In Adventures in the Screen Trade, William Goldman’s account of his movie-writing career in Hollywood, Goldman remembers hearing a true story about a firefighter who went back in to save a baby he heard crying just as he was about to leave a burning building, escaping with the infant as it all started collapsing behind him. It was, Goldman says, an unbeatable tale of real-life heroism and someone, of course, tells him he should make a movie about it. The problem, Goldman notes, is that what this man did, in its astonishing entirety, is what the hero of a movie is expected to do before the opening credits even roll.
The same principle is true on the small screen. What is a legitimately huge, intensely dramatic and traumatic life-defining event for the people involved is easily flattened almost to nothingness by the demands of the medium. Such is the fatal flaw of second-tier true-life crime documentaries such as Worst Neighbor Ever. This four-part US-based addition to the genre tells four stories about ordinary people who had the terrible luck of finding themselves living alongside … well, the clue is in the title. And, in a country with questionable attitudes to gun control, it often ended in tragedy.
