(989-word review) The flashback portion was easily the best part of the episode; they'd been "there" beforehand, but now there was actual weight behind that usual part of each episode in this one. I was engaged. The shootout/action sequence was good, and its final scene, with the unit singing, was somewhat heartwarming. It's a bit wild that it had more (successful) sentimental value than Russo's death. That was undoubtedly meant to have a powerful and emotional impact - most likely a lot more than the ending of the flashback, based on the assumption that the writers also intended for that to have some sentimental value as well. Yet, it was a complete failure, at least for me. It's particularly interesting due to the similarity in unfamiliarity we have (or don't have) regarding both the characters in Reacher's unit and Russo - how, despite that, there was still an undisputable winner.
I know I'm probably in the minority, but somehow, a scene with multiple characters, all of whom we never got to know that well, singing a song I've never heard, had actual, genuinely palpable emotion - the kind you wouldn't expect from such a scene but would expect from one of the supporting characters dying. From the perspective of the individual contexts, I'd imagine most people would have assumed that death possesses a natural disposition of drawing out one's emotions over a bunch of people singing together. But alas, things can end up taking the wheel and bringing the vehicle to different places, going wherever they go, contrary to the original intentions.
Speaking of the 110th, Dixon and O'Donnell's current predicament aroused a surprisingly adequate level of investment from me in wanting them to survive; they probably will. Unbeknownst to me, I've come to care about those two characters. I don't remember (and this isn't me talking ill of Finlay and Roscoe, though it was only her in such a situation - with Charlie Hubble and her daughters) feeling this way with Roscoe's capture towards the end of the first season. It should be noted, however, that this season's "good guy(s) getting captured" moment has a greater feeling of danger and urgency - even amid the well-founded belief that the cliché of such occurrences within a story (despite the rare, uncommon instances that are done better and make you wonder if the cliché won't happen) being for nothing in the end will be relied upon once again.
There were also the particular gory or brutal moments in this episode, some of which were potentially gorier than usual, at least compared to previous ones we've already gotten. It feels like this season has generally upped that aspect of this show. The only standout comparisons I can remember from the first season were the nailed-to-the-wall, balls-in-stomach death, Kliner Sr.'s "Venezuelan butterfly cut," (as Reacher called it, though its actual name is supposedly a Colombian necktie - it's anyone's guess as to why the writers didn't go with that; my guess is it was to draw the literal connection to Venezuela/the Venezuelans for the sake of the narrative, possibly on Lee Child's part if that line was in the novel) slashed throat, the deaths of Stevenson and his wife, and Picard's crushed-by-a-hydraulic-press death.
But all of those examples do seem comparably gory and brutal now that I've written them out. A better way of putting it, perhaps, would be that the overall season did feel emphasized primarily on the mystery-solving element but not as much on depicting gore and brutality, sometimes through action-y scenarios, while conversely, the action-y tone within this season comes across as closely highlighted, which could be a driving factor behind the feeling of the violence and brutality here being a step-up in comparison.
Another component at play is likely the consistency of those aspects in this one compared to the sporadic placements in the first season. Depictions of gore and various levels of brutality have essentially been consistent from the get-go up to this point, especially in this episode itself - for example: Reacher breaking the guy's fingers in the flashback, the interrogation scene, Neagley throwing the scissors into Langston's guy's face, followed by him falling on the bone saw. They were all excellent. Those moments elevate the enjoyment. I want more. And I bet the finale will be the cherry on top - continuing the consistency, for sure, but maybe it'll even contain the goriest visuals of this season.
This was an improvement upon the previous episode (that one wasn't bad, though it seemingly contributed to a detectable, slight downward trajectory), and I appreciate that. There didn't seem to be any (at least apparent) instances of having to suspend your disbelief like there were previously, besides the one cop who was standing at the opposite side of the door to Grant's room, who was looking straight at it; he conveniently didn't care about Reacher and Neagley leaving the room after Grant flat-lined, which was seconds before the situation became known. Only one instance isn't a big deal.
The ending, in particular, was a perfect place to end it. It, too, akin to the flashback's ending, possessed some weight behind it - a proper expression of emotionality; in this case, the connotation was more along the lines of enthusiasm. Setting up the finale. Sparking a type of specific interest. Reacher's intimidating presence and his aura bled through the screen, telling us plenty: "Langston is screwed."
