Review: The Undoing brings the petty rich people drama we've been craving, but winds up as vague prestigey soup.
Almost immediately, at the final planning meeting for the fundraiser, Kelley immerses us into bitchy rich-wife gossip, both detestable and addictive, with six-odd other mothers from Rearden, which is the sort of private school where all the kids wear blazers with the school seal on them.
The boob mom, Elena , seems to be of a markedly different social class than the other women. Perhaps for that reason, whenever Grace encounters her, Elena seems to be on the verge of tears. As soon as they meet, Elena fixates on Grace’s kindness, nearly overwhelming the other woman with her smoky eyeliner, bedhead hair, and lack of boundaries about nudity.
This is more surprising to her than the audience—Hugh Grant’s never played a role where he didn’t have some secret or other to hide—and with flashes of brilliance,entraps you in Grace’s confusion and dawning awakening. Grace takes her son and flees to another spacious Manhattan mansion—this time the one belonging to her father, who is played by a prodigiously eyebrowed.
Then—bizarrely and rather disappointingly—the show becomes a courtroom drama. By the fourth of the six episodes, gone are the bitchy moms. Gone are the fantastically unnecessary interiors. Gone, even, is the unnecessarily attractive ill-tempered Detective Mendoza, whose antagonistic interrogation gave Kidman so much to snobbishly be offended by.
But it’s all vague prestigey soup, with little to get your hooks into. Plus, after watching the five episodes ofcan’t explain why Sutherland is in the show, except to say things in his gravelly Canadian way that makes everything sound incredibly important.
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