The other reviewers have covered the obvious. This is a break-out hit show that, like other shows in the new TV 2.0, does not hesitate to jump outside its own box or take the action up a notch when the need arises.
But even brilliance has layers within layers. During the incredible, mind-blowing, scenes in that "private pool" I found myself recalling the breakthrough directing skills of Jacques Tourneur in 1942's Cat People.
Being low on funds (which, of course, in not the case here) Tourneur had to build mood and suspense with simple echoes of light and sound in a plain-Jane basement recreational pool.
And pulled it off, put his name in the film history books.
Which is what Esmail did here. Yes, I know, in Robot, Esmail is not merely a great director but a true prodigy, since he is at the same time writer, creator and director.
But -- my point -- to see how refined and laser-focused his direction is becoming from episode to episode, you need to drill down.
As in those pool shots. The first ones just an empty pool yet somehow scary as Hell. The later ones with a floating body and amazingly those short cuts are creepier and more memorable than many recent full-length horror films.
All nicely set against the constantly grey (dim lighting) scenes, and the very odd (nerve-racking) soundtrack, and the aura of paranoia that pervades the entire episode.
Even Portia Doubleday is sporting a "new look" in this episode and, knowing how skilled Esmail is, I don't this this is an accident either.
This is all to create a response in the viewer. And it works.
TV does not get much better than this.
Puts the "eep" in Creepy.
But even brilliance has layers within layers. During the incredible, mind-blowing, scenes in that "private pool" I found myself recalling the breakthrough directing skills of Jacques Tourneur in 1942's Cat People.
Being low on funds (which, of course, in not the case here) Tourneur had to build mood and suspense with simple echoes of light and sound in a plain-Jane basement recreational pool.
And pulled it off, put his name in the film history books.
Which is what Esmail did here. Yes, I know, in Robot, Esmail is not merely a great director but a true prodigy, since he is at the same time writer, creator and director.
But -- my point -- to see how refined and laser-focused his direction is becoming from episode to episode, you need to drill down.
As in those pool shots. The first ones just an empty pool yet somehow scary as Hell. The later ones with a floating body and amazingly those short cuts are creepier and more memorable than many recent full-length horror films.
All nicely set against the constantly grey (dim lighting) scenes, and the very odd (nerve-racking) soundtrack, and the aura of paranoia that pervades the entire episode.
Even Portia Doubleday is sporting a "new look" in this episode and, knowing how skilled Esmail is, I don't this this is an accident either.
This is all to create a response in the viewer. And it works.
TV does not get much better than this.
Puts the "eep" in Creepy.
