I have a crush on Paget Brewster. I like her face. She has gorgeous eyes and glorious lips. I like her voice. It's sonorous and sexy. She has a great figure. It is a joy just watching her tall frame perambulating across a set. Plus, she is a good actor with excellent timing. Otherwise I would not bother wasting two hours on something as silly as this.

I won't spoil it for those of you who haven't seen it yet. But be warned! You will be disappointed by the implausible plot twist at the end. I don't understand why they went so far afield when they could have given it a perfectly appropriate "B movie" ending. As it is, they stitched on something so contrived that it turned the whole effort into a wretched mess.

Good ingredients wasted.

It's an amazing effort by cast and crew.

The story was a first time effort; Good -if hackneyed- plot, awful execution. The screenplay was a first time effort. Passable dialogue, awful everything else! There was a third writer collaborating but he obviously asked to be uncredited. I've never written anything for public perusal and I wouldn't want people thinking I wrote the scenario either.

It's really too bad. For a chick channel production, the thing wasn't bad, especially the acting was competent, in fact saved it from being turned off. But the pointers were so obvious that the heroine looked like an idiot for not running straight to the state Attorney General after a couple days looking at the facts.

But that would have ruined the story wouldn't it. The second problem was the heroine continuing to go alone into what were perilous situations when it was obvious the killer was a psychopath and didn't seem to care whether or not he was caught.

"Lost Behind Bars" features as the protagonist a liberally inclined filmmaker visiting tiny Hillsdale, Oregon, as part of a film documentary on death-row inmates. A native of New York, Lauren Wilde graduated in film studies from NYU. Now, she will add to her resume the credit of private investigator as she suspects that Kevin Reese was framed for the murder an entire Hillsdale family and must find the evidence to exonerate him.

There is no doubt that Ms. Wilde is a woke filmmaker. But the more important question is whether or not the makers of "Lost Behind Bars" are also driven to espouse leftist perspectives in this ninety-minute melodrama. And the answer is a resounding yes.

The police are depicted in the film as incompetent, corrupt, and even guilty of felony offenses. The liberally minded political system of Oregon has bent over backwards for Ms. Wilde to have complete access to the crooked Hillsdale cops, homicide records, and easy access to a convicted murderer in prison. City slickers like Ms. Wilde, who hails from Albany, the capital of New York, are deemed superior to the rubes in the country like the rednecks depicted in Hillsdale.

Structurally, the film foundered with far too many flashback scenes, wherein plot details could have been summarized, as opposed to reliving the mundane experiences. It appeared as though the filmmakers were angling for a noirish style, but most of the moody scenes seemed routine, such as the office of the sleazy lawyer who made such a mess of defending Kevin Reese. When Ms. Wilde visits the office of the attorney McAffrey, the dark lighting and eerie score were all-too predictable.

More noirish elements of lust and greed figured in the convoluted narrative of "Lost Behind Bars." But the most preposterous choice was in the film's surprise ending. It defied all logic that for personal financial gain, the perpetrator would butcher an entire family, then go on a killing spree to cover up the evidence. Even the performers seemed to struggle in the final ten minutes to deliver their woke lines much like a news anchor at MSNBC.