Lifetime movies are often a guilty pleasure, and when you stumble upon one that promises “true crime,” an “evil basement,” and Kirstie Alley, you know you’re in for a potentially wild ride. “Family Sins” seemed to tick all these boxes, promising a dark exploration into the underbelly of family secrets. But does this movie deliver more than just shock value, and what does it truly say about “family sins”?
The film opens with a seemingly idyllic family photoshoot, an image immediately juxtaposed with the darkness that unfolds. This opening scene feels reminiscent of “Capturing the Friedmans,” a documentary that also explored the disturbing secrets hidden within a family facade. We are quickly introduced to Brenda Geck, played by Kirstie Alley, celebrating Mother’s Day with her large family, a mix of biological and foster children. From the outset, there’s an unsettling atmosphere. The children are portrayed as strange and unsettling: one a stereotypical “meathead,” another a withdrawn, fragile girl named Marie, who seems burdened and protective of a younger boy. The dialogue and interactions are loaded with heavy-handed foreshadowing, particularly when Marie is highlighted as the only child who didn’t bring a gift, setting her apart and hinting at deeper issues within this family dynamic.
As the story progresses, we learn Marie has escaped, taking her younger brother with her, desperately seeking someone to believe her story of abuse and horror within the Geck household. Her pleas are initially dismissed, a common trope in Lifetime films where authority figures are often depicted as inept or uncaring, failing to protect those in need. Through flashbacks, the film unveils the disturbing reality of Marie’s childhood. Brenda Geck is revealed as a manipulative and abusive matriarch who teaches her children criminal behavior, from shoplifting to arson. This descent into criminality is presented as a twisted form of family bonding, showcasing the deeply ingrained “family sins” that are passed down through generations.
The most disturbing aspect of “Family Sins” is the storyline of Nadine, a mentally handicapped woman taken in by the Gecks under the guise of care. Instead, Nadine is enslaved in the Geck’s basement, subjected to horrific abuse, torture, and sexual assault. Her daughter, Marie, grows up witnessing and experiencing this nightmare, eventually becoming a victim herself. The film graphically depicts the exploitation and dehumanization of Nadine, highlighting the monstrous nature of the “family sins” committed within the Geck household. The casual cruelty and lack of remorse displayed by Brenda and her sons are particularly chilling, painting a picture of a family completely devoid of empathy and morality.
When Marie finally finds a sympathetic ear in a young District Attorney, the wheels of justice begin to turn. A raid on the Geck house exposes Nadine’s captivity, leading to arrests and the unraveling of the Geck family’s criminal enterprise. The film touches upon themes of societal complicity and disbelief, as the community initially refuses to believe Marie’s accusations against the seemingly respectable Geck family. This underscores how “family sins” can be hidden behind a facade of normalcy, allowing abuse to persist unchecked.
The ensuing trial becomes the climax of the film. Testimonies are given, truths are revealed, and Brenda Geck, despite her outward show of composure, is ultimately brought to justice. While the men in the family receive prison sentences, the film emphasizes the judge’s satisfaction in sentencing Brenda, highlighting her role as the architect of these “family sins.” Marie finds vindication and is reunited with her mother, Nadine, in a somewhat saccharine ending that attempts to offer closure after the harrowing events.
Awesomeness: 5/10
“Family Sins” certainly delivers on the camp and shock value often associated with Lifetime true crime movies. The production quality is decent, and Kirstie Alley’s performance, while at times over-the-top, is undeniably captivating. However, the film’s attempt to balance camp with incredibly disturbing themes is problematic. The gratuitous depiction of abuse, particularly the sexual violence and torture, feels exploitative rather than genuinely impactful. The attempt to elicit sympathy for victims while simultaneously sensationalizing their suffering creates a deeply uncomfortable viewing experience. Giving “awesomeness” points feels inappropriate when considering the film’s subject matter.
Star Power: 6/10
Kirstie Alley’s presence undoubtedly elevates the film’s profile. Her name recognition and willingness to embrace the role of a villainous matriarch are significant draws. The rest of the cast is competent, filled with recognizable faces from various television shows, adding a sense of familiarity even if they don’t bring major star power.
Lifetimeliness: 10/10
In terms of embodying the quintessential Lifetime movie tropes, “Family Sins” is a resounding success. It ticks all the boxes: motherhood gone wrong, child abuse, true crime inspiration (however loosely), women in peril, and a healthy dose of social services skepticism. It’s a checklist of Lifetime movie hallmarks, making it undeniably “Lifetime-y” even if its execution is deeply flawed.
Overall: 21/30 (or 3.5/5 stars)
“Family Sins” is a disturbing and often unsettling watch. It’s riveting in its trainwreck appeal, and it certainly delivers on the promise of dark secrets and twisted family dynamics. However, its exploitative handling of sensitive subject matter and uneven tone make it a difficult film to wholeheartedly recommend. While it might satisfy a morbid curiosity for true crime and Lifetime movie aficionados, viewers should be prepared for a viewing experience that is more gross than genuinely insightful or entertaining. Watch it once for the sheer spectacle, but be warned, the “family sins” depicted in this movie are truly depraved and leave a lingering sense of unease.
