Law & Order: Special Victims Unit (TV Series) Rage (2005) User Reviews

The ones that get away

[bkoganbing · 8/10 · 31 May 2015]

For a cop especially an SVU cop the ones that get away are the ones that stick in your craw. For Christopher Meloni, Matthew Modine represents the one that eats at him. 12 years earlier he was arrested for a child murder and rape, but SVU couldn't make the case. Now he has another chance at him.

The entire squad works on this, but they follow Meloni's lead. By this time Modine is someone used to police interrogation and he doesn't crack easy. Most of this story is in the SVU interrogation room where the dialog is intense and the ugly side of Christopher Meloni is revealed. As for Modine he has no other side.

In the end he's brought to justice and in a far better way than a confession some smart lawyer might get tossed.

One of Christopher Meloni's best moments with the series.

Unusual Episode

[wrenleung · 7/10 · 5 November 2019]

It was a very intense episode with excellent acting, especially Detective Stabler and Gordon. However, it felt like I was watching a school play. I have ADHD so I had a hard time staying focused during the long interrogation scenes (but that's my problem). Maybe this episode was made to help Meloni get an Emmy. (He got a nomination in the following season.)

Less is more

[alexandrajade · 10/10 · 9 July 2009]

This is a very minimalistic episode. 80% of it takes place in the SVU squad, and most of ''that'' time is focused on a single interrogation room. The story of this episode could have been told in five minutes. What that does is give way for an amazing back-and-forth between Detective Stabler and a suspect who knows just how to push every one of his buttons.

As the episode begins, Stabler has some 21 hours to get a confession from Gordon Rickett (Matthew Modine) for the rape and murder of a young girl. The cops have no hard evidence tying Rickett to the crime, but Stabler is certain of his guilt. He collared Rickett 14 years earlier for a similar crime, but the jury acquitted him, and Stabler's never forgotten. He tries numerous classic tricks to rattle Rickett - he shortens the leg on one of his chairs, turns the heat up in the interrogation room, switches out a fluorescent light bulb with one that buzzes and blinks, orders smelly food from a deli to try to get Rickett to need to ask to use the bathroom, yells at him and even spits on him at one point, messes with his sleep, and more. But Rickett refuses to be rattled, and the 24 hours since his arrest pass without a statement - the cops have to let him go. Just before Rickett is released, a visibly defeated Stabler bares it all when talking to Rickett about the titular subject - rage. He admits that without the controls of his family and his job, he'd be Rickett, a murderer.

The next morning, Stabler culls from the night he spent with Rickett some information that leads him and Benson to Rickett's girlfriend and, eventually, the house where he murdered the girl 14 years before and the one he was arrested for at the beginning of the episode. They arrive just in time to save another girl from being killed. There is a tense moment as they draw down on Rickett. Benson shoots him first to keep Stabler from killing him, and after he falls, Stabler stands over him with his gun hand shaking wildly as Benson talks him down from letting his rage make him do the unthinkable. Stabler cuffs and mirandizes Rickett, and we all exhale.

The episode ends with Stabler releasing his rage in the locker room, screaming and pounding his fists bloody on the steel doors.

The interplay between Modine and Meloni is just incredible. I'm not nearly doing it justice with this meager review. This is an episode that draws you in and keeps you coming back. As I mentioned at the top, the episode is very minimalistic. Chief example of this is the story - it's very straightforward, with no twists at all. The production, though, is also pretty minimalistic. From memory, only six scenes take place outside of the SVU squad, and there are really only two or three guest roles outside of Modine. Even the music is simplistic; I can only remember one music cue in the episode, and it was a misdirect (Rickett appeared to break down and be on the verge of confessing, but he was really just messing with Stabler). The chilling ending is mute of any sound but Stabler's cries and the sound of his fists against metal.

This is one of my absolute favorite episodes of this show. The first time I watched it, I kind of wanted it to end in the interrogation room, but now I think it's just about perfect the way it is.

This episode is....

[Impertinent · 1 April 2006]

By far...one of the most intense, fascinating looks into the mind of a psychopathic, child abuser / murderer.

It was incredible acting on the part of Modine and quite a departure from is usual roles.

"Det. Stabler", Meloni was the best I've ever seen him. I'll never forget this one!

Quite possibly, given the current state of affairs in our nations struggle with this issue....his performance reflected the feelings of many of us?

Unforgettable rage.

Genius writing, intense acting, flawless directing.

[tommyjaykeogh · 10/10 · 25 February 2018]

The scene with Munch in interrogation was brilliant. In my opinion, the best episode for Law and Order SVU .

Rage going over the edge

[TheLittleSongbird · 10/10 · 10 March 2021]

"Rage" is something of a different episode for 'Law and Order: Special Victims Unit'. Not many episodes of the show have the criminal already in custody. There are not many episodes that go straight to the interrogation part of the case in question. And there are also not many episodes that are interrogation heavy, well certainly not to this extent in an episode that is basically one extended interrogation scene. They are major interest points here, though it is understandable if anybody has worries about it being too talky as a result.

