Despite the impressive credits for creative duo William Davies and William Osborne ("Twins") and director Mark Sobel (pilot for police drama "The Commish") , "Bermuda Grace" is short on suspense, originality and zip.
Despite the impressive credits for creative duo William Davies and William Osborne (“Twins”) and director Mark Sobel (pilot for police drama “The Commish”) , “Bermuda Grace” is short on suspense, originality and zip.
William Sadler is Philadelphia detective Sam Grace, a walking, talking cop cliche: divorced, a drinker, on the brink.
When a showgirl ends up dead in a hotel, Grace follows the trail to Bermuda, where he is teamed up with Trevor Watkins (David Harewood), another cop cliche: an overly enthusiastic tyro who speaks in slang from American TV and films, eager to act out the police fantasies he has been fed.
The odd pairing’s resulting humor, such as it is, is predictable, as is most of the plot — save for a Nazi-treasure hunt.
Sadler has some good moments, but mostly he seems lethargic and slightly embarrassed. Harewood, on the other hand, gives 110%, but the two don’t work as an oddball team. Instead they seem like actors in two different movies, thanks to Sobel’s loose direction.
Given that the movie ends with Sam leaving Philly, it looks like NBC may be thinking series here. Possibilities seem limited; there are only so many Nazi treasures preserved under the ocean, and placid, peaceful Bermuda, where cops don’t even “pack heat,” to quote Watkins, doesn’t offer much in the way of crime situations.
The movie doesn’t even have the sweeping trashiness of web’s earlier island offering, “Trade Winds.”
Terence Cole’s camera doesn’t do justice to Bermuda’s scenery, in terms of either beauty or variety. Production values are not great, though the boats used for the chase scenes will probably appeal to the power and motor yacht crew.