“Monsters: The Lyle and Erik Menendez Story,” now streaming on Netflix, has already sparked controversy, with the Menendez brothers themselves claiming inaccuracies and creative liberties that they argue do not reflect the truth.
Co-written by Ryan Murphy, Ian Brennan, David McMillan, Todd Kubrak, and Reilly Smith, and executive produced by Murphy and others, this limited series marks their second “monster” project for Netflix. It follows brothers Lyle (Nicholas Alexander Chavez) and Erik (Cooper Koch), who say that they were victims of severe physical, emotional, and sexual abuse at the hands of their father, José (Javier Bardem), and mother, Kitty (Chloë Sevigny). They contend that this abuse drove them to murder their parents.
There is an unsettling quality to “Monsters: The Lyle and Erik Menendez Story,” extending beyond its factual foundation. The series opens in October 1989, just two months after the deaths of Kitty and José, showing the brothers riding in a limousine to their memorial service. Lyle presents as cold and detached, while Erik is on the verge of emotional collapse, sobbing uncontrollably. This stark contrast sets the stage for understanding their complex characters.
The narrative unfolds in a disjointed manner, jumping back and forth through time as it reveals the traumatic events that shaped the brothers’ lives. José is portrayed as utterly terrifying, while Kitty appears emotionally vacant — a shell of a person who has long since surrendered to despair.
As for Erik and Lyle, the affluent brothers, there is a noticeable lack of empathy or compassion elicited from the audience. Perhaps this is intentional; I found myself unable to connect with them on any meaningful level.
The graphic depiction of their parents’ murders is not merely artistic license; it is a grim reality. The series also highlights the shortcomings of law enforcement in handling the case, initially considering it a mafia hit. However, Erik ultimately confesses to his therapist, Dr. Jerome Oziel (Dallas Roberts), which leads to their eventual confinement.
Several intriguing characters populate the brothers’ lives, including Judalon Smyth (Leslie Grossman), Dr. Oziel’s former patient and mistress, who played a pivotal role in their arrest. Defense attorney Leslie Abramson (Ari Graynor) delivers a nuanced performance that provides insight into the complexities of the legal system.
The series consists of five episodes, with the first half maintaining enough momentum to keep viewers engaged. Chapter five, “The Hurt Man,” features Erik discussing the abuse he endured at his father’s hands; this episode warrants a trigger warning due to its emotional intensity.
Episode six, “Don’t Dream It’s Over,” delves into José and Kitty’s relationship, revealing their own backgrounds of abuse. However, it becomes visually overwhelming as it jumps between flashbacks from earlier episodes.
Ultimately, while there are commendable performances throughout, “Monsters: The Lyle and Erik Menendez Story” fails from act one, scene one. By presenting Erik and Lyle as monsters from the outset, it never allows them to evolve beyond that portrayal — and that’s how they remain throughout the series.
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