Langston and his men have foolishly trapped themselves in a habitat Reacher's now occupying - a bloodthirsty animal on the prowl, with prey all around him. Any place where he's present automatically becomes his territory, and they've closed off their avenues of escape. A. M. And his men will presumably get torn to pieces, as well. The stage has been set for the finale. Investment in it has been acquired. Desire to see Reacher go ham on everyone has been kindled.
Bring it on, S2 Finale.
I know I'm probably in the minority, but somehow, a scene with multiple characters, all of whom we never got to know that well, singing a song I've never heard, had actual, genuinely palpable emotion - the kind you wouldn't expect from such a scene but would expect from one of the supporting characters dying. From the perspective of the individual contexts, I'd imagine most people would have assumed that death possesses a natural disposition of drawing out one's emotions over a bunch of people singing together. But alas, things can end up taking the wheel and bringing the vehicle to different places, going wherever they go, contrary to the original intentions.
Speaking of the 110th, Dixon and O'Donnell's current predicament aroused a surprisingly adequate level of investment from me in wanting them to survive; they probably will. Unbeknownst to me, I've come to care about those two characters. I don't remember (and this isn't me talking ill of Finlay and Roscoe, though it was only her in such a situation - with Charlie Hubble and her daughters) feeling this way with Roscoe's capture towards the end of the first season. It should be noted, however, that this season's "good guy(s) getting captured" moment has a greater feeling of danger and urgency - even amid the well-founded belief that the cliché of such occurrences within a story (despite the rare, uncommon instances that are done better and make you wonder if the cliché won't happen) being for nothing in the end will be relied upon once again.
There were also the particular gory or brutal moments in this episode, some of which were potentially gorier than usual, at least compared to previous ones we've already gotten. It feels like this season has generally upped that aspect of this show. The only standout comparisons I can remember from the first season were the nailed-to-the-wall, balls-in-stomach death, Kliner Sr.'s "Venezuelan butterfly cut," (as Reacher called it, though its actual name is supposedly a Colombian necktie - it's anyone's guess as to why the writers didn't go with that; my guess is it was to draw the literal connection to Venezuela/the Venezuelans for the sake of the narrative, possibly on Lee Child's part if that line was in the novel) slashed throat, the deaths of Stevenson and his wife, and Picard's crushed-by-a-hydraulic-press death.
But all of those examples do seem comparably gory and brutal now that I've written them out. A better way of putting it, perhaps, would be that the overall season did feel emphasized primarily on the mystery-solving element but not as much on depicting gore and brutality, sometimes through action-y scenarios, while conversely, the action-y tone within this season comes across as closely highlighted, which could be a driving factor behind the feeling of the violence and brutality here being a step-up in comparison.
Another component at play is likely the consistency of those aspects in this one compared to the sporadic placements in the first season. Depictions of gore and various levels of brutality have essentially been consistent from the get-go up to this point, especially in this episode itself - for example: Reacher breaking the guy's fingers in the flashback, the interrogation scene, Neagley throwing the scissors into Langston's guy's face, followed by him falling on the bone saw. They were all excellent. Those moments elevate the enjoyment. I want more. And I bet the finale will be the cherry on top - continuing the consistency, for sure, but maybe it'll even contain the goriest visuals of this season.
This was an improvement upon the previous episode (that one wasn't bad, though it seemingly contributed to a detectable, slight downward trajectory), and I appreciate that. There didn't seem to be any (at least apparent) instances of having to suspend your disbelief like there were previously, besides the one cop who was standing at the opposite side of the door to Grant's room, who was looking straight at it; he conveniently didn't care about Reacher and Neagley leaving the room after Grant flat-lined, which was seconds before the situation became known. Only one instance isn't a big deal.
The ending, in particular, was a perfect place to end it. It, too, akin to the flashback's ending, possessed some weight behind it - a proper expression of emotionality; in this case, the connotation was more along the lines of enthusiasm. Setting up the finale. Sparking a type of specific interest. Reacher's intimidating presence and his aura bled through the screen, telling us plenty: "Langston is screwed."
Langston and his men have foolishly trapped themselves in a habitat Reacher's now occupying - a bloodthirsty animal on the prowl, with prey all around him. Any place where he's present automatically becomes his territory, and they've closed off their avenues of escape. A. M. And his men will presumably get torn to pieces, as well. The stage has been set for the finale. Investment in it has been acquired. Desire to see Reacher go ham on everyone has been kindled.
Bring it on, S2 Finale.