In my view, they needn't worry. There is a lot of talk in "Rage", but it actually didn't feel too much and all the talk was interesting and added to the case and the characters. It is also very intimate, but that also doesn't matter as it doesn't feel too claustrophobic. As an episode, "Rage" is brilliant and one of the best episodes of a season full of outstanding episodes (by far the best and most consistent Season 6 of those for this, the original 'Law and Order' and 'Criminal Intent'). As well as one of the best of the early seasons and a 'Special Victims Unit' standout. As said, it is basically an extended interrogation scene in structure but with the amount of tension throughout the episode that is usually present in the climax.

The episode is very tense and smart when it comes to talking about the writing, and as said it never feels too much. All of it says a lot about both Stabler and Rickett as well as the case, with nothing being irrelevant. The story drips with tension and sears in suspense, especially in the latter stages the angrier Stabler gets. It does help massively that Rickett does give off a genuine sense of unease and really gets under the skin.

Although the setting is very intimate and more confined in location, "Rage" never feels dull or too claustrophobic. Actually think oddly enough that it engrosses more than a good deal of episodes that are not as intimate and more eventful in action thanks to the suspenseful script writing and character writing and interaction. The engrossing factor increases even more the more that is learnt about the characters and the case, even when not heavy in action (the closest the episode comes to it being when Stabler loses it).

When it comes to the character writing and interaction, "Rage" is pretty much masterful. The most dominant and most focused upon being between Stabler and Rickett, which is tension personified. Something that intensifies the angrier Stabler gets and the smarter, more taunting Rickett does. It is very clear, and this is true throughout Season 6 and throughout the time Stabler was on 'Special Victims Unit' (over half of its run), that Olivia cares for Stabler. Evident in their last exchange where she is firm but empathetic. Have actually really liked Stabler's more tormented and intense character development in Season 6, some found it too angsty but not me and to me it added to him as a person behind the job dealing with a stressful job and an increasingly difficult family life. And then having to deal with somebody as reprehensible as Rickett, it's not surprising that Stabler struggles with his emotions here.

Christopher Meloni's performance was award-worthy, truly riveting and not just his best performance of Season 6 but also some of his best acting on 'Special Victims Unit'. Matthew Modine here is at his most chilling in a departure role. Their chemistry absolutely scintillates. The music use here is relatively minimal compared to usual, it is haunting when used but adding even more to the unsettlement is the sound of the clock ticking. It's a slickly made episode that is not gimmicky or static and the direction is tight yet accomodating, really succeeding in getting the absolute best out of Meloni and Modine.

Overall, brilliant. 10/10

One of the best episodes in television history

[barnett-32517 · 10/10 · 21 September 2018]

How "Rage" didn't win an Emmy, on any level, is beyond me.

The writing for this episode is superb. It's a stage play, for the most part. The opening narration and skewed camera angle sets the tone.

Matthew Modine and Christopher Meloni deserved, at the very least, Emmy nominations if not Emmy wins.

My only criticism, and I mean ONLY criticism, is Stabler's punching the lockers at the end. It too comedic. It made me laugh and I thought it was unfortunate. He should have shut the locker only to have the door bounce back. Then slamming it back again, which sets off the rage where he punches the door over and over. Maybe have him double over and throw up, getting the "poison" out of his system. Fade out.

But that's only a minor criticism. This episode is the best in the entire "Law & Order" family, and it deserved industry respect.

Uniform gangester

[yazguloner · 10/10 · 7 May 2021]

Rage. Elliot Stabler pulls out the uniformed gangester inside it. He destroys it: In the final scene, looking away in the mirror and then punching the closet, he actually expels the uniformed rage in himself.

Like olivia confronting its own trauma in what happened 19s 7e

Extraordinary theatrical atmosphere, beautiful writing, great acting again in the first half and the last part 👏👏👏

A bit boring

[stratus_phere · 6/10 · 28 May 2018]

Almost the entire episode was a single perp interview with psychological blah blah blah. It was yet another vehicle to display Stabler's instability. That story idea is getting very boring. I want Stabler to man up and quit losing his temper. The only fun part of this episode was near the end when they actually left the interview room and went out to do police work.

Also, if the victim is in imminent danger, and you have a clear shot at the perp, you are under no obligation to stand their with your thumb up your butt and not shoot while the perp taunts and threatens you. Man up and do your job.

High-quality drama.

[PWNYCNY · 8 September 2011]

When you have an excellent script and excellent actors, the result can be magic, and in this episode there is magic. This had to be one of the most intense episodes in television history. It is obvious that the producers decided to ratchet up the drama, to present a story that is simple in format yet highly complex in terms of the human interaction. Mathew Modine and Christopher Meloni are incredible. Their performances are unmatchable. They take a script and transform it into drama of the highest quality. This episode provides a study of the psychopathic mind. Rage and anger abound as the detective attempts to break down the elaborate defenses erected by the accused to avoid taking responsibility for his crimes. For it's not about whether Mr. Modine's character is guilty. Rather, it is about getting him to open up, to speak forthrightly about his crimes and to take responsibility for his criminal conduct. At the same time, the detective must maintain control or he will lose the contest of wills. This episode is proof that network television can produce high quality drama.