The premise of "Cut" could have gone either way in execution. It could have been unsettling and probed a lot of thought. Or it could have been too sleazy and too predictable. It still sounds very intriguing, even if it is not on paper the most novel of cases and straightforward. If one is a fan of 'Law and Order' and of the franchise, for a long time have liked it very much, it is hard to not expect a lot from "Cut", despite the latter seasons being nowhere near as consistent as the earlier ones.
Season 15 did get off to a shaky start, as did the character of Fontana, but saw steady improvement as it went along. Or at least the first half (the second varied wildly). One of the best episodes of the season is "Cut", which fortunately is in the former category of unsettling and thought probing and managing not to be too derivative. And this is a kind of story that could have been derivative and been problematically executed, but turned out not to be.
"Cut" is great in almost every area. The production values are suitably slick and gritty, with photography that is reliant on close ups that have an intimacy without being too claustrophobic. The music is didn't come over as too melodramatic or like it was emphasising the emotion too much. The direction is sympathetic while still giving momentum. A vast majority of the acting is excellent, with the standout being a very sleazy Bruce Altman. The highlight scene dramatically is agreed the big scene between him and Sam Waterston's McCoy outside court.
Furthermore, the script is very sharp, thoughtful and punchy, especially in the dramatically scorching final third. The subject is handled tactfully but at the same time also unflinchingly, leaving me both shocked and angry at how anybody could even contemplate let alone do what is done. The story keeps one glued to the edge of the seat and keeps one guessing all the way through to the episode's not predictable end. The legal portion being even better than the still enormously entertaining and grippingly gritty policing, an aspect that has come on a good deal since the season's first episode.
Only dull Elisabeth Rohm doesn't come off particularly well.
Great episode all in all. 9/10.
Season 15 did get off to a shaky start, as did the character of Fontana, but saw steady improvement as it went along. Or at least the first half (the second varied wildly). One of the best episodes of the season is "Cut", which fortunately is in the former category of unsettling and thought probing and managing not to be too derivative. And this is a kind of story that could have been derivative and been problematically executed, but turned out not to be.
"Cut" is great in almost every area. The production values are suitably slick and gritty, with photography that is reliant on close ups that have an intimacy without being too claustrophobic. The music is didn't come over as too melodramatic or like it was emphasising the emotion too much. The direction is sympathetic while still giving momentum. A vast majority of the acting is excellent, with the standout being a very sleazy Bruce Altman. The highlight scene dramatically is agreed the big scene between him and Sam Waterston's McCoy outside court.
Furthermore, the script is very sharp, thoughtful and punchy, especially in the dramatically scorching final third. The subject is handled tactfully but at the same time also unflinchingly, leaving me both shocked and angry at how anybody could even contemplate let alone do what is done. The story keeps one glued to the edge of the seat and keeps one guessing all the way through to the episode's not predictable end. The legal portion being even better than the still enormously entertaining and grippingly gritty policing, an aspect that has come on a good deal since the season's first episode.
Only dull Elisabeth Rohm doesn't come off particularly well.
Great episode all in all. 9/10.