‘Good American Family’ Review: The Twisted, Unsettling Story of Natalia Grace and the betrayal that followed

Good American Family, a limited series from Hulu inspired by the case, keeps going and dives headfirst into murky waters surrounding identity, trust, and manipulation themes.

Few stories in recent history have been as perplexing—and as polarizing—as that of Natalia Grace. The real-life tale of the Ukrainian orphan whose adoptive parents claim she is a grown-up pretending to be a child has spawned relentless media coverage, investigative documentaries, and public speculation.

Does Good American Family successfully untie the knotted strand of controversy or simply add another layer of confusion to an already complex story?

A story that cannot be defined

Beyond merely a crime drama, the essence of Good American Family defies categorization as it embodies multiple artistic features: the psychological thriller, courtroom procedural, and deeply unsettling domestic horror.

The show follows American couple Kristine (Ellen Pompeo) and Michael Barnett (Mark Duplass), who adopt Natalia Grace (Imogen Faith Reid), believing her to be a six-year-old girl with a very rare type of dwarfism.

This goodwill initiative quickly evolves into uncontrolled apprehension as the Barnetts begin to unravel Natalia’s real age, which leads them into a disturbing legal fight where the victim and perpetrator become indistinguishable.

The beauty of the show lies in its ability to blur the lines of narrative and frame its story from multiple angles which require the audience to multifactorially change their perception towards the show. You might believe Kristine is a deranged mother, but then there’s a chance you would consider Natalia to be the genius behind one of the most famous cases of deception.

This uncertainty encapsulates the protagonists of the series, which enables them to propel themselves, while at the same time serving as an Achilles' heel, preventing the show from providing any lucid emotional payoff.

Ellen Pompeo’s comeback with the Good American Family: A performance to remember

Portraying Kristine Barnett in the show “Captive Audience,” Ellen Pompeo gave a chillingly brilliant performance that is sure to be a highlight of her career. Unlike the cool, collected doctor known to her fans, Kristine is dangerously desperate and dangerously close to losing her mind.

Pompeo’s raw rendition leaves the viewer shocked at the reality of a mother feeling so hopelessly betrayed by the very systems in place to protect her.

Mark's Duplass' Michael Barnett performance was more nuanced; a father who wants to be loyal to his wife, but becomes more confused about her eccentric claims.

While his performance is commendable, he does not capture the true essence of the story, which is why many viewers feel unsatisfied with Michael. He is a sympathetic character and unfortunately, devoid of much depth due to restrictions placed on his character.

We now have Imogen Faith Reid as Natalia Grace. We always knew her casting was going to be a challenge since the premiss relies solely on the characters' scope of age and motives which is vague.

Reid’s performance is a constant oscillation between a menacing and innocent persona, which makes her intentions difficult to interpret. Certain scenes imply an injured child left alone by her supposed guardians; other scenes, however, point towards something much darker waiting to emerge.

The cinematic approach: A slow-burning descent into madness

Andrea Arnold (Fish Tank, American Honey) directs with an unnerving, enveloping tension that conveys the Barnett family’s gradual collapse. The majority of the series occurs in cluttered, dimly-lit interiors, showcasing the psychological confinement experienced by all parties.

The close and personal camerawork emphasizes intimacy to an uncomfortable degree—frequently fixating on Natalia’s blank face and Kristine’s frantic eyes.

However, this approach to pacing can be problematic. While there is tension in the gradual reveal of events, certain parts of the series are repetitively mundane, particularly in the courtroom, where there seems to be more focus on obfuscating the outcome than actually presenting meaningful information.

A flawed but fascinating take on a real-life mystery

Good American Family has no simple solutions, and that might be its strongest point.* It makes the audience confront their own prejudices, think about how easily people can be manipulated, and ultimately whether the truth even matters when it feels like reality is a fictitious performance.

It invites us to grapple with our own biases, to ruminate on the ease with which public perception can be shaped, and to wonder whether truth even matters in a world where reality feels like a tightly-scripted performance.

That said, the show’s unwillingness to take a strong position on what happened might leave some viewers annoyed. The final episode, instead of offering a satisfying resolution, embraces ambiguity, ending on a note that leaves us with more unanswered questions than it does with answers. Whether this is an act of brilliance or a narrative cheat code is entirely subjective.

Final verdict: Should you watch it?

If you’re a fan of true crime adaptations that mistrust resolution in favor of complication, Good American Family is a maddeningly worthy watch, that settles in for a long stay after its final credits pass. But if you’re looking for a comprehensive retelling of the Natalia Grace story, you might be disappointed.