Grimm: Cry Luison Review
The themes in Grimm's latest, "Cry Luison," almost feel like a daytime soap opera. Here's our review...
“A liar will not be believed, even when he speaks the truth.”
The team to restore Nick’s powers arrived to inform of the not-so-easy way to be become a Grimm anew. It would involve more than reciting an incantation, drinking a potion or wishing upon a star. The damage that Adalind caused has left Portland with an inexperienced junior Grimm in the person of Trubel.
In order for Nick to reclaim his powers, Juliette is the vessel through which Nick can be his previous supernatural crime-fighting self. The questions throughout the episode are (a) will the process be worthwhile (b) does Nick want to be a Grimm again, and (c) will it actually work?
In the Grimm universe, there are worse temporary inconveniences that morphing into Adalind, if it will help Nick. Juliette and Nick obviously have emotional scars from the experience, but to restore balance and keep the bad guys in check, the reward ought to outweigh the risk. We’ll have to wait for Nick and Juliette to decide, or perhaps the decision will be made for them by outside forces.
Nick and Juliette aren’t accepting of the process to regain his powers. If he wants to be the hero that saves the day or night, he needs to bite the bullet and get it done, or all of Portland suffers the consequences.
Tonight’s story within the episode, “Cry Luison,” is one of greed, lies and deception often told on daytime and nighttime soap operas. The dastardly villain here is able to torment his victim with his inner beast turned inside out. The things people do for love and/or money aren’t exclusive to humans. Wesens like big houses, luxury items, and fine wines too. Over the course of the episode, it’s easy to believe the bogeyman might not be real, but a figment in the heiress’ mind. On second glance, we remember that the we’re watching Grimm, and there might be something or someone real to consider.
The charismatic, foreign-accented husband is an ode to Claus von Bulow, only this time, the husband isn’t drugging the wife, but attacking her mental sanity.
Traveling back to Vienna, the real Adalind is looping in what seem to be a never-ending maze of doors, voices and maternal instincts as she searches for her baby and the nearest exit. Victor is quite the evil puppet master at her expense. The goal is to wear her down until she’s ready to bend in whatever direction he chooses. They both want a similar outcome, to locate the baby, but for different reasons. Adalind wants to be a mother, or thinks she can be a mother, and Victor wants to use the child as leverage and an eventual weapon.
We love television shows and movies when characters conveniently overhear pivotal information when weighing a major decision. Juliette just happens to be on the stairwell and overhears that Nick’s life may be in danger if he remains mortal. No pressure, of course, go through the reversal spell with an uncertain outcome. I can’t wait until Nick comes to his senses and regains his abilities. Trubel isn’t a bad substitute, but I think Portland would benefit from two Grimms.
It’s one thing to decide for selfish reasons to become a superhero again, yet something entirely different when loved ones and friends are in jeopardy without certain gifts.
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In true geek fashion, Kendall wears several hats: writer, editor, publicist, cultural/media critic, and mentor. His feature articles and reviews appear online and in print magazines.…