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People may grow, but they rarely change. When we back ourselves into a corner or find ourselves in impossible situations, it’s human nature to go back to what we’ve always known. Basic instincts kick in and we often find ourselves walking down the same paths we swore we would never return to. In AMC‘s”Parish”, an adaptation of BBC One’s “The Driver”, the past of Gracián “Gray” Parish (an always accurate Giancarlo Esposito) comes thundering towards your present. Barely a year after the tragic death of his teenage son and facing a difficult financial situation, an old colleague, Colin (Skeet Ulrich), makes Gray an offer he can’t refuse. What should be a unique job and pay becomes a tumultuous alliance with the volatile Tongai family that puts Gray and his family in danger. With Esposito at the helm, “Parish” is positioned as an exciting crime drama. Unfortunately, predictable plots and strange stylistic choices make for a plodding narrative that might have been better as a television film adaptation.
The series begins in New Orleans in the middle of a chaotic chase involving several police cars. Going back in time to a week earlier, the audience discovers how Gray, a middle-aged car service owner, became involved in such a harrowing escape. Consumed by grief, dejected 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 discretion and his particular skill set, the trio aren’t all that interested in letting Gray go after just one successful job. As a result, Gray finds himself in the middle of a war brewing in Tonga with another criminal organization, jeopardizing his livelihood, that of his wife, Ros (Paula Malcomson), and his daughter Makayla. (Arica Himmel).
At first glance, “Parish” is a straightforward thriller about a man struggling with morality and the mistakes of his past. Unfortunately, the series fails due to its choppy narrative, strange pacing, and quirky dream sequences. While some of the flashbacks involving Gray’s family are touching and compelling, others are confusing. As a result, the audience is left struggling to understand what happened to Gray’s son, Maddox (Caleb Baumann), while struggling to uncover the structure and model of the Tongai business and the tense family dynamic. When everything finally falls into place during the series’ final episode, “A Good Man,” it feels so convenient it’s anticlimactic.
Despite the competence of the actors, plot holes and choppy dialogue bury the true essence of the episodes. Although there are many violent and action-packed sequences throughout the series, the musical selections and montages used to portray Gray’s memories and inner psyche rob these scenes of intensity. In fact, the narrative doesn’t begin to take shape until the end of Episode 3, “Sanctuary,” when a plea from The Horse’s young son, Luke (Dax Rey), leaves Gray alternating between the boy’s anguish and the safety of his own family.
The show has some intriguing elements. Sister Anne (Amanda Brugel), an old acquaintance of Gray’s who has found solace in the church, doesn’t get enough screen time. Analyzing her background could have given viewers a more complete view of Gray’s past. Additionally, the series follows new African immigrants who arrive in New Orleans and find safe refuge at the Tongai’s Kemba restaurant. However, honest conversations about visas, work, and the trafficking of black bodies in the 21st century are not explored as thoroughly as they should be.
Throughout its six episodes, “Parish” feels relegated to the passenger seat. As the show progresses, more is revealed about the life Gray once led, the true nature of Tongai’s business, and his connection to the New Orleans political scene. However, the obvious clues and disjointed dialogue give the series a messy flow that will make it difficult for viewers to see it through to the end. With so many stories, characters and revelations, “Parish” loses its plot, and even Esposito’s skill can’t help but make it feel like an improvised journey with no defined destination.
“Parish” premieres March 31 on AMC and AMC+.
