We gave it a B-
Trading in his federal jail cell for a Hollywood cell phone, Don Reedy goes on ”TV parole” — that is, he becomes a consultant on the network drama about his life as a lowlife. Connelly’s satirical concept doesn’t really take off until Don is caught on camera, reality TV-style, robbing his own show, but even then it’s somewhat hampered by hazy plotting and indistinct characters. Connelly (Bringing Out the Dead) is better at the extreme ends of literary effects: identifying television as a wasteland, on one hand, and antic throwaway high jinks, on the other. Cars run over more people here, both comically and repeatedly, than in an afternoon’s worth of Grand Theft Auto: Vice City.