Amy Neil
بطور Director
English,Filipino,Français,Indonesian,Kiswahili,Português,Русский,اَلْعَرَبِيَّةُ,اُردُو,هَرْشٜن هَوْس,বাংলা,ਪੰਜਾਬੀ
The TV series The Control Room, created by Nick Leather and produced by an unlisted studio, first premiered on July 17, 2022 in متحدہ سلطنت یونائیٹڈ کنگڈم. The series spans 1 season with 3 episodes, featuring the voices of Iain De Caestecker, Daniel Portman, Jatinder Singh Randhawa, and Rona Morison. It follows the story of An ordinary man who works as an emergency call handler for the Scottish Ambulance Service in Glasgow receives a desperate call from a woman who seems to know him. This is a جرم, ڈرامہ, سنسنی خیز series and has received a rating of 5.7/10 from 1,944 viewers.
Amy Neil
بطور Director
Iain De Caestecker
بطور Gabe
Daniel Portman
بطور Anthony
Jatinder Singh Randhawa
بطور Tah
Rona Morison
بطور Danni
Taqi Nazeer
بطور Jat
Sharon Rooney
بطور Breck
Conor McLeod
بطور Ross
Harvey Calderwood
بطور Young Gabe
Farrah Thomas
بطور Young Sam
Joanna Vanderham
بطور Sam
Taj Atwal
بطور Leigh
Stuart Bowman
بطور Ian
Daniel Cahill
بطور Robbo
Charlene Boyd
بطور Eilidh
Natali McCleary
بطور Lennie
Andy Clark
بطور Police Receptionist
Ty McPhee
بطور Young Robbo
Yolanda Mitchell
بطور Bar Tender
Nick Leather
بطور Writer
دستیابی ملک، زبان اور ریلیز ونڈو کے لحاظ سے مختلف ہو سکتی ہے۔ کچھ عنوانات پلیٹ فارم سبسکرپشنز میں شامل ہوتے ہیں، جبکہ دیگر کے لیے کرایہ، خریداری یا ایپ پر مبنی رسائی درکار ہو سکتی ہے۔ اسٹریمنگ کیٹلاگ اور لائسنسنگ معاہدے باقاعدگی سے اپ ڈیٹ ہوتے ہیں، اس لیے پلے بیک کے اختیارات وقت کے ساتھ بدل سکتے ہیں۔ دیکھنے کے سب سے درست تجربے کے لیے اپنی منتخب سروس پر تازہ ترین فہرست دیکھیں اور شروع کرنے سے پہلے علاقائی سپورٹ، سب ٹائٹل کے اختیارات اور ڈیوائس کی مطابقت کی تصدیق کریں۔
127A Smithfield Road, Frederiksted, Virgin Islands
Castle Rock Entertainment
مجموعی طور پر 21 جیتیں اور 43 نامزدگیاں
موبائل، FM بلڈز اور TV-مطابقت پذیر APK ورژن کے لیے تازہ ترین MovieBox پیکجز ڈاؤن لوڈ کریں۔ اپنے آلے اور علاقے سے مماثل پیکج منتخب کریں، پھر بہترین مطابقت اور سیکیورٹی کے لیے سرکاری انسٹال گائیڈ پر عمل کریں۔
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9.5/10 .... Lately, I've found myself in a bit of a funk getting into new tv series, however, I had no issue jumping into the action packed world of the control room. The show offered a refreshing take on the 'ordinary man who finds himself thrust into a crime filled world for which is he unprepared'. Typically, shows of this nature tend to lean into unique or established character traits that miraculously save the day such as their ability to hack computers (showing off their sophisticated tech talk) or connect with people emotionally, these shows often turn the characters into incredible crime fighters despite having no history of being physically capable of keeping up with professional fighters. I enjoyed the earnestness and sincerity in which Gabe confronts danger, he reacts as a person who is not only unprepared but one who wants to be as far away from this scenario as possible. Gabe's innocent, friendly nature leads him to making decisions which many would not as he struggles to make heads and tails of what is going on; the character is trapped with guilt that follows from decades ago, that not only added to his loyal and devoted personality, but also signify just how lost this fully grown man is in the regular world as well as the world he finds himself thrown into. We see how the past interconnects with the present through a series of flashbacks which were not only well acted but edited so seamlessly, too. It has become common for dramas or thrillers to use flashbacks within the last few years, something that many viewers can be irked by, however, I found the flashbacks to be entirely necessary to the story telling and part of the foundations in which this show is built. The acting throughout was a treasure, our lead Iain de Caestecker gives a