Roger’s assassin, Carlos, shows up at Stan’s place and immediately shoots up his family when he learns Stan’s not there. It’s only a matter of time before they’re found out. Naturally, Roger traces this back to the guy who did his eye exam, and then his car. The thing is, the bonds aren’t inside the safe and even worse, Stan has actually left his glasses at the bottom next to the vault, which are found and subsequently checked at the lab for DNA. Stefan ringing Roger doesn’t help, as he looks warily and eventually tells him the bonds are fine. Roger shows and manages to talk them around until they get a warrant but it’s clear they’re not done with this yet. Nazan points out she has a mole and knows the vault has been broken into and demands that they be let down and see the safe. The FBI show not long after, led by Nazan who’s still on the case. They try to deduce exactly what’s happened, with bees inside and the vault itself completely submerged in water. Roger and Hannah show up at SLS, having seen them on the feeds and knowing they’re close. Judy tries to work out who it is, while Stan shows up in an Uber, angry to learn that Leo doesn’t have the Bonds as promised. Now, for those who watched the earlier episodes we know exactly who this is.

The storm has ripped through the city, while Leo soon learns that they have a rat in their operation. There’s devastation across the city as we cut back to moments after the failed heist following this boat opening.

They weren’t successful in escaping but as Leo himself mentions “no one can point out the moment it all fell apart.” Stan sports a gunshot wound on his ear while the mood is somber. Leo is driving a boat with the rest of the crew, where it seems the heist was a complete mess. The excellent technical elements add greatly to the overall effect, from Philipp Blaubach’s claustrophobic cinematography to Adrian Smith’s effectively colorless production design to Mike Prestwood Smith’s unsettling musical score.Coming in hot after the heist, the red episode of Kaleidoscope sees us arrive at the morning after the heist. He’s superbly matched by Reid, who also delivers a fascinatingly enigmatic turn, and Matthews, whose character also turns out to be more complex than she initially appears.ĭirector/screenwriter Jones displays an ability to sustain simmering tension that’s impressive for someone directing only his second feature film. Jones brings remarkable shadings to his character, managing to at once be creepily off-putting and sympathetically vulnerable. But the reality-bending storyline proves less important than the tense, paranoiac atmosphere and the riveting interplay between Carl and both his unfortunate date and his overbearing mother. The narrative, as fragmented as the images seen in the symbolic childhood toy that gives the film its title, will prove frustrating for viewers interested in easy answers. Oscars: Spanish Hopeful 'Summer 1993' Tells Director’s Personal Story How she got there constitutes the central mystery of the film that takes delight in confounding viewers’ narrative expectations. And they certainly do, as Carl finds out when he discovers the corpse of a young woman in his bathroom.

The central character, the middle-aged Carl (Jones), lives on an upper floor of the sort of nondescript middle-income, high-rise apartment building in which you know bad things happen. A dark psychological thriller clearly influenced by Alfred Hitchcock (who Jones played so memorably in The Girl), Kaleidoscope, also starring veteran British actress Anne Reid ( The Mother), provides juicy opportunities for its leads to deliver tour-de-force performances - and they don’t disappoint. It’s a fact of which his brother Rupert Jones also seems to be aware, since he’s written and directed a terrific vehicle for him. There may be no better actor alive to play a socially maladroit misfit than Toby Jones.

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