The 62-minute first episode leaves us almost at the opening sequence of the movie - but there's plenty enough going on that you don't begrudge the inevitably slower pace...

But here, that relatively concise narrative has transformed into a baroque, sprawling show with overlong episodes, hopscotch timelines, and far too many characters. It's insane and great.

Lurid true crime drama has biting humor, strong cast.

It's certainly sensational. Trust, billed as "inspired by" reality, is better than the film because it gives a deeper sense of family dynamics in a mansion where everyone spies on everyone.

The same rock-solidity that made him a good action hero in the '90s also qualifies a middle-aged Fraser to serve as the steady eye in a raging storm of wealth, ego, and resentment.

Consider everything, be surprised by nothing.

Trust is a brutal family drama with a wicked sense of humor and style.

Trust is at its most fascinating when it's pondering wealth.

The instantly arresting performances of Sutherland and Fraser, plus a solid first impression by newcomer Dickinson, keep Trust on track as an immorality play that FX says will be "told over multiple seasons and spanning the twentieth century."

Donald Sutherland is clearly having fun playing a man so rich he had five women living in the house and orders a lion to live there too because it amuses him.

No one but Brendan Fraser, in this specific time and place in his career, could make that work.

At times, the effort seems, well, obvious . . . and labored. But they get major points for playing it anything but safe, and there's always something memorable waiting around the dark corner.

The premium cast elevates Trust from a good TV series to an absorbing, cinematic venture.

"The House of Getty" is designed to draw us into his world of excess.

It's remarkable, and I'm confident I'd continue to watch this show just for him (Donald Sutherland) alone.