phenomenal performance with major references to the third and final episode in which he is put through more than one ringer. De Caestecker is able to perform the role with precision, bringing Gabe to life in a way that no other actor could as the naive, loyal yet uncertain Gabe; De Caestecker takes you on the journey with him and even when Gabe responds questionably to a scenario it feels entirely authentic to Gabe's personality and motivations. Taj Atwal, Sharon Rooney, Stuart Bowman and Daniel Portman are also notable mentions as they did well with the roles given. It is a well rounded cast of talent as even the smaller roles managed to feel authentic to real life, with credits to the actor who played young Gabe. My biggest struggle was the character of Samantha as I feel that she was shrouded in too much mystery within the first two episodes before we see more to her character in three. Although the show is through Gabe's perspective and we learn who Samantha has become with Gabe, the lack of information given on this character can sometimes lead to a slight disconnect. That is not to say that Joanna Vanderham did not do well with the role, she was great, merely that there was a case of too many cooks stirring the pot when it came to character choices. Finally, the portrayal of a distant relationship between father and son is nothing new yet this thriller made it feel so uncomfortably real that you couldn't help but yearn for the characters to reach out to one another. A concerned father meddling at the wrong moments could have led to diabolical circumstances, in another thriller it may have led to a wrong person at the wrong time scenario and Gabe having to deal with unresolved family tensions or resentments. And yet, it is that final scene when the two reunite that makes this show so unique; although their lives have become disconnected and they live likes ghosts stuck in a loop, they have a chance to set things right and work on their relationship which is possibly the most satisfying ending and surprising ending you could expect for a thriller. I appreciate wholeheartedly that the writers went in this direction as opposed to a cheap and unresolved ending.
This must rank amongst the worst TV that I have watched in a very very long time. Is this what I pay my TV licence for? Utter rubbish from start to finish, well almost finish as I couldn't bring myself to watch to the very end. Rubbish script, rubbish acting, rubbish direction with not one redeeming factor apart from the fact that it was only over a few episodes. Should be ashamed of yourself BBC for airing this drivel.
Have to agree with the majority of the previous reviews. Wanted to switch off after first episode and wasn't bothered to find out the ending. Why?, because after Gabe makes the most obvious of "no, you didn't just agree to that" moments, it goes from bad to worse. Every twist and turn in the first 2 episodes have me screaming at the TV "nooooooo". But as a dutiful husband, having had my wife watch some of the stuff I like, I repaid the debt a million times over to watch this to its conclusion. There were a few more twists in the final episode that we didn't see coming which kinda redeemed it a bit, but not enough for me to recommend it. IDC was ok in Marvel agents of Shield but he almost felt the same in this, with his nervous affectations. So glad it's over and hopefully no sequel..... Sounded good on the radio adverts but in reality a MISS rather that a HIT. Would give it a 2.5 for the little twists in the last episode.
Imagine watching a game of soccer, played on a tennis court with a shuttlecock by jockeys riding llamas in slow motion with random action-replays in Ultra-HD and Dolby Atmos 3D surround sound, narrated in Sanskrit by Norwegian commentators with Greek subtitles, all on the hottest day in British history... and you won't even be close.
