There has been so much talk of the “big twist” in No Good Deed that when it actually happened in the film, I missed it. I figured this was the “pre-twist”—the twist that would lead to the big twist. No such luck.
Actually, what the filmmakers are calling a twist, I’m calling the barest of explanations for the plot. Tomato, tomato.
Here’s how it starts: Colin (Idris Elba), a psychopath, escapes from a prison transport vehicle. We know he’s a psychopath right away because he lies with chops-licking charm to a parole board and then kills several people, including the mild-mannered van driver who has shown him kindness.
In my mind, this was the film’s first big mistake. Because Colin then shows up, in the pouring rain, at the home of Terri (Tareji P. Henson), once a powerful prosecutor, now a stay-at-home mom feeling restless and unfulfilled. He tells her that he crashed his car (neglecting to tell her he did it on purpose) and she lets him in while he waits for the tow truck. They start to flirt. Now maybe, if we weren’t sure who Colin was, it might add some complexity and mystery to these scenes. Especially since Terri hasn’t been getting along well with her husband (Henry Simmons) and she’s feeling a bit unsexy and part of the whole “coming in from the rain” scenario involves Colin taking off his shirt, as Terri’s eyes widen with lust. (Right there with ya, Terri).
But nope. Colin is bad to the bone. We already know this and soon enough, Terri will too. (But not before Terri’s best friend Meg comes over to hit on Colin and sacrifice herself to the film trope gods.) As for why Colin doesn’t just kill Terri right away, well, that’s the twist, I guess. Sort of.
No Good Deed is filled with Terri doing lots of stupid things—not locking doors, finding super obvious hiding places, not signaling the cops when she has her chance—that make you facepalm multiple times (or scream in collective glee with your fellow filmgoers, if you’re feeling charitable). To make things worse, Terri has two small children: a little girl, around 5, and an infant. There’s something particularly cruel about putting an infant in danger.
But hey, you went to see a woman-in-peril film and that’s exactly what you got. Of course, the talented Henson and Elba deserve better, but that’s the real twist: They’re the only reason the film is watchable.