Ellen Pompeo Ditches the Scrubs for Hulu’s Disappointing Natalia Grace Drama ‘Good American Family’: TV Review

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Similar to many TV series based on real crimes, Hulu’s “Good American Family” starts each episode with a legal disclaimer. However, unlike most disclaimers, the wording changes throughout the eight-episode season. During the first half of the limited run, we’re informed that it includes events as claimed by Kristine and Michael Barnett (played by Ellen Pompeo and Mark Duplass), an Indiana couple accused of child abandonment in 2019. Starting from Episode 5, however, a new perspective emerges: The dramatized accusations are now made by their adopted daughter, Natalia Grace (Imogen Faith Reid), a Ukrainian-American girl with dwarfism whose longstanding conflict with the Barnetts forms the basis of the storyline. The Barnett’s tale is well-known, with figures such as Dr. Phil expressing interest in their case and Investigation Discovery producing a multiyear, three-season documentary series titled “The Curious Case of Natalia Grace.” By dividing its narrative structure, “Good American Family” seeks to add freshness to a familiar story through a surprising twist.

The prolonged about-face taken by “The Good American Family” series, which was already foreshadowed both within the show and through previous reports, is one of several challenges that hinders it from effectively portraying its intricate, challenging content. Co-created by Katie Robbins (“Sunny,” “The Affair”) and jointly run with Sarah Sutherland, “Good American Family” struggles to maintain a consistent tone as it swiftly moves between the Barnetts’ exaggerated, frequently humorous delusion and Natalia’s heartrending struggle – a challenge that intensifies when the speed picks up and the perspective shifts not just per episode, but within each scene. Moreover, these are merely internal inconsistencies; when the harsh realities of Natalia’s life inevitably surface, “Good American Family” struggles under the burden.

In my opinion as a movie reviewer, despite some overall disappointments, “Good American Family” manages to shine in certain aspects. It delivers a heart-wrenching sadness, a peculiar strangeness that’s hard to ignore, and an abundance of acting – whether it’s top-notch or over-the-top, there’s no denying the sheer volume of it all. This combination makes for a gripping viewing experience. True crime dramas, whether they carry the veneer of prestige or not, often have that magnetic quality where you might not be drawn in for the best reasons, but once hooked, it’s difficult to look away.

As a film enthusiast, I must say, it’s intriguing to see “Good American Family” join the ranks of scripted true-crime series, arriving after shows like “Love & Death,” “The Act,” “The Staircase,” and many others. What sets this one apart is the presence of Ellen Pompeo, stepping into a new role since her iconic stint on Grey’s Anatomy almost two decades ago. As both an actress and executive producer, Pompeo skillfully infuses Kristine with shades of Meredith Grey’s competence and compassion, at least from Kristine’s self-perception: a champion for all children, especially her autistic son, Jacob (Aias Dalman).

The series begins with Kristine’s arrest for neglecting one child while she’s promoting her advocacy work for another, making it clear that Kristine’s hypocrisy and blindness are central themes. However, it isn’t until the latter half of the series that Pompeo truly breaks free from her established star persona, delivering a powerhouse performance reminiscent of Faye Dunaway in “Mommie Dearest,” if Dunaway had traded Joan Crawford’s iconic eyebrows for a hideous blonde wig.

In my opinion as a movie critic, I find myself utterly captivated by the chilling narrative unfolding in this film. As Kristine, the seemingly saintly caretaker, I can’t help but notice her unwavering response when an adoption agency reaches out with an urgent plea for a home within 24 hours. The ensuing events, as one character aptly puts it, are reminiscent of a horror movie – and trust me, it gets even more terrifying.

Kristine’s fixation on a 2009 film titled “Orphan” serves to explain Natalia’s peculiar behavioral issues, but this obsession leads us down a dark path. Dismembered stuffed animals and poisoned coffee are just a couple of the unsettling incidents that transpire while Michael, the Circuit City manager, is left clueless and bewildered.

The tension builds to an extreme with Kristine’s dramatic conclusion that Natalia must be an adult masquerading as a child, swindling them for her medical expenses, before abandoning her in a dilapidated apartment. This film takes the concept of over-the-top to a whole new level and leaves me on the edge of my seat.

Spending four episodes on a questionable account is excessive, especially when we later discover it’s unreliable and possibly fabricated. This prolonged focus overlooks significant aspects: The flawed legal process that established Natalia as an adult, which becomes crucial later on, is briefly summarized in a series of quick scenes, while Kristine’s perspective dominates the narrative, leaving us with only hints about her true psychological issues beyond references to her own traumatic childhood. Duplass effectively portrays Michael as a believable beta male in this series, making him amusingly pathetic in his loser persona (I even chuckled at the use of Green Day’s “Basket Case” during his mid-life crisis), but he struggles to convincingly depict the character’s sudden changes in emotion without a stronger foundation in the script.

The casting choice of a 26-year-old British actor named Reid presents an intriguing twist. Initially, his age appears to reinforce Kristine’s suspicions, giving Reid’s high-pitched voice and childlike demeanor an unsettling vibe. However, as Natalia is pushed into a harsh reality and matures prematurely, Reid’s portrayal adopts a weary tone that fits well with his character’s development over a decade of formative years. This versatility displayed by the young actor in the series is truly commendable. The series’ most powerful episodes, the fifth and sixth, heavily rely on Reid’s ability to swiftly transition between menacing and vulnerable performances.

In the TV series, Natalia finds understanding and tolerance from Cynthia Mans, portrayed by Christina Hendricks, and her husband Antwon (Jerod Haynes), which they apparently lacked in real life. However, following the show’s release, Natalia accused the Mansas of physical abuse. This revelation led to a sudden, disconcerting disclaimer after an ending that seemed overly tidy, implying a quick resolution to a complex web of suffering. Liz Garbus, director of “What Happened, Miss Simone?”, directed several episodes of “Good American Family”, hinting at the show’s connection to real-life events. The line between fiction and reality can sometimes be tricky, as it can draw attention while also resisting easy conclusions for real people who continue to live beyond the scope of the cameras.

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2025-03-19 19:17