If a tree falls in a forest and nobody hears it, does it make noise? Berkeley, in his critique of science, supported the dimension of doubt questioning the nature of objects and their existence beyond observability. Certainly science would say that sound is nothing more than interpreted vibrations (in our brain) and that, therefore, there is no noise without an ear that perceives it. But the vibes are always there.
One year after its first release, Criminal is back. Silently, as it had already done with its first iterations. Demonstrating a series worth seeing, especially for fans of the investigative streak. UK Crime Season 2 enriches, with four new episodes, the creative universe of a series that wants to probe the truth. The one capable of accusing or exonerating.
Once again, it is confirmed as a mature product. Conscious of having chosen to embrace the nature of Berkeley’s philosophical interrogation. Aware of his identity and his size. In this spirit, the anthological miniseries Netflix takes us back to the interrogation room to peer into a world divided by two-way glass.
The concept of Criminal is that of an interrogative anthology with a psychological imprint and divided into four series (United Kingdom, Germany, France, Spain) launched in September 2019 on Netflix. It is a low-budget product whose formula follows a simple paradigm: there is always a suspect and there are always investigators. Compared to market standards, Criminal is a very short series. The only two seasons of the UK genre feature just seven episodes, lasting 45 minutes. The peculiarity that makes the product noteworthy is that, unlike the modus operandi such Crime, does not take us to the crime scene, overwhelming with investigations, but in direct contact with the procedural antechamber of the criminal system, where we are faced with a very different but equally delicate matter: human testimony.
With the second season of Criminal UK, available from September 20, George Kay and Jim Field Smith are implementing a process of expansion of the small Netflix production while remaining ingrained in their stylistic imprint.
That is, staying true to the idea, a thoughtful product. But technically simple and just plain nice.
When a tree falls in the forest
George KayThis season, he continues to hone his pen on a concept that moves away from serial storytelling and focuses on intensely scrutinizing acting, dialogue, and character development around the uniqueness of an interrogation. You will not be involved in the development of the relational dynamics of the research unit, since, essentially, it does not exist. Kay has little interest in getting us out of the interrogation room. In fact, it continues to limit the viewer’s mind, as much as possible, within the space immediately around it. This is not a problem at all, though it could easily have been.
Instead, the stories packed into these four episodes are dense. An unstable and unpredictable concentrate in which each face, innocent or guilty, hides behind a wax mask. In particular, episodes 2 and 4 manage to magnetize the viewer’s attention, being as captivating as they are disturbing.
Attention to narrative confirmed, Thus, one of the strengths of the series. The writing is solid and top-notch. The psychological drama he portrays is one matrioska behavioral which effectively offers the narrative twists of individual cases. George Kay is a talented writer who accurately strikes the heart of his concept. Without defects and without excesses, entrusting a central role to interpretation.
The usual suspects
That acting played a role of paramount importance Within the creative process of Criminal it is certainly not new. Already at the time of the launch of the first season, its creators had commented on the importance of foundry and the choices of the actors (as you can read in the article in which the creators of Criminal talk about the importance of the cast). To support this vision the cast of the first season returnsKatherine Kelly, Lee Inglesby, Rochenda Sandall and Shubham Saraf once again take on the role of detectives from Scotland Yard’s investigative unit.
The choice of production Using these established players is certainly a smart marketing option.. That the presence of the iconic face of Jon Snow could be a ploy to lift the public, as well as a passionate niche, was a hypothesis already discussed for some time. Whether this communicative movement is successful or not is not important. Much more central, however, is that in naming the series still hits the mark. The actor’s evidence on the accused is impeccable and is the result of careful study of non-verbal (as well as verbal) dialogue. The roles entrusted to the actors fit perfectly.
The address, curated in each episode by Jim Field Smith, it’s simple but accurate. Shots must often capture the essence of the characters that are held up during questioning. We talk about close-ups, close-ups, shots from above or below, and scenes of dialogue between two, three and four.
Season 2 of Criminal UK is, in short, a series without flaws, made with minutiae, in which it is almost impossible to find errors of a technical nature.
Without excelling in anything manages to achieve everything that is proposed. And he does it in a captivating way.