(351-word review) The fact that the previous two episodes were better than usual, especially the previous one, more than likely has to do with this, but I wasn't that into this one. It was rather average: in the engagement/entertainment department, especially.
To no one's surprise, this episode had a first-time director AND writer for the show, the latter of which became a common one for this show down the line with an overall 35 episodes. It felt different from the get-go, and that explains it.
There was a sense of fast pacing undermined by the natural course of things with the structural blueprint that shows like this usually adhere, resulting in an odd mixture: structural familiarity with the fast pacing almost being counterproductive.
But, as usual, there were still some bright spots. I liked the moment with Tony where he goes against his assurance to Gibbs that he won't get distracted: and a few seconds afterward, no less; the direction of that, from the camera work and music to the abrupt stop of it when Gibbs broke Tony's immersion, was well-done.
McGee's change of clothing scene, followed by Tony and Caitlin's reactions, was excellent; her initial laugh was sudden enough for me to wonder whether Sasha Alexander broke character. The following one seemed more "contained," leading me to believe that laugh was in the script, although Sasha still seemed to "sell" that one like she was genuinely laughing/being affected by her initial break of character. Michael Weatherly's smile/near-laugh right after felt like a break, too.
The scene with Caitlin's change of heart and subsequent investment/admiration, contrasted by Tony's disappointment concerning the photography angle, was good. As was the directing decision to use the head-shot camerawork of Gibbs and the perpetrator at the end of the final interrogation scene. And the ending with Tony's (more like Michael's acting) borderline maniacal laughter.
Besides those things, this episode didn't have much going for it; the plot wasn't that exciting. There was also a slight 'rushed' feeling, surprising for a show like this. But the bright spots accomplished enough for some mild entertainment.
To no one's surprise, this episode had a first-time director AND writer for the show, the latter of which became a common one for this show down the line with an overall 35 episodes. It felt different from the get-go, and that explains it.
There was a sense of fast pacing undermined by the natural course of things with the structural blueprint that shows like this usually adhere, resulting in an odd mixture: structural familiarity with the fast pacing almost being counterproductive.
But, as usual, there were still some bright spots. I liked the moment with Tony where he goes against his assurance to Gibbs that he won't get distracted: and a few seconds afterward, no less; the direction of that, from the camera work and music to the abrupt stop of it when Gibbs broke Tony's immersion, was well-done.
McGee's change of clothing scene, followed by Tony and Caitlin's reactions, was excellent; her initial laugh was sudden enough for me to wonder whether Sasha Alexander broke character. The following one seemed more "contained," leading me to believe that laugh was in the script, although Sasha still seemed to "sell" that one like she was genuinely laughing/being affected by her initial break of character. Michael Weatherly's smile/near-laugh right after felt like a break, too.
The scene with Caitlin's change of heart and subsequent investment/admiration, contrasted by Tony's disappointment concerning the photography angle, was good. As was the directing decision to use the head-shot camerawork of Gibbs and the perpetrator at the end of the final interrogation scene. And the ending with Tony's (more like Michael's acting) borderline maniacal laughter.
Besides those things, this episode didn't have much going for it; the plot wasn't that exciting. There was also a slight 'rushed' feeling, surprising for a show like this. But the bright spots accomplished enough for some mild entertainment.
