Shaun Munro reviews the sixth episode of Prison Break season 5…
The walls well and truly close in this week as ISIL hunts down Michael and co., and having run out of contingencies, the master tactician is forced to do the one thing he hates; improvise.
Unsurprisingly, their first escape attempt ends up a bust thanks to Omar’s (Akin Gazi) treachery, but at least this thread was quickly dealt with and didn’t result in Whip being kidnapped, as it looked like it might for a moment. Apparently writer Michael Horowitz was smart enough to know that an episode centered around rescuing a scarcely-developed supporting character isn’t the best idea.
“Phaeacia” sees the gang heading to the desert, finally giving fans that glimpse of Michael stumbling through the dust from the opening titles, though strangely, it actually takes place at night here. The desert isn’t just a welcome change of scenery, but allows talented director Kevin Tancharoen (known for his hit web series Mortal Kombat: Legacy) to pull off some of the show’s most visually sumptuous direction to date.
Though this episode’s ending ultimately reveals it to be yet another wheel-spinning exercise, there is at least a lot of the classic Prison Break silliness to keep it chugging along, especially a CGI drone (which, in a moment that passes for restraint as far as this show’s concerned, simply hovers above without giving chase) and a comically large gas tanker explosion that feels straight out of a Michael Bay movie.
Less good is the re-appearance of Cyclops, who looked like he might’ve been done the last time we saw him. At least there’s not the expected ham-fisted attempt to redeem him after the ISIL rebels reject him; rather, he goes into business for himself to hunt Michael and the gang down. This leads to a legitimately suspenseful standoff in the desert, even if it culminates in a thoroughly ridiculous fight between Michael and ‘ol one-eye, which at least seems to finally put him in the ground, as he’s left blind in both eyes in the blistering heat. If he makes another comeback later on, the show has enthusiastically jumped the shark for what feels like the umpteenth time.
Elsewhere, there’s nary a sign of Sara his week – aside from some brief flashbacks – but the episode wasn’t without some fairly crummy subplot fare all the same. At the State Department, Agent Kishida (Curtis Lum) reflects on Kellerman’s demise while liaising with rent-a-thug assassins A&W and Van Gogh.
To the show’s mild credit, a little more effort is made here to develop A&W – or rather, Emily, as her real name is revealed to be – with the amusing revelation that she has a sexual history with NSA operative Tricia (Tasya Teles), who helps them track Michael with a drone. At least there are more hints that A&W will turn on Van Gogh as Kellerman hinted at a few episodes ago, because Van Gogh remains a total bore and she can totally go into business for herself.
Sheba also briefly cameos this week to offer to buy Linc a drink once this is all over, and unlike most of the forced nods towards their potential romance, this actually felt fairly organic. Despite being mentioned, C-Note is nowhere to be seen, though.
And yes, Poseidon is still in the picture, and appears to be linked to…an Elvis impersonator (Duncan Ollerenshaw)? This was more baffling than intriguing in total honesty, and combined with a lame ending which saw Michael rescued by deus ex machina fireworks before forcing the gang to head back from whence they just came, closed things out on something of a sour note.
We know Michael won’t die, so it’s going to be tough to make this mad dash to save him interesting, but at least the mere nine episode order means the subplot won’t drag on for several episodes as it surely would have in a regular-sized season.
And finally, the most nagging question of all; where the Hell is Sucre, and when is he gonna show up?
Shaun Munro – Follow me on Twitter for more TV rambling.
