Click to Skip Ad
Closing in...
Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Oscar Predictions 2016 Oscar Predictions 2016 Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) A Letter to Michael B. Jordan A Letter to Michael B. Jordan Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More Inside the Oscar Nominees Lunch Inside the Oscar Nominees Lunch How John Ridley and Company Create the Emotional Resonance of 'American Crime' How John Ridley and Company Create the Emotional Resonance of 'American Crime' Top 10 Takeaways:  'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million Top 10 Takeaways: 'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Inside the Directors Guild Awards Inside the Directors Guild Awards Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' How Quentin Tarantino Resurrected Ultra Panavision 70 for 'The Hateful Eight' How Quentin Tarantino Resurrected Ultra Panavision 70 for 'The Hateful Eight' What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt? What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt?

Strike Back Episode 9 – Fear is Beautiful (Spoilers)

Thompson on Hollywood By David Chute | Thompson on Hollywood October 15, 2011 at 11:16AM

David Chute finds surprising beauty in television's best action drama.Director Daniel Percival has no need for 3-D. He can define a space with the parallax of a brief dolly shot. His staging of an incursion into a mammoth bunker complex under a forest in Chechnya adds a sweep of operatic grandeur to the penultimate ninth episode of Strike Back, the twisty action and drama series recently renewed by Cinemax. After a blast cuts off their escape, Section 20 comrades Scott and Stonebridge are forced go deeper and deeper into the earth, through claustrophobically narrowing staircases and oozing tunnels, until the complex opens out into a series of eerie vaulted caverns. The huge spaces have a menacing grandeur that’s appropriate to the way the stakes have been ramped up for the show’s two-part finale -- and to the scale of the biological horror plotted by global super-terrorist Latif (Jimi Mistry), as illustrated by the spreading circles of devastation on a computerized damage-estimate diagram.
0
Thompson on Hollywood

David Chute finds surprising beauty in television's best action drama.

Director Daniel Percival has no need for 3-D. He can define a space with the parallax of a brief dolly shot. His staging of an incursion into a mammoth bunker complex under a forest in Chechnya adds a sweep of operatic grandeur to the penultimate ninth episode of Strike Back, the twisty action and drama series recently renewed by Cinemax. After a blast cuts off their escape, Section 20 comrades Scott and Stonebridge are forced go deeper and deeper into the earth, through claustrophobically narrowing staircases and oozing tunnels, until the complex opens out into a series of eerie vaulted caverns. The huge spaces have a menacing grandeur that’s appropriate to the way the stakes have been ramped up for the show’s two-part finale -- and to the scale of the biological horror plotted by global super-terrorist Latif (Jimi Mistry), as illustrated by the spreading circles of devastation on a computerized damage-estimate diagram.
Percival's brand of cinematic visual expressiveness is still comparatively rare even on post-HBO television, but it’s representative of the multi-layered style he established during the first two episodes of the British-born show’s second, mid-Atlantic season. It's the opposite of a matter of fact style. It allows the implications of crisis situations to bleed through. Suspense can be generated even by a muted conversation among the Section 20 operatives because they’re always keyed up, conscious of the dimensions of the threat that’s hovering over them – and over us, too, the show implies.

The psychological side-effects of living in a constant state of heightened alertness are the source of much of Strike Back's drama, from the seeming ultimatum delivered this week by Stonebridge’s wife, to the thinly veiled contempt Scott feels for officers stay safe while sending others into harms way (Rhashan Stone’s straight-laced Major Oliver Sinclair is viewed with increasing suspicion), to the confrontation we didn’t know we were waiting for, between Amanda Mealing’s increasingly frazzled Eleanor Grant and the honey trap operative, assigned to seduce and evaluate Scott, who gets in dutch with Grant by continuing to “consort with” him, boisterously, outside the parameters of the assignment. (“I [consort with] who I like,” she says.)

Thompson on Hollywood

The bar for final episodes is set pretty high these days, notched up by triumphs like the flamboyant "face off" conclusion of Breaking Bad. Cinemax has been taking no chances with the Strike Back conclusion, safe guarding its impact by refusing to release a cast list for the 2012 season that would include plot spoilers. Now we learn that no press screeners will be issued in advance for next Friday’s concluding episode. Normally, with this much build up, we'd be fretting an anti-climax, but not with this show. We're prepared to be amazed.

This article is related to: Genres, Reviews, TV, Thriller, HBO


E-Mail Updates






Festivals on TOH



Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.