of a craftsman when it comes to directing and editing, and his work here is certainly commendable – especially when it helps liven up the show’s occasionally slow pace. Here, he amps up the story’s horror elements by flashing images across the screen, in backgrounds, and reflections, all of which help put the viewer on edge. He also, as in Big Little Lies, utilizes music well, with some offbeat song choices perfectly punctuating key scenes. While some will undoubtedly complain about how long he takes to kick the story into motion, it’s hard to deny that he makes the most of his leisurely stroll to the climax.
While it’s too early to tell if Sharp Objects will be as layered, perfectly structured, and emotionally cathartic as Big Little Lies, it does make a strong case for being named this summer’s most addictive series. With a fascinating mystery, smart writing, and strong performances to boot, HBO seems to have another hit on their hands. Let’s see how high Valée can take it.
Overall rating: 8 out of 10.
https://youtu.be/asX53aeBPJE
