User Reviews

Harry wades deeper into the murder of the special forces guy with all its implications. His young informant who spends his nights hooking up so his friends can go after the Johns, is obviously in constant danger, even without the events of this case. Harry has every right to be paranoid and worried because while he knows there are forces in and out of the force, he stumbles along the way. He continues to hone in on the case from the previous season and a past event that has made him a target. I worry about the daughter, who goes about her business. Obviously, that big LA house is very conspicuous.

Several of Bosch's colleagues get on his wrong side.

The writers do a fairly good job of slowly moving the plot in an intriguing direction whilst showing some interesting exchanges for the likes of Bosch and J. Edgar. That being said the issue between the two feels like it's there for the sake of drama, but the actors make it work very well.

It all builds to a pretty downbeat finish that continues theme of everyone counts of nobody counts. Bosch in general is a show that would make a strong campaign for the dangers associated with prostitution and this season in particular.

I think this is one of Titus Welliver's strongest episodes so far.

For me it's a 7.5/10, but I round upwards.

My overall rating of "Bosch"'s Season 3: 4/10

So this episode has some atrocious dialogue, scenes, plotlines; some bad acting (this disgusting kid Sharkey, and the Korean chick are the worst offenders; and no actress in the world could've pulled off Sharkey's mom without being just absolutely ridiculous) etc, but I don't even want to talk about it. I'd instead like to discuss a more global point, something that pertains to this entire season.

So when I was wondering whether watching "Bosch" would be worth my time, I found myself comparing its description with that of "Bron/Broen" which I had just finished watching recently. A show about cops investigating an unfolding mystery 10 episodes at a time - OK then. The one difference that I noted was that the genres were described differently on this site: "Bron/Broen" was a crime drama too, but also a thriller. Watching Season 1 of "Bosch" I found myself absolutely unthrilled, drowning in the muddy, stilted plotline, but in Season 2 I was thrilled on occasion, it being a much smoother, larger-scale, better story.

This and the previous (way, way better) episodes explicitly tell us who the villians are in both of the main plotlines. These are episodes 3 and 4 out of 10. Wanted to try and discover it for yourself, or to follow along with the investigation's process of discovery? Too bad. Nothing should thrill you at all, only drama here. ...But why? I can't complain that this series isn't in a genre I'd like more, but surely there's not much artistic value exactly in the scenes of the villians discussing their villianous actions and cover-up plans - why remove any thrill so artificially?