Monsters: The Erik and Lyle… review: Ryan Murphy show is lacklustre, disappointing

Monsters: The Erik and Lyle Menendez Story – the second season of Ryan Murphy’s “Monsters” anthology series on Netflix – takes a real-life crime story and tries to replicate the same success as Monster: The Jeffrey Dahmer Story. Unfortunately, the series falls flat, not earning for its lacklustre storytelling, bloated pacing, and limited emotional depth.
While the acting performances do stand out, particularly Javier Bardem as Jose Menendez and Cooper Koch as Erik Menendez, it’s simply not enough to redeem what ends up being a forgettable viewing experience.
The case of Erik and Lyle Menendez centres on the 1989 murders of their parents, Jose and Kitty Menendez, in their Beverly Hills mansion. The brothers shot their parents in cold blood, initially claiming the murders were financially motivated, with the aim of inheriting their family fortune. However, during the trial, they revealed a much darker narrative, alleging they had endured years of emotional, physical, and sexual abuse at the hands of their father.
These claims became the core of their defence, arguing that the murders were an act of desperation and self-preservation. Despite this, in 1996, both brothers were convicted of first-degree murder and sentenced to life imprisonment without the possibility of parole, a sentence they are still serving today. The case remains one of the most controversial and discussed family crime cases in American history.
The performances are undoubtedly the strongest aspect of the show. Nicholas Alexander Chavez as Lyle and Cooper Koch as Erik deliver powerful portrayals of two men trapped in the horrific psychological aftermath of the sexual trauma they faced at the hands of their father.
The nuance in their performances gives life to characters who are both victims and perpetrators, offering some level of sympathy for the Menendez brothers while never allowing us to forget the gravity of their crimes.
Javier Bardem, as always, is a commanding presence on screen, portraying the abusive patriarch Jose Menendez with a disturbing intensity. His scenes with Chloe Sevigny (Kitty Menendez) are fraught with tension, capturing the dysfunction and toxicity that existed within the Menendez household. Sevigny, though underutilised in the narrative, conveys the quiet suffering of a mother either blind to or complicit in the abuse inflicted by her husband.
Visually, the show is quite appealing. The cinematography is sharp, often zooming in at key moments to heighten the tension and make viewers feel as though they’re right there in the room with the characters.
The choice of lighting, particularly during the flashback sequences of the brothers’ abuse, adds an eerie atmosphere that complements the subject matter. However, strong visuals and good acting cannot compensate for the show’s numerous issues.

Where Monsters: The Erik and Lyle Menendez Story fails spectacularly is in its storytelling and pacing. The show stretches the narrative into 9 episodes, far more than is necessary for this case. The story could easily have been condensed into a shorter series, which would have allowed for a tighter, more engaging narrative. Instead, the show drags on, with entire episodes feeling like filler as they repeat the same information or delve into unnecessary subplots that do little to advance the story.
The pacing is also frustratingly inconsistent. Some episodes rush through key moments, like the murders themselves or the court proceedings, while others linger far too long on mundane details that do little to illuminate the characters or the case.
For a series that revolves around such a high-profile murder trial, there is shockingly little tension built throughout. The courtroom drama is flat, and the emotional stakes, which should be high given the traumatic backstory of the Menendez brothers, fail to resonate as deeply as they should.
One of the most significant shortcomings of this show is its failure to fully explore the emotional and psychological trauma of the brothers. While the series does touch on the abuse they endured at the hands of their father, it feels superficial. The show never digs deep enough to truly examine how this abuse impacted their mental health and decision-making.
Instead, it feels as though the abuse is used more as a plot device rather than an opportunity for nuanced character development. This lack of emotional depth leaves the audience with little to connect to, making it difficult to care about the brothers or their fate. It feels like the show is made from the lens of what the prosecution presented during the trail.
The show also struggles with tone. While it attempts to present the Menendez brothers as complex individuals, it often leans too heavily into portraying them as cold, calculated murderers, thereby undermining its own attempt to humanise them. The series seems confused about whether it wants to evoke sympathy for the brothers or condemn them, leaving the audience in a strange middle ground where neither perspective feels fully developed.
In the end, Monsters: The Erik and Lyle Menendez Story is a missed opportunity. It takes a case that is ripe for dramatic retelling and stretches it far too thin, resulting in a show that feels overly long and devoid of emotional weight. The slow pacing and inconsistent storytelling make it a slog to get through, and while the acting and cinematography are commendable, they aren’t enough to justify sitting through nine drawn-out episodes.
For fans of true crime, there are far better shows and documentaries out there that cover similar material in a more concise and compelling manner. And for those who appreciated Monster: The Jeffrey Dahmer Story, this second season is likely to be a disappointment. Ultimately, the series doesn’t do enough to warrant the time investment, leaving viewers feeling more disengaged than entertained.