The court finds this movie guilty of first-degree recycling.
“Inheritance” gives off its recycled premise, adds some fine performances, and then blows it all up in the end. It’s a movie that wants to convince you it’s good, because of the performances from Lily Collins and Simon Pegg, and I was starting to believe that notion. But then the story (written by Matthew Kennedy and directed by Vaughn Stein) gets twisted like a pretzel and basically scurries all the way home.
Some would say “Inheritance” is inspired by “Succession” and “Parasite,” and you might be reminded of “Oldboy” and “Room.” And I’m sure most of you would say it’s derivative and convoluted. We don’t need this kind of negativity right now during the COVID-19 outbreak.
As the film begins, a powerful politician named Archer Monroe (Patrick Warburton) has died of a heart attack, and leaves a major secret to his DA daughter Lauren (Collins). She is led to an underground room where he has imprisoned his old friend Morgan Warner (Pegg). She demands answers from him about what her father has been hiding from his family, in exchange for his long overdue freedom.
As she digs deeper into this crime, she discovers both her father and candidate brother (Chase Crawford) are both dirty men. But the real question she constantly asks is: why would she trust him? She doesn’t know she can trust him, because she doesn’t even know him.
He gives her all his reasons for trusting him. Most of his life has been erased, he longs for the outside world, and he only gets part of a chocolate bar every Christmas. You can pretty much tell he’s the real monster, once you get to the third act. Why? I’m not sure exactly, but something tells me he is.
Collins provides some solid work as the young DA, while Pegg delivers the goods using an American accent, make-up and some risky vulnerabilities. Especially the scenes when he constantly begs the girl to set him free. There’s your “Oldboy” right there. These actors two have a connection that has more meaning than the actual movie itself.
You get supporting actors like Warburton, Crawford, Connie Nielsen (as Lauren’s mother), and Michael Beach-all very talented no less-but you never get anything out of them. They basically just pop up from here to there, and they feel like obligatory supporting characters without guidance.
I caught a glimpse of this movie a few weeks ago, and I needed time to think about my overall decision. Ever since then, despite the acting from the two leads, it hasn’t moved me. It’s overwhelming, formulaic, and confusing. And when we do get the real reason for all this mayhem, there has to be a bullet going through someone’s head. This script basically has been put in the paper shredder, and then has been taped together by amateurs.
On Demand and Digital.