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Beautiful but blunt, "Crocodile"'s nightmarish concept can't quite overcome its own shallow nihilism.
Ultimately, it's all a little too predictable, the intersection of technology with flawed humanity bringing about an expected response. Though there's a lot to enjoy, this is definitely one of Black Mirror's lesser episodes.
The lead of "Crocodile" is too nakedly evil, too lacking in redeeming features, to make that idea remotely compelling.
The award for most nightmarish goes to "Crocodile," a chill-inducing psychological carnage-fest filmed in the style of Scandinavian noir that I would happily unsee, if such a nefarious technology existed, thank you very much.
This one is ultimately too bitter a pill to swallow.
There's so much here that links to other Black Mirror episodes, with memory and privacy being two of the show's great themes.
A descent into hell that contrasts with the freezing cold of the Icelandic landscapes in which this remarkable episode of the fourth season was filmed. [Full Review in Spanish]
Sleek and skeletal.
The result - directed impressively by Lawless filmmaker John Hillcoat - is an often stylistically pleasing but disappointingly shallow equivalent to being hit over the head by a toaster for no real purpose.
Most of "Crocodile" plays out like a slow-motion nightmare, where you can see the next beat coming just before it happens, and then have to sit and watch in horror as it does. It's a good match for director John Hillcoat.
Though beautifully shot and wonderfully performed, the episode is a rare miss for Brooker, an indulgent, barbaric installment that will leave you feeling in need of a shower after watching.