John Doggett finally found his son’s killer last
night. Let us all know what you think of it.

Cast

Robert
Patrick

as John Doggett
Annabeth
Gish
as
Agent Reyes
Gillian
Anderson
as Dana Scully
Barbara
Patrick
as Barbara Doggett

Cary
Elwes
as
A.D. Brad Follmer

Crew

Story by David
Amann
and John
Shiban


Teleplay by David
Amann


Directed by Kim
Manners

Original Airdate


Release
originally aired on
Sunday,
May 5,
2002.

Synopsis

Acting on an anonymous tip, Agent Doggett found a
body trapped in the
wall in an apartment building. An FBI recruit
took one look at the
corpse and identified all the circumstances
surrounding her death.
His information panned out. Doggett soon asked
him to look at the
death of Luke Doggett in the hopes that his
incredible intuition would
be helpful. Cadet Hayes told Doggett that it was
the same case.

It seems that Hayes receives messages from
pictures of murders. These
messages told him all about Nicholas Regali, the
man who killed Luke
Doggett, but not the man who kidnapped him.
During the course of the
investigation, it was learned that Hayes was a
schizophrenic who lied
about his identity. Doggett also learned that
Regali did kill his
son, because Luke saw Regali’s face when Regali
visited the pedophile
who kidnapped Luke. We also learned that A.D.
Follmer had been on the
take, making sure that indictments against Regali
never stuck.
In addition, the viewers learned that the
Doggetts divorced some time ago,
and that Mrs. Doggett (played by Mrs. Patrick)
was living in their old
house. We also saw strong indications that
Doggett’s pursuit of the
killer may have been the factor that caused
enough stress to end the
marriage. Finally, we learn that Mrs. Doggett
believes that John
Doggett and Monica Reyes could have a happy life
together if he’d only
let her in.

In the end, A.D. Follmer killed Regali just after
his confession (and
just before Doggett killed him.) That seemed to
be the act that
released them both; Follmer was released from his
bribery, and Doggett
was released from the pursuit of his son’s very
human killer. The end
seems to imply that Doggett and Reyes can finally
be together.

High Point

Mark Snow’s score was fantastic this week. It
set the mood perfectly
with music atypical of The X-Files.

Low Point

I’d have liked to see what effect this will have
on Follmer’s career.
I doubt they’ll get around to that next week.

The Review

The killer was ordinary human scum. How often
does that happen on
this show? I don’t think that’s happened since
Clyde Bruckman’s
Final Repose
back in season three. It also
showed a very
personal journey, which is not terribly common on
this show. I give
it 4 out of 6, but only because the psychic aid
to track a human
killer but was done before, back in Clyde
Bruckman’s Final
Repose
, one of the best episodes the show
has ever seen.

The effects this week were limited to
makeup effects once
again. They were convincing, but not
challenging. I give it 3 out of
6.

The story was excellent. It was a great
whodunit, the real
identity of the killer was ambiguous for a while,
and we saw some very
real character development for Doggett. More
importantly, we learned
more about Follmer and his relationship with
Reyes. The loose ends
are being tied one by one. I give it 5 out of 6.

The acting this week was also excellent.
Robert Patrick is a
great actor, and this entire episode seemed
designed to give him a
chance to shine. Annabeth Gish did a good job for
once, too,
particularly in her conversation with Doggett in
the hallway. Even
Cary Elwes managed to take a character that had
previously been a one
dimensional villain within the Bureau and turned
him into a very real
human who seemed to be conflicted about how to
deal with a trap that
he’d stepped into years before. All in all, this
was a very well
acted episode. I give it 5 out of 6.

The emotional response this week was
fairly high. It really
felt like this was the week that tied up Doggett
and Follmer as
characters. It even tied up Monica to a degree,
by implying that she
and Doggett can live happily ever after. I was
very interested, and
hooked early on. I give it 5 out of 6.

The production was excellent, as usual.
Kim Manners’
direction was excellent, and a nice companion to
the photography.
(The D.P. was, I think, Bill Roe, but I forgot to
check the credits
for sure.) Mark Snow’s score was fantastic,
perfectly setting the
mood, both in its tone, and in its lack of
familiar musical cues,
which just served to drive home the idea that
this was an atypical
episode. I give it 6 out of 6.

Overall, this was a great episode. I
think it can stand with
the best of the Mulder and Scully years in terms
of quality and
production. I give it 5 out of 6.

In total, Release received 33 out of 42.

The Coming Weeks

They seem to be wrapping up the characters on the
show one by one.
So, will this week serve as the wrap-up for
Reyes, or will that be
next week’s? I hope this was it, actually. We
haven’t seen a lot of
Reyes’ past, apart from her relationships with
Doggett and Follmer
that they tied up this week, so anything they try
to tie up in the
future will have to be introduced then, which
seems cheap. I’d much
rather see them wrap up Skinner next week. Also,
as you may or may
not have noticed, the series finale is two hours,
which means the
other episodes in this final stretch would have
to be finished at
least a week early, which gives them time to
decide which order to air
them in. Release was produced before
William, so I
suspect that they’re using this freedom to build
up to the end of the
series with steadily improving episodes. If
that’s the case, next
week should be a great one to see.

On May 12, we get Sunshine Days,
about a guy who is
obsessed with The Brady Bunch. On May
19, the broadcast
starts an hour earlier than normal for the two
hour series finale,
The Truth.