Deep Water

This show was pretty good. The plot was complex enough. Some things to distract you. If you like mystery detective shows this one is pretty good. Based in Australia this adds to some interest. Just a different location. The stars are very good. They dig deep into some cultural problems of the past that ends up driving them to the end of the story. I found that part the most interesting.

It is natural that Australia, having lengthy (dependent) ties with the UK, aspires to imitate/repeat the latter's success in the field of crime thrillers, stocking it with local nature and habits, sometimes without having any influence to the course of events or effect on scenes. A lot of is also visible in Deep Water where tautness and smoothness are overshadowed by personal issues with references to the past and leisure activities on the beach.

Well, the beginning is intriguing, but the motives and many suspects are revealed too soon, the characters are somewhat arid, the police has seemingly no ranking order in place, and the background of the principal wrongdoer is too trivial and vague for the offences he committed. So the 4 episodes a' 50 minutes are too long and hectic; moreover, I was not pleased with the final events and events leading up to them. In the wide world of English-speaking crime drama series, Deep Water is hardly the one to be classified as "must-watch".

A solidly okay series, the storyline was interesting if not a bit drawn out. The first two episodes introduced a lot of characters which made it hard to keep track of events. The last two episodes wrapped up nicely, but could have been shorter. Overall good cinematography and decent acting. Characters didn't have much depth.

DS Tori Lustigman (Yael Stone) has returned to her hometown of Bondi to join the police for just in time to catch the brutal murder of a young man who happens to be gay. Her new boss is eager to put the murder down to the act of a spurned lover, but Tori believes the truth goes deeper, connecting it to a string of "gay bashings" stretching back to the 80s. The problem is that no one wants her to take it further, no matter what the evidence tells her. Her own partner wants the case puts to bed, but Tori is a force of nature in her own contained way. Too contained, perhaps. The anger and frustration she holds in is bound to come out in uncontrollable bursts.

Being new to the Bondi police force she hasn't had a chance to be intimidated by the criminal element and the power brokers who may have held an "unhealthy influence" over lawful enforcement over the years. Where no other officers have been able to solve what may in fact be a long series of murders, she may be the only one crazy enough to push forward through all obstacles thrown up in front of her and her reluctant partner.

Yael Stone is excellent as a detective just barely under control, a loving mother, daughter, friend, and grieving sibling. Daniel Spielman is chillingly repulsive as a Nazi-tattooed suspect. Viewers' sympathies have to go out to Noah Taylor as Tori's long- suffering partner Nick, resisting having her back at every turn. One of the most memorable members of the cast is one who gets perhaps the least screen time -- Otis Pavlovic conveys a sweetness and Tori's son with none of the resentment of the modern teenager, even when she appears to overreact to circumstances. The performance is natural and easy, with the connection between the mother and son feeling real. The cast is full of too many talented actors to continue to single them out, but there's nary a wooden boy or scene chewer in the bunch.

So, overall? In the current environment the matter is all too relevant, not a lesson in political correctness. Political profiling, police shootings, hate crimes, racism, and bigotry exploded in the news every day; this story could not be more timely. Put it all together and it made for fascinating watching. It pulled me in so much that I was disappointed to find that there were only four episodes and no word if this was a one- off, or if it would return.

Well, here's hoping.

I'm only on Episode 3, and so far it's pretty good - the writing and acting are certainly above average...

... but the DIRECTING/CINEMATOGRAPHY! Yikes!

The show has a surfeit of close-ups and extreme close-ups that are distracting in that their use both draws attention to itself and also robs the shots of any emotional power - like a TEXT MESSAGE IN ALL CAPS - they become meaningless after a while. I don't know if this was a stylistic or budgetary choice, but a lot of the intensity of some scenes was seriously curtailed by its overuse.

Show some restraint next time!