Review: “The Staircase” has more twists than the true-crime doc it’s based on
discarded by de Lestrade, who himself features as a character. Colin Firth and Toni Collette star as empty-nesters Michael and Kathleen, whose blended family of seven includes three children in college when the Peterson matriarch is found dead two weeks before Christmas 2001. Frequent jumps in time help humanize Kathleen, who’s embodied with an earthy warmth and reflexive fair-mindedness by Collette.
The dozens of cuts and wounds discovered on Kathleen’s body — but especially the seven deep lacerations on her scalp — persuade her sisters , as well as her sole biological daughter, Caitlin , that Michael is responsible for her death. For his part, Michael betrays little emotion when he orders his other daughters to cut Caitlin out of their lives for the sake of his trial — and Firth is fantastic at revealing how quickly his character can flit between pragmatism and casual cruelty.
Where Michael is sometimes thoughtlessly callous, his lawyer, David Rudolf , is oily and calculating, instructing one of the loyal daughters, for instance, to change her hair color for the sake of optics. These details don’t quite cohere into a whole, and the sons , especially, are thinly drawn.
“The Staircase” does limit some of its own potential by orbiting the docuseries so closely. Michael is convinced that his anti-police columns in the local newspaper have biased law enforcement against him, and that’s a narrative strand left frustratingly dangling in the previewed chapters. But the series’ greatest letdown is its minimal sense of the setting that so suffused the docuseries.
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