Presumed Innocent: A Slick Yet Soulless Legal Thriller That Fails to Impress

In the world of entertainment, remakes often walk a fine line between homage and redundancy. When the announcement of the miniseries adaptation of Scott Turow‘s bestselling legal thriller, “Presumed Innocent,” hit the airwaves, skepticism abounded. After all, hadn’t we seen Harrison Ford‘s gravelly performance just a few years back? As it turns out, it’s been more than three decades since Ford graced the screen in this role, leaving a new generation unfamiliar with the mystery at hand.

Yet, even with the passage of time, one might question the necessity of revisiting old material in a genre already inundated with similar narratives. With “Presumed Innocent,” the prolific David E. Kelley takes the helm, steering us through familiar territory of domestic strife and legal intrigue, set against the backdrop of affluent American lives suddenly disrupted by violence.

At the center of this retelling is Jake Gyllenhaal, in his maiden voyage into television as Rusty Sabich, a dynamic prosecutor accused of his colleague’s murder. While Gyllenhaal delivers a commendable performance, one can’t help but wonder if this safe choice belies a lack of creative risk-taking.

The plot unfolds predictably, with Rusty navigating the fallout of his affair with the victim, Carolyn Polhemus (portrayed by Renate Reinsve), while defending his innocence and salvaging his fractured family life. As tensions rise between Rusty and his rival, Tommy Molto (played by Peter Sarsgaard), viewers are presented with a buffet of twists and turns, just enough to keep them invested, albeit superficially.

While the performances are solid across the board, the series suffers from a certain slickness that pervades every frame, leaving viewers emotionally disconnected. Despite attempts to flesh out the female characters, particularly Rusty’s wife Barbara (Ruth Negga), the narrative ultimately falls short, relegating them to mere plot devices rather than fully realized individuals.

Barbara’s expanded role offers glimpses of depth and vulnerability, but it’s not enough to offset the series’ inherent shortcomings. Meanwhile, Carolyn remains a shadowy figure, existing primarily in flashback sequences and crime scene photos—a disappointing continuation of the trend of sidelining female characters in favor of male-driven narratives.

As the credits roll on “Presumed Innocent,” one can’t help but hope that Gyllenhaal’s foray into television will lead to more daring projects in the future, akin to his acclaimed film roles in “Donnie Darko” and “Nightcrawler.” Likewise, one can only dream of a day when producers prioritize fresh storytelling over recycling tired tropes, particularly those that perpetuate harmful stereotypes.

In the interim, viewers are left to ponder the series’ missed opportunities and wonder if, perhaps, there’s more to be found beyond the glossy veneer of familiar narratives. Until then, “Presumed Innocent” serves as a reminder of the need for innovation in an industry too often content to rest on its laurels.

“Presumed Innocent” is now streaming on Apple TV+, inviting audiences to decide for themselves whether it’s a worthy addition to the canon of legal thrillers or merely a forgettable footnote in television history.

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