“Monsters: The Lyle and Erik Menendez Story” presents a dark retelling of a notorious crime. Created by Ryan Murphy and Ian Brennan, this series is the second installment in their “Monster” anthology on Netflix. It focuses on brothers Lyle, portrayed by Nicholas Alexander Chavez, and Erik, played by Cooper Koch, who are depicted as having suffered emotional, physical, and sexual abuse from their parents, José, portrayed by Javier Bardem, and Mary Louise “Kitty,” played by Chloë Sevigny. This tumultuous past ultimately leads the brothers to commit the shocking act of parricide.
The series begins in October 1989, shortly after the deaths of Kitty and José, as the brothers travel to their parents’ memorial service. The initial scenes effectively introduce their contrasting personalities: Lyle appears composed while Erik is overwhelmed with emotion. The narrative then shifts back and forth in time, exposing the horrors within the Menendez home that pushed the siblings to such a drastic action. Bardem’s portrayal of José is chilling, while Sevigny’s character lacks compassion, creating a disturbing environment for the brothers, who embody both privilege and victimhood.
The graphic depiction of the murders raises the stakes as the brothers initially evade suspicion due to police errors. In the aftermath, Erik, plagued by guilt and suicidal thoughts, confesses to his therapist Dr. Jerome Oziel, leading to his and Lyle’s eventual arrest. Leslie Grossman stands out as Dr. Oziel’s mistress, who becomes key to the brothers’ legal troubles, alongside defense attorney Leslie Abramson, played by Ari Graynor, who faces misogyny within the legal system.
While the first half of “Menendez” is compelling, Episode 5, titled “The Hurt Man,” stands out, featuring Erik’s candid discussion about the abuse he faced. This episode is particularly well-executed, utilizing a single long take to emphasize his emotional turmoil. Unfortunately, the series struggles to maintain its momentum after this episode, shifting to a more erratic tone that feels unfocused and drawn out.
Later episodes, including “Don’t Dream It’s Over,” delve into José and Kitty’s troubled marriage and their abusive backgrounds. Although Bardem and Sevigny showcase their talents, the episode feels unnecessary and detracts from the overarching narrative. Subsequent episodes also feel laborious as they explore the perspectives of various characters, including Vanity Fair reporter Dominick Dunne, who becomes obsessed with the case. While Nathan Lane’s portrayal is strong, it doesn’t significantly enhance the story.
The series dramatizes the brothers’ two trials that span seven years, but the courtroom scenes often feel tedious due to their overwhelming number of witnesses and legal complexities. The setting of Los Angeles during the late ’80s and early ’90s is rich with historical significance, including references to events like the Rodney King beating and O.J. Simpson’s trial. However, the series tends to force these connections rather than weaving them seamlessly into the narrative.
Despite the intense themes and compelling performances, “Monsters: The Lyle and Erik Menendez Story” struggles to find a cohesive identity, ultimately becoming a retelling of gruesome crimes and personal traumas. This raises a broader question about society’s fascination with violent figures and the implications of glorifying such stories.
“Monsters: The Lyle and Erik Menendez Story” is currently streaming on Netflix.