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- BBC One
- Jul 17, 2022
- BBC One
- Jul 17, 2022
Summary Emergency call operator Gabriel (Iain De Caestecker) searches for a woman (Joanna Vanderham) who calls in and seems to know him in this British three-part miniseries. [Premiered originally in the UK on BBC One on 17 Jul 2022 and in the US on BritBox on 28 Dec 2022]
Created By: Nick Leather
- BBC One
- Jul 17, 2022
- BBC One
- Jul 17, 2022
Summary Emergency call operator Gabriel (Iain De Caestecker) searches for a woman (Joanna Vanderham) who calls in and seems to know him in this British three-part miniseries. [Premiered originally in the UK on BBC One on 17 Jul 2022 and in the US on BritBox on 28 Dec 2022]
Created By: Nick Leather
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Metascore
Generally Favorable
Based on 7 Critic Reviews
64
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 7 Critic Reviews
64
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
In its final moments, the show chooses to focus on its emotional through-line and its characters, rather than explosive action or a shocking last-minute bait and switch – an easy decision to defend and one which may help The Control Room to stand out amongst the crowd.
With its fresh-feeling premise, fleshed out characters, and just enough twists to deliver escapism without compromising believability, The Control Room has all the ingredients to emerge as one of the year’s standout dramas.
It’s a thriller that takes a tremendous, hooky premise, then builds around it with loving detail – instead of considering that its work is largely done and relying on the audience’s basic need for resolution to keep them watching.
Viewers will be drawn into the main story in The Control Room. We hope, however, they’re not distracted by the piecemeal flashbacks that build the characters’ backstories.
The performances of the leads redeem a lot of the slow pace and disjointed storytelling.
My main response to this thriller was irritation. ... The opaque flashbacks to their childhood hint at the nub of the mystery, but what it needs at this stage is less vagueness, more hard reveal.
What looks as if it will be a high-concept thriller in the style of Colin Farrell’s Phone Booth soon slumps under the weight of countless woozy flashbacks to Gabriel’s early years with Sam, his childhood friend.
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