Spooks: Code 9: Episode Two

Airs on Sunday, August 10 2008 at 21:50 BST on BBC Three

By Ben Rawson-Jones, Cult Editor

This second installment of the new Spooks spinoff is certainly an improvement on the dire opener, although that's hardly a compliment. Code 9 is still painfully contrived and overly reliant on deploying thriller cliches without even trying to put a new spin on them.

The entire show comes across as one of those school teachers who tries desperately to be trendy and get down wiv da kidz. Innit. The overwhelming desire to pander to the yoof demographic means that swear words are conspicuously jammed into the dialogue at any opportunity, with added emphasis. It leads us to witness Jez's sex life in too much detail and endure an overly stylised flashback scene in a nightclub, complete with hip music and slow-mo.

A dearth of originality governs the plot, as that old chestnut about a spy/copper sleeping with his informant is painfully wheeled out. Even the informant's death in front of her lover, when she was on the verge of detonating a bomb, is totally devoid of any tension or emotion.

On the subject of romantic intrigue, how nauseating is the flirtation between Charlie and Rachel? It comprises a series of lingering glances that are so forced it makes one wonder whether the director is pointing a gun at them off camera. It's painfully artificial and highlights the 'by numbers' approach to the scriptwriting.

After that barrage of negativity, let's look at the few positive aspects of the show. As Kylie, Georgia Moffett is very good at conveying a sense of urgency that makes your ears prick up, while Liam Boyle has fashioned makeshift boss Charlie into a nice combination of authority and sheer geekiness. Visually, the scenes of frenetic rush hour evacuations were also quite affecting given their close links to the real world.

Overall though, Spooks: Code 9 has yet to show enough signs that it can transcend its current status as a piece of condescending, uninvolving tripe. Innit.

Original article here.

Spooks: Code 9: Episode Three

Airs on Sunday, August 17 2008 at 21:00 BST on BBC Three

By Ben Rawson-Jones, Cult Editor

It's good to see that some actual thought has gone into the script this time, with a couple of decent ideas tapping into the futuristic, post-nuke premise of the show. Elsewhere though, the stilted dialogue is still dreadful and there's plenty of cringeworthy narrative at work.

The sonic crowd control system is an interesting concept that could well be witnessed in the future, and the same can be said of pharmaceuticals taking over from conventional drugs on the black market. These ideas are neatly contained within the mission to find elusive gang leader Zero, a pursuit that provides some cohesive purpose and intrigue to the episode - although the revelation of his real identity is badly mishandled and laughable.

The interaction between the Code 9 crew is still painful to endure, particularly in the group dialogue scenes in their shared house. It becomes even worse when the contrived friction and flirting spills onto the dancefloor. Their boogying in a nightclub looks like a Bacardi advert and is utterly superfluous to the plot, but seems to be there to impress any youngsters watching. Do the makers of Spooks: Code 9 really have such contempt for the audience?

Furthermore, the intercutting of a policeman being shot with the Code 9 team partying in a nightclub is a creative misfire of the highest level, spoiling any tension and poignancy that may have emerged from the slaying. It's a shame, as the later battle scenes on the housing estate are effectively handled and momentarily conjure up a sense of claustrophobia.

On the whole, this episode still falls short of the mediocre mark, but at least we're given a glimpse of what can be done within the broad canvas of the envisioned world of 2013.

Original article here.

Spooks: Code 9: Episode Four

Airs on Sunday, August 24 2008 at 21:00 BST on BBC Three

By Ben Rawson-Jones, Cult Editor

Comfortably the best episode to date of the lacklustre Spooks spinoff, this moderately entertaining tale of butchered MI5 informants still suffers from the familiar flaws.

The nightclub scenes are, yet again, an overwhelming embarrassment and full of forced and non-fluid interaction, while the hints that Rob's motives might be less than altruistic are unengaging and ponderous.

The staged stabbing twist that allows Rachel to go undercover must have looked great on paper, but was bafflingly realised. For a start, the ambulance is almost there before she hits the ground and the frenetic pace appears to be an attempt to prevent the audience from being able to pause for thought. Why didn't one of her MI5 pals pose as a civilian and go in the ambulance with her?

Quite often it seems that the act of thinking is counterproductive to any enjoyment of Spooks: Code 9. In that sense, the show can claim to be Orwellian in nature - albeit inadvertently and much to its own detriment.

Nonetheless, at least this was an attempt to create some interesting drama and propelled the plot in new directions. Crucially, it allowed a wonderful guest turn from Anthony Flanagan as the devious Tom. However, his scenes were somewhat marred by Ruta Gedmintas' unconvincing delivery as Rachel.

There was a rare moment of inspired humour when Kylie discreetly grabbed Vik's shirt button and planted it on Peter Norris - and promptly told him it was an explosive device that would detonate should he deviate from the plan. Kylie was also a key part of the bullet-strewn climax, which gave a brief shot of adrenalin to the narrative. It must be said though - how on earth did everyone keep missing each other from point blank range even though they were on moving cars?

Finally, a much-needed sense of plot progression finally arrived when it emerged that the perpetrators of the 2012 bombing may well still be alive. It's criminally taken four episodes to rouse a modicum of interest, but is it too little too late for Code 9?

