Individuals can develop, but they rarely change. When backed into a corner or placed in inaccessible conditions, it is human nature to revert to what you have always known. Basic instincts kick in and sometimes we find ourselves walking down the same paths we swore we’d never return to. In AMC’s “Parish,” an adaptation of BBC One’s “The Driver,” Gracián “Grey” Parish’s past (an always accurate Giancarlo Esposito) comes thundering toward his current one. Just a year after the tragic death of his teenage son and facing a dire financial situation, an old colleague, Colin (Skeet Ulrich), makes Gray a suggestion he can’t refuse. What should be a one-time job and pay turns into a tumultuous alliance with the unstable Tongai family that puts Gray and his family in danger. With Esposito leading the cast, “Parish” positions itself as a gripping crime drama. Unfortunately, predictable plots and bizarre stylistic choices make it a difficult narrative that would have been better as a TV movie adaptation.
The collection debuts in New Orleans amid a chaotic chase involving multiple police vehicles. Sliding back in time to a week earlier, the audience discovers how Grey, a middle-aged car service owner, became involved in such a harrowing escape. Consumed by grief, despondent and proud, the driver is easy prey for the Tongai leader, The Horse (Zackary Momo) and his brothers, Zenzo (Ivan Mbakop) and Shamiso (Bonnie Mbuli). Impressed by his stealth and specific skill set, the trio aren’t all that interested in freeing Gray after just one successful job. Because of this, Gray finds himself in the middle of Tongais’ escalating fight with another criminal group, which puts his livelihood, his wife, Ros (Paula Malcomson), and his daughter Makayla (Arica Himmel) in danger.
Overall, “Parish” is a simple thriller about a man struggling with morality and past mistakes. Unfortunately, the collection falters due to its uneven narrative, unusual pacing, and peculiar dream sequences. While some of the flashbacks involving Grey’s family are touching and compelling, others are confusing. Because of this, audiences are left scrambling to know what happened to Grey’s son, Maddox (Caleb Baumann), while struggling to figure out the structure and model of the Tongais’ business and strained family dynamics. When everything finally comes together during the series’ closing episode, “A Good Man,” it feels so matter-of-fact that it’s anticlimactic.
Regardless of the actors’ competence, plot holes and uneven dialogue bury the true essence of the episodes. Although many violent and action-packed sequences are scattered throughout the series, the musical choices and montages used to paint Grey’s memories and inner psyche take away from the depth of these scenes. In fact, the narrative only begins to take shape at the end of episode 3, “Sanctuary,” when a plea from the Horse’s youngest son, Luke (Dax Rey), leaves Gray alternating between the boy’s anguish and his family’s safety. .
The gift has some intriguing parts. Sister Anne (Amanda Brugel), an old acquaintance of Grey’s who found solace in church, doesn’t get enough screen time. Uncovering her past may have given viewers a more complete picture of Grey’s past. Additionally, the collection follows new African immigrants who arrive in New Orleans and discover the protected port at the Tongais’ restaurant, Kemba. However, honest conversations about visas, work, and the trafficking of black bodies in the 21st century are not explored as fully as they should be.
Throughout its six episodes, “Parish” seems to be relegated to the passenger seat. As the show progresses, more is revealed about the life Gray once led, the true nature of the Tongais enterprise, and its connection to the New Orleans political scene. However, obvious clues and disjointed dialogue give the series a random flow that will make it difficult for the viewer to watch from the beginning. With so many stories, characters and revelations, “Parish” loses the plot, and even Esposito’s courage can’t help but feel like an impromptu journey, with no distinct vacation spot.
“Parish” premieres March 31 on AMC and AMC+.
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