Iain De Caestecker is one of the best actors alive today. He is stunningly amazing and can basically save anything or elevate any show. So when I say that not even Ian can get me to raise the grade of this you should understand my full meaning. This is not the worst thing ever. The premise is actually pretty good, and a few of the twists could have worked with a better director. I was also decently intrigued for 15min or so. But there ends any positives. The Plot is almost non existing, the pacing is way off, there are plot holes in every corner and the writing is abysmal. The dialogue is below subpar and the directing is one of the worst seen. Basically this had a good idea, and a couple of great actors but they messed up everything else. 3/10 is pretty low but I cannot allow myself to give this a higher score.
...although to be honest I only stuck it out for about half of the first episode. As someone else said, it does start out in a promising way, but only for about 5 minutes. After that it is clear that the story line is rubbish. So annoying when a drama that is set up to be realistic is completely unbelievable. At least I can take comfort that it's not only Netflix that are showing rubbish.
A 3-part drama which is boring, unintelligent, beyond any logic and exceptionally poor. Bonkers characters and even worse plot. A a waste of time no matter how much you want to persuade yourself that something more is about to happen. The side story is just a repetition from American to series of the 80s. Overall, not recommended. Pity for the actors!
حالیہ قیمتوں میں تبدیلیوں، صارفین اپنے دیکھنے کے سیٹ اپ پر دوبارہ غور کیوں کر رہے ہیں، اور اپنی دریافت کی عادات کھوئے بغیر متبادل طریقہ کار کا جائزہ لینے کا تفصیلی تجزیہ۔
Movie Box APK انسٹال کرنے کا صحیح طریقہ جانیں: پہلے ورژن کی بنیادی باتیں، پھر صاف انسٹالیشن کے مراحل، اور آخر میں TV، iOS، ویب اور ایپ کے استعمال کے راستوں میں سے انتخاب کیسے کریں۔
ایک تفصیلی جائزہ جو بتاتا ہے کہ 2026 میں Project Hail Mary کیوں نمایاں ہے: موافقت کا معیار، سائنسی کہانی، جذباتی گہرائی اور سامعین کے ردعمل۔
کامیڈی کہانیاں مزاح کے ذریعے تفریح فراہم کرنے کے لیے بنائی جاتی ہیں۔ مقبول فارمیٹس میں حالات پر مبنی کامیڈی، خاکہ نما مزاح، دفتری کامیڈی اور رومانوی کامیڈی شامل ہیں۔
ایکشن فلمیں جوش، جسمانی کشمکش، بہادر کرداروں اور تیز رفتار کہانی پر زور دیتی ہیں۔ ایڈونچر فلموں میں اکثر تلاش، بقا یا عظیم سفر دکھائے جاتے ہیں۔
کرائم ڈرامے تفتیش کاروں، جاسوسوں، وکلا یا صحافیوں کی پیروی کرتے ہیں جب وہ مجرمانہ مقدمات حل کرتے ہیں۔ اسرار کہانیاں ناظرین کو کرداروں کے ساتھ سراغ دریافت کرنے کی ترغیب دیتی ہیں۔
سائنس فکشن مستقبل کی ٹیکنالوجی، خلائی سفر، مصنوعی ذہانت، متبادل حقیقتوں اور سائنسی قیاس آرائیوں کی کھوج کرتا ہے۔
ہارر کہانی نفسیاتی تناؤ، مافوق الفطرت واقعات، راکشسوں یا بقا کے منظرناموں کے ذریعے سسپنس پیدا کرتی ہے۔
رومانوی کہانیاں بنیادی طور پر کرداروں کے درمیان تعلقات، محبت کی کہانی اور جذباتی نشوونما پر مرکوز ہوتی ہیں۔
اینیمیشن میں بچوں، خاندانوں اور بالغوں کے لیے تعلیمی مواد سے لے کر پیچیدہ ڈرامائی کہانی تک کے کام شامل ہوتے ہیں۔
رومانوی کہانیاں بنیادی طور پر کرداروں کے درمیان تعلقات، محبت کی کہانی اور جذباتی نشوونما پر مرکوز ہوتی ہیں۔