Original article here.

Spooks: Code 9: Episode Five

Airs on Sunday, August 31 2008 at 21:00 BST on BBC Three

By Ben Rawson-Jones, Cult Editor

The plotting is still overwhelmingly unoriginal, although the confident execution generates enough tension to ensure that this episode is the best of Spooks: Code 9 so far.

Throwing a supposed victim strapped with bombs into a crowded place, with the terrorists monitoring the footage via CCTV, is a storyline that has been the basis for numerous episodes from a variety of shows over the years. However, the events in the bank are reasonably engaging courtesy of a convincing performance by Andrew Knott as Rob and a clever twist that involves the Semtex-ridden woman being unveiled as a radicalised eco-terrorist with a grudge against her mother.

Furthermore, Charlie's covert questioning of the imprisoned terrorist not only involves some inventive espionage, but also triggers a major revelation when it's revealed that another nuclear bomb may be awaiting detonation in the country. Does the show have enough budget for a CGI explosion on a grand scale though?

Elsewhere, the dialogue between the MI5 agents continues to be mind-sappingly dull and most of the characters have yet to be given an individual personality. In that sense, the dialogue is fairly interchangeable and you could swap the lines between characters without noticing anything untoward - which is fairly appalling given that the show has had five episodes now to establish some decent characterisation. Still, at least they stayed out of the dreaded nightclub this week.

Original article here.

Spooks: Code 9: Season Finale

Airs on Sunday, September 7 2008 at 21:00 BST on BBC Three

By Ben Rawson-Jones, Cult Editor

The Spooks: Code 9 finale summed up the uneven nature of the season as a whole, but ultimately delivered a reasonably absorbing glimpse of a claustrophobic and panic-strewn future.

A highly effective opening sequence took us back to the 2012 bombing, although such a flashback should have featured in an earlier episode. The focus on the ravaged London, particularly when Rob and Charlie tried to retrieve Dr Malik's camera, enable the episode to have a visual scope far above previous instalments. Was the budget being saved up for the grand finale? If so, that's a dodgy move indeed as ratings have shown that not many viewers have stuck around.

The prison breakout was exhilarating and tense, with Andrew Knott excelling in his role as Rob. The storyline also finally gave Vik some purpose in the series, albeit to pose as a terrorism suspect. Yet his reaction to the plan demonstrated the undeniably clunky nature of the interaction and dialogue between the young team. "Bloody hell, this is real isn't it?" he gasps. No Vik, it's all a dream and you'll step out of the shower as Bobby Ewing when you wake up.

Similarly, any scene involving Rachel is sapped of any drama, as it seems the character is fed an endless stream of bland dialogue. It seemed to transfer by osmosis to the traitorous Yates as the end approached. Her explanatory speech to the wounded Rachel was one of those contrived, painful scenes where the villain inexplicably stalls to reveal their motive and allows the heroes just enough time to arrive in the nick of time.

As if that didn't feel forced, there was also the groansome sequence in which Kylie tried to deploy 'honeytrap' tactics on the prison doctor. It transpired that the unsuspecting young man batted for the other side, but within mere seconds he revealed himself to be a drug-lover so Kylie got him seriously high instead. How convenient.

Nonetheless, the stark improvement in the latter half of the first season has been enough to show that the format of Spooks: Code 9 could work well with some major retooling in certain areas. Certainly, the finale leaves us wanting more...

Original article here.

Classic Moments: Spooks: Code 9 finale

Sunday, September 14 2008, 07:08 BST

By Ben Rawson-Jones, Cult Editor
Classic Moments: 'Spooks: Code 9' finale

The Spooks spinoff had more than its fair share of teething problems, but managed to drag itself off the ground and whip up an exciting finale. Here's a look back at the gripping final moments of the first (and possibly last) season.

The Context

On the one-year anniversary of the 2012 bombing of London, the Prime Minister is delivering a speech to the nation in Union Square at a memorial service. In the sewers below, several members of the Code 9 team find a nuclear bomb and desperately try to disarm it along with a team of experts.

Meanwhile, MI5 boss Yates has unveiled herself to Rachel as a terrorist traitor and points her gun at the young agent. Can Charlie arrive in time to save her and can another bombing be averted?

The Moment

Yates is about to shoot Rachel, but the blonde manages to whack a syringe into the arm of her nemesis - containing a tracking device within. This allows Rob and Charlie to track down their location, but Yates shoots herself in the head when they arrive.

The Prime Minister continues to deliver his speech about remembrance, Rob desperately tries to revive Rachel through heart massage as a distraught Charlie looks on, and the bomb ticks down into single figures. With just two seconds left before detonation, the image freezes, fades to a negative effect and the end credits roll.

The Aftermath

The fate of Rachel and the bomb will remain unknown unless the BBC commissions a second season. A number of narrative threads have been left hanging, such as the unrequited love between Rachel and Charlie, the terminal illness of Kylie, and the identity of those within MI5 who were working with Yates.

However, could the 'whiteout' negative effect at the end of the episode be interpreted to mean that the nuclear blast has actually taken place?

[webmaster's note: Er no.  They did a 'whiteout' negative effect at the end of every episode!]

Original article here.