Hitting the air an only a short time after Lifetime scored an evaluations bull’s-eye with extravagance artistic transformation “Blossoms in the Attic,” spin-off “Petals on the Wind” positively closely resembles a surge work, yet by the by enhances its archetype in essentially every manner. Where “Blossoms” was airless and po-confronted, “Petals” is hyper and frothy, speeding through a mother lode of unpleasant unexpected developments like CliffsNotes on break. Nobody will confuse this with high workmanship, yet as charmingly terrible TV goes, “Petals” is more guileful than it should be. With less name acknowledgment than “Blossoms,” Lifetime could see a dunk in the appraisals for the Memorial Day debut, yet plans to proceed with the establishment with two additional transformations should walk forward audaciously.
Getting 10 years after the enduring Dollanganger youngsters — Cathy (Rose McIver), Christopher (Wyatt Nash) and Carrie (Bailey Buntain) — got away from the upper room where they were detained by fundamentalist grandma Olivia (Ellen Burstyn) and dangerous mother Corinne (Heather Graham), “Petals” opens at the memorial service of the children’s non-permanent dad (a huge character in V.C. Andrews’ tale, dropped here in one of a few judicious adjustments).
From that point the kin are dissipated like, all things considered, petals: Self-had Cathy heads to New York to seek after her fantasy about turning into a prima ballet dancer and succumbs to stormy associate Julien (Will Kemp), her sibling sweetheart Christopher examines medication and draws in the consideration of sweet Southerner Sarah (Whitney Hoy), and oddball Carrie battles to conquer her timidity at an all-young ladies school prior to meeting lovesick clergyman Alex (Ross Philips).
Abusive behavior at home, pregnancy, tormenting, engagement propositions, an unsuccessful labor, home redesign, a deadly fender bender and self destruction by prepared products follow — not really in a specific order — as returning screenwriter Kayla Alpert consolidates exactly 450 pages of sensational absurdity into approximately an hour and a half of screen time (sans advertisements). However, the establishment’s genuine distinguishing mark is the prohibited sentiment among Cathy and Christopher, which started in the storage room and blooms here into an all out tormented romantic tale.
By substituting critical time between Cathy, Christopher, Carrie and Corinne, the ADD narrating in “Petals” guarantees there will never be a dull second — or a reasonable one either — and the occasions held from Andrews’ tale are sufficiently crazy to make the methodology pay off.
It additionally helps that McIver, destined to be seen featuring in the CW’s new arrangement “iZombie,” arises as a charming and shockingly astute driving woman. This is plot-and not character-driven material, making it close to difficult to understand what sort of individual Cathy is. In any case, McIver figures out how to carry invite subtlety to a job that effectively could’ve become a standard one-note drama champion.
Capable co-star Buntain, of the late and much deplored ABC Family dramedy “Bunheads,” utilizes her humble edge to incredible benefit, accentuating the distinction she feels from her more established, randier kin. Returning cast MVP Burstyn capitalizes on the little she’s given, conveying shriveling put-downs and self indulging asides like a chief, notwithstanding her character’s critically ill actual appearance.
While the men don’t charge too, Kemp in any event makes up for the measure of landscape he bites as an extreme drunk because of his extensive ability in the expressive dance groupings (while McIver’s moving is really clearly performed by a twofold). There’s such a lot of expressive dance in the principal a large portion of that watchers may believe they’re watching Lifetime’s response to “Dark Swan,” yet “Petals” segues into a more customary vengeance story once Cathy directs her concentration toward Corinne’s prize spouse Bart (“Orphan Black” co-star Dylan Bruce, repeating his small “Blossoms” job with just marginally more significance however significantly more uncovered skin).
Chief Karen Moncrieff, who has expert indies “Blue Car” and “The Dead Girl” on her resume, is basically slumming it here, yet pervades the film with more visual surface and air than anticipated from a quick in and out TV film. Her directing hand reaches out to sharp commitments from d.p. Anastas Michos and some decision ’70s closet pieces from outfit architect Mona May.
Regardless of whether this innovative rise proceeds with arranged threequel “If There Be Thorns,” “Petals” demonstrates it’s anything but a decent move to get the Dollangangers out of the upper room and into nature.