‘Cruel Intentions’ Review: Bold Themes, Shallow Execution

“Cruel Intentions,” a television remake of the famous — and infamous — 1999 film of the same name, follows step-siblings Lucien Belmont (Zac Burgess) and Caroline Merteuil (Sarah Catherine Hook), chronicling their Machiavellian schemes as treasurer of the top fraternity and president of an equally powered sorority at an elite college. Caroline — adamant about getting Annie Grover (Savannah Lee Smith), the daughter of the vice president, to join her sorority — enlists her brother to convince Annie to join. The show chronicles the progression of Lucien and Caroline’s bet involving Annie while exploring the lives, relationships, and secrets of those close to them.

In the original film, Kathryn Merteuil and Sebastian Valmont — portrayed by Sarah Michelle Gellar and Ryan Phillippe — are not college students enmeshed in college Greek life, but high schoolers in New York City during their summer break. Although heavily based on the film, the show takes many creative liberties with the plot and setting. The series skillfully places the characters in a new context that allows its creators to explore new themes and expand the depth of the characters while keeping the essence and premise of the original. To that effect, the show playfully incorporates Easter eggs and callbacks. Iconic lines and shots from the original, along with some of its most memorable objects such as Sebastian’s vintage Jaguar XK14 and Kathryn’s gorgeous baroque cross necklace, reappear in this adaptation.

The series spends far more time than the movie fleshing out the lives and motivations of the side characters, delving into issues relating to teenage life and young adulthood. The characters undergo experiences that attempt to encapsulate the vulnerability of being in a new space, the difficulty of fitting in, and struggles with sexuality and parental dynamics. Although the show introduces these themes that were absent in the first film, “Cruel Intentions” ultimately fails to explore them in a profound way. It’s because of this that the show falls flat.

The allure of the original film, with its shocking and suggestive depictions of sex and interpersonal relationships, was slightly disturbing and simultaneously intriguing. It was almost Shakespearean in its narrative: dramatic, playful, and lewd. The show, however, lacks the drama and chemistry needed to make such a storyline work in serialized format. The direction of Nick Copus, Pippa Bianco, Iain B. MacDonald, and Adam Arkin is far from revolutionary, with nothing particularly interesting about the cinematography or framing.

The score is a highlight, as much of it played on the original film’s soundtrack. Equally interesting is the distinctive styling of Lucien and Caroline but, unfortunately, the other secondary characters’ wardrobe are unremarkable. The show’s strong pacing manages to maintain a sense of engagement and the show peaks from the third to the fifth episode. It’s easy to feel immersed in the lives of the characters as personas begin to crack and tensions start to rise.

Moreover, the performances of Hook and Smith serve to elevate the show’s quality. Hook does an excellent job playing into the ambivalence of her character, balancing her manipulative tendencies with her vulnerabilities and insecurities. Similarly, Smith convincingly portrays the role of a college freshman, unsure of herself in a new environment and longing for acceptance, connection, and belonging.

Despite the show’s small victories, it regrettably does not spend enough time diving into the motivations and psyches of the characters, nor does it attempt to reveal or explain the behaviors of its protagonists. While this implicit approach to character building sometimes works in favor of a piece of television or media, in this case, it worked to its detriment. The show tries to toe the line between humor and levity but ends up failing at both; it is neither distinctly funny nor profound.

“Cruel Intentions” is well-paced and passably entertaining, albeit far from unique or groundbreaking. It successfully offers a fresh take on the original film but fails to capitalize on the potential of its newly imagined premise. It’s well-suited for a weekend binge-watch, but beyond that, it leaves something to be desired. The show ends with a cliffhanger, leaving viewers wondering how the conflicts and relationships established in the first season will change in the wake of the finale. Should it return for another season, the next installment will hopefully prove more remarkable than the first.

—Staff Writer Leah M. Maathey can be reached at leah.maathey@thecrimson.com.