Well-received four-parter from writer/actor Stephen Graham (he plays the father of a teen murderer) and director Jack Thorne is good, but not perhaps the groundbreaker claimed. Basically a police procedural that emphasizes family reaction and the insensitizing effect on teens of peer-pressure amp’d by internet social media messaging . Captured in four episodes of one-shot each, a technical challenge only vaguely taken in by audiences. (Too busy fighting off motion sickness to notice?) But catnip for actors (thrilled at sustaining a role) and for directors who feast on solving technical challenges. Here, it’s moderately bothersome in the first two episodes, effectively hidden by Thorne thru the use of what might be called ‘practical’ (as opposed to optical or digital) wipes, having moving objects or groups of people physically walk-the-wipe across the frame to change focus or narrative direction as needed. Only the last two episodes rise to the occasion and possibilities found in the restrictions of the technique. (Like writing a poem in a tricky meter or music in some impossible key.) The third, largely a two-hander for the suspect and his court-appointed psychologist playing a lot like 1950s ‘Golden Age’ live tv. Even better, a final episode that brings us along with the family on a long drive to a prison visit. (Will Dad allow a pit stop if we need to pee, but he doesn’t?) The sense of being stuck with them for this length of time, the most daring, successful and original thing in the series. (NOTE: Tough topic to give a Family Friendly label. But that's exactly who the film was made for; perhaps 12 and up.)
ATTENTION MUST BE PAID: The modern taste for single-shot films kickstarted by Aleksandr Sokurov when he took viewers thru the Hermitage Museum in RUSSIAN ARK/’02. Since then, advances in digital filming have made the feat easier to pull off. Too much so?
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