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Review: In ‘No Good Deed,’ twisting mysteries and L.A. real estate are at the fore

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Review: In 'No Good Deed,' twisting mysteries and L.A. real estate are at the fore

As a seasoned movie buff with a soft spot for Los Angeles-based productions and a penchant for unraveling complex narratives, I must admit that “No Good Deed” left me both intrigued and somewhat perplexed. The series showcases an impressive ensemble cast, each character embodying their unique quirks and struggles in the cutthroat world of real estate – a setting that resonates with my own experiences as a long-time Angelino.

Debuting on Netflix this Thursday, “No Good Deed” – a creation by Liz Feldman – is a witty black comedy about real estate, set in none other than the vexing LA market. It’s known for its stellar cast, fittingly referred to as ‘all-stars’, many of whom hail from television and, while movie actors may shine on the big screen, not all can transfer their charm to the small one.

Paul (Ray Romano) and Lydia (Lisa Kudrow) are putting up their house for sale – a two-story Spanish Colonial style home built in the 1920s, situated on a corner plot, although it seems to be located outside of Hancock Park if you’re a local. (Hancock Park doesn’t have quite the same ring to it.) The series starts with an open house, where most of the main characters take a look, while Paul and Lydia secretly watch them from an upstairs room, munching on popcorn and keeping tabs via a locked video feed. The narrative moves quickly and intensely as we learn about the characters’ lives.

Sarah Liu, a medical professional, and Leslie Jacobson, an attorney, are a married couple who’ve passed by this house countless times before. They’re thrilled to finally explore it: “Isn’t this the exact architectural style we’ve been dreaming about?” Leslie exclaims enthusiastically. Sarah, often found browsing a neighborhood-focused app like Nextdoor, expresses concerns about the locality. Dennis Fagbenle, a writer, and Carla Parris, an architect, are newlyweds expecting a child; his mother, Denise Horsford, is also part of their group. The house represents a significant step up for Dennis, being reminiscent of his Bed-Stuy childhood; however, Carla feels Baldwin Hills might be more suitable to their tastes.

From the sleek, contemporary structure opposite them, step in separately, we find JD (Luke Wilson), a disheartened, jobless actor dealing with depression, and Margo (Linda Cardellini), his wife who, as you’ll soon discover, has an affinity for material things and is often referred to as someone who expresses love through giving gifts. Luke is struggling financially due to their home, while Margo, who also carries on a relationship with Gwen (Kate Moennig), a prominent figure in the financial sector, is a woman who, as JD puts it, values gifts as a form of love expression.

In this setup, we find Mikey (played by Denis Leary), who makes an unforeseen appearance while Paul is working in his garage using a table saw for his contractor job. Having just been released from prison after three years, Mikey is displeased that Paul didn’t visit him during his incarceration and demands $80,000 within the next day – a demand that leaves Paul feeling helpless due to Mikey’s knowledge of an event that transpired in their home. Struggling financially, they are forced to sell their cherished home because a second mortgage crippled them, and Lydia gave up her position with the Los Angeles Philharmonic after experiencing shaking hands following a family tragedy – which is why they find themselves in this predicament.

Review: In 'No Good Deed,' twisting mysteries and L.A. real estate are at the fore

Filling in the gaps are Greg (Matt Rogers), a subtly aggravated real estate agent; Phyllis (Linda Lavin), an inquisitive neighbor who owns dogs; and Emily (Chloe East), who has a strained relationship with Paul and Lydia, being their semi-estranged daughter.

It’s quite straightforward to visualize that the catalyst for this series might have been the practice of touring open houses, a common pastime among L.A. property seekers and spectators. Alternatively, it could be seen as a means to gather a multitude of diverse characters within a single dramatic setting. However, it’s worth noting that the narrative focusing on Dennis, Carla, and Denise largely stands alone. In essence, the series appears to have been developed more from an external perspective, with characters being shaped to fit the plot, instead of the plot unfolding naturally from the characters themselves. Similar to Feldman’s “Dead to Me,” where Cardellini also starred, there’s a central mystery (in this case, a murder) and characters who are hiding something crucial – many of them do.

The intertwining plots unroll in a mishmash of styles. Jacobsen throws herself into slapstick, clumsily stalking the house, about which she has questions. (She’s a lawyer, remember.) The heavy drama surrounding Paul and Mikey wouldn’t be out of place in a Sam Shepard play; in certain scenes, Paul and Lydia might have stepped out of a Cassavetes film. Dennis, Carla and Denise occupy a sort of family sitcom, while Margo and JD enact a variation on James M. Cain’s SoCal noir.

Characters undergo transformations or appear to do so throughout the series, revealing their true natures or other aspects of themselves. At times, the narrative pauses to allow characters to converse more casually, giving the series a relatable human touch; Leary’s character, initially portrayed as a thug, gains particular depth from these moments, but Romano, who is often restless throughout the series, also benefits. Cardellini infuses Margo with a sense of desperation that is not commonly found in such characters, making her intriguing yet elusive, though Lydia’s assessment of her as “an AI-generated bitch” remains constant. Kudrow, who is not only a talented comedian but also the emotional heart of the show, ensures that every scene she’s in is worth watching. She is the emotional backbone of the series.

Following the peak of the main mysteries, the show leaps ahead six months to an ending that’s so clean, heartwarming, and sentimental it borders on being a caricature. Granted, it’s important to be kind to one’s characters, but it seems as though the series is running out of steam, leaving no choice but to tidily resolve most issues in the most compassionate (and generally pleasant) manner possible.

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2024-12-12 11:31

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