A horrific crime. An infamous suspect. An unrelenting prospector and his search for the truth. Or not. I mean, technically most of the above statements could be used to describe Lizzie Borden Took an Ax, but none of them accurately captures the ninety-one minute TV movie.
There is some time spent on the crime. But Stephen Kay’s insipid teleplay already assumes Lizzie Borden’s guilt. It’s not about how or why Borden (Christina Ricci in a vacant performance) might have done the deed, but it’s also not much about how Ricci “got away with it.” There’s a trial sequence. It’s the worst part of the movie, which is saying a lot. Maybe because you finally get to see unrelenting prospector Gregg Henry come up against Kay’s bad writing. The writing lays waste to Henry, who ought to have some phenomenal part and instead doesn’t. According to the film, he doesn’t have much interest in truth. He’s justice-minded, sure, but without any convincing reasons for his passion. Once it’s clear Henry’s not getting any more character or any better scenes, he fades into the background.
Or it’s Steve Cosens’s lousy interior photography at the trial. Henry fades into that drab. But he could’ve had a good part. If the writing were better, if the direction weren’t weak. Director Gomez actually shows some interest at the beginning, when they’re recounting the murders. It’s not effect interest–the way he’ll frame a static shot to bring out the period details–but it’s an interest. It’s better than when he flubs a jump scare. Once he flubs the jump scare, it’s even more all over for Lizzie Borden. There’s just nothing to take seriously about it.
Ricci doesn’t have a character to play. Kay and Gomez have so little interest in Borden as a protagonist, they’re unwilling to commit to any characterization. At least Clea DuVall, as Ricci’s sister, gets to have emotional breakdowns. Ricci isn’t even allowed affect. No personality, no affect. Gomez’s direction is really bad. It’s goofy TV movie stuff a lot of the time, but it’s a goofy TV movie script so what else is he going to do with it, but Gomez doesn’t even help the actors. It’s so bad.
Also contributing to the endless depths of bad is the soundtrack. Lizzie Borden, set in 1892 New Jersey, has a hip, modern, country-twinged white man blues rock soundtrack. No women, however. The trappings of Ricci’s nineteenth century female are best exemplified through crappy songs. That anachronism is the only one in the movie. Unless you count Kay’s unbelievable court proceedings as anachronistic.
The guys have better parts. Shawn Doyle and Billy Campbell get through Lizzie Borden unscathed. They don’t try to hard, they phone it in, but they phone it in professionally. The parts are also better because they’re infinitely thin. Campbell’s the family lawyer who’s now defending Ricci. You’d think he might have some reaction to it. But no.
Oh. Right. The trial. The trial is terrible. The writing’s terrible, the direction is terrible. Gomez can’t get any intensity out of the proceedings, partially because Kay’s a bad writer, but also because there’s nothing to be intense about. The case hasn’t been made interesting. The characters haven’t been made interesting. It’s just awful stuff.
Stephen McHattie is the father. Historically, he seems like he was a bastard. Kay and Gomez make McHattie a bit of a grumbler, but he’s no bastard. Ricci might be a succubus though. It’s discomforting to what degree Gomez and Kay refuse to empathize with or even consider Ricci’s reality.
There are some terrible small supporting performances but it’s hard to blame the cast. It’s all Gomez and Kay.