Martin Carr reviews the third episode of Castle Rock…
Real estate agents are known for being unscrupulous but to disconnect someone from their respirator takes a degree of self-interest even property peddlers might blanch at. Teenager crushes similarly pass with time, mellow with age, or diminish with reality, yet Molly Strand played by Melanie Lynskey remains infatuated. Similar to Andre Holland’s Henry Deaver both actors have a teenager counterpart who plays them in flashback, which episode three explores by digging deeper into that teenage narrative.
Caleel Harris and Cassady McClincy who breathe life into the younger incarnations deserve a mention here as they carry both narrative responsibility and character continuity between segments. McClincy who was formally in Jason Bateman drama Ozark, makes quite the impression as the teenage Molly opposite an equally self-assured Harris as Deaver. That this continuity retains the necessary believability helps maintain Castle Rock as both viable drama and psychological horror. Things begin to build momentum in small scenes between them as their psychic link is manifested and Strand’s true nature becomes apparent.
Back in the present hallucinations and social anxiety episodes juxtapose with Henry’s continued efforts to free his unknown prisoner in the face of public scrutiny. Murderous flashbacks combine with awkward exchanges which still prove how inextricably linked they are. Ransacked houses, spectral apparitions and accusations from beyond the grave clash with moments of silence in an episode which maintains quality without sacrificing story. In those rare moments of pure horror undead parishioners swathed in bandages point fingers, while Shawshank realities prove bribery is still alive and well.
Courtroom dramatics played out over pharmaceutical transactions tie us to a reality where latchkey kids wait on errant parents. Laying bare an economic infrastructure where prison becomes the one stop shop for honest and dishonest alike. All of these things play out with care, thought and no end of consideration from a structural standpoint, both engaging, challenging then wrong footing a capture audience. Similar to Mr Mercedes which hinged on some focused performances last year, Castle Rock is doing more of the same whilst upping the ante.
Martin Carr
