Undercover

Okonedo and Lester shine in their roles as marrieds and determined professionals; their performances keep the whole thing from completely going off the rails, even during the goofy conclusion. Undercover isn’t exactly a misstep for Moffat, but it does lack the focus we’re accustomed to seeing in his work.

The acting here is terrific, particularly among veterans Okonedo (Oscar-nominated for “Hotel Rwanda”), Haysbert (“The Unit” and those Allstate commercials) and Lester (“Girlfriends”), who all deliver meaty, nuanced performances.

The complex plotting is a small hurdle at first, but [Peter] Moffat's talent is turning the arcane into intense and gripping human drama. [18 Nov 2016, p.53]

Undercover could have been far better, but it just isn’t. Nonetheless, it’s worth your time, if only to wallow in the brilliance of Okonedo’s performance and to consider what might have been if only Moffat had exercised some restraint.

Like both “Criminal Justice” and “The Night Of,” “Undercover” is concerned with the collateral damage wrought by the legal system, with its corrosive effect on lawyers, judges, defendants and, in this case, undercover cops. Unfortunately, these worthy and relevant themes get lost in the overgrown narrative weeds.

In the end, it doesn’t really come close to making sense, which is the worst thing you can say about this type of show.

The series starts strong as it establishes its hooks, but fails to stick any of its underwhelming climaxes. [7 - 20 Nov 2016, p.13]