There are a couple of key facts that have emerged about “The Last Days of American Crime,” since it debuted on Netflix at the end of last week. One, it’s been very popular, remaining on Netflix’s posted top ten list in the U.S. ever since its debut. Also, it’s absolutely critically reviled, notching a rare 0% critics’ rating on Rotten Tomatoes, based on the first 20 reviews received.

Put me on Team Critics for this one, because the film is pretty ghastly. It’s ludicrously long, at nearly two and a half hours, and wades into extremely relevant issues of crime, policing and street violence without having much to say about any of it. And worst of all, the film is poorly acted, directed and paced, with love scenes that are bad and sex scenes that are even worse.

“The Last Days of American Crime” was directed by the French director Olivier Megaton, whose name is much cooler than any movie he’s ever made. Megaton is best known for the second and third movies in the Taken series, and you always know that you’re in good hands if there was a viral video with 2.6 million views about how ridiculous it was to use 15 shots for a six-second long sequence of Liam Neeson jumping over a fence. (First comment: “It took them 15 shots when it should have only Taken 3.”)

It’s based on a 2009 graphic novel of the same name, by Rick Remender and Greg Tocchini, and its plot plays like a poor knockoff of “The Purge” and its sequels. The gimmick is that the government has built a mind-control ray that will prevent crime, while a crew (Edgar Ramirez, Michael Pitt and Anna Brewster) has to plan a heist before the ray goes into effect.

In the meantime, there’s a lot of arguing, brooding and the occasional sex scene. But none of it adds up to much. And considering the plot touches on such fraught subjects as street violence and police brutality, it’s not exactly the sort of thing that’s going to give you a lighthearted break from the news. “Code 8,” which was a surprise hit on Netflix a couple of month ago, was a better version of the same thing.

The movie has some talented performers, especially Ramirez, from the miniseries “American Crime Story: The Assassination of Gianni Versace,” and Sharlto Copley, from “District 9.”

Pitt, largely absent from the screen in recent years, plays a rich kid psycho part that recalls the turn by Brad Pitt (no relation) in Twelve Monkeys. And just like on Boardwalk Empire, he gets stuck with an incest subplot for some reason.

The film is also full of the kind of stuff Roger Ebert used to make fun of in his Little Movie Glossary, including a long evil speech by the bad guy when he should instead be killing the hero, and red digital countdown clocks everywhere.

An underreported story of late is that it appears that there’s a disconnect between critics and Netflix’s top ten list, as “Space Force,” the Steve Carell series that was savaged when it debuted last month, has been near the #1 spot most of the time since. And amid the George Floyd protests, Netflix viewers have been flocking to… “The Help,” which is no critic’s idea of the greatest cinematic examination of American race relations.

Those looking for something to watch on Netflix this week would be advised to pick something shorter—and better—than “Last Days of American Crime.”

Stephen Silver, a technology writer for The National Interest, is a journalist, essayist and film critic, who is also a contributor to Philly Voice, Philadelphia Weekly, the Jewish Telegraphic Agency, Living Life Fearless, Backstage magazine, Broad Street Review and Splice Today. The co-founder of the Philadelphia Film Critics Circle, Stephen lives in suburban Philadelphia with his wife and two sons. Follow him on Twitter at @StephenSilver.

Image: Reuters