I'm going to
give it my best shot to avoid revealing any plot points, scene secrets, or
surprises for those who haven't had a chance to watch yet; but be forewarned, I
can't guarantee I won't upset the "spoiler sensitive," so proceed at
your own risk. With that said, I will
tackle this as I have done before in three categories; the good, the bad, and
the just plain ugly.
Props Clint, I
love you babe.
So, let's light
this candle...
The good: once
again, this series is able to bring a convincing
and engrossing dark, gritty, and oft brutal
edge to the Marvel Universe. Unlike DC's absolute fail in unsuccessfully
combining their bleak real world essence
and graphic fantasy realm to truly please both the diehard Fanboy or girl and
the comic illiterate mainstream
alike.
Charlie Cox
returns with a fury, turning one of the most under-appreciated of the Marvel
lineup into a hero rock star almost overnight.
In fact, the entire cast delivers authentic performances that you can
feel within the pits of both your heart and stomach, sometimes at the same
time. The script, overall, is well
crafted and the storytelling, for the most part, is fluid and thoroughly
engaging.
But it is the
unadulterated, uncensored, brutal action that separates this series from any of
its ilk. Perfectly choreographed
routines that shamelessly tantalize with each bone crushing blow joyously
reverberating in your eager ear
holes. The hallway scene, from season
one, has become an infamous example of this awe-inspired combat. Well, wait to you see the stairwell
scene. If you don't replay it at least
ten times in morbid glee, then you are truly dead inside. This is how you bring such iconically feral
characters like Elektra and The Punisher to illustrious
gory and grim life. Where others have
monumentally failed, Goddard succeeds, in bloody
gallons.
The costuming
only compliments the action and story.
So many times such hero apparel updates
reduce these vigilantes to either; S&M leather and spandex, the equivalent
of sub-par Cosplay, or literal
caricatures of themselves, appearing more like a parody than homage. These
incarnations are not only geektastic but actually make sense if they existed in
the here and now. When certain
recognizable elements and aspects are finally revealed, it is an indisputable moment of utter geek Zen!
Finally, and I
believe, accidentally, the story demonstrates the very failures of our justice
system and the ridiculousness of the Progressive philosophies that have ravaged
our penal processes.
Ha, I said penal; okay, moving on.
While trying to
argue against the various tactics of our tormented guardians, they
simultaneously affirm their effectiveness and the ever growing futility of the
warped practices we have in place; where the victimizers have far more rights
and protections than the victims. The
Punisher shines a frightening mirror to our complacent
faces, barbarically exposing the hypocrisy of believing that evil, unrequited
evil, has any hope of redemption; that our choices belong to us, with very
real, sometimes damning consequences, both for good and malice. Corruption can touch even the purest heart,
rage exists in us all, and vengeance may provide results but at the cost of our
own humanity.
Wow, that escalated
quickly; let's take a breath and head on over to the bad, shall we.
The bad: This is
another case of too many ingredients in the pot diluting the savor and satisfaction
of the final recipe. I like series and
movies that make me think, but not ones that nearly bring me to the brink of an
aneurysm. There are just too many
questions without answers and too many answers that answer nothing at all.
Whether it is
clarity into The Punisher's origins, what Elektra's long game is, or, spoiler
warning, what the Hand is really up to, Goddard attempts to do too much in too
little time. It is painfully apparent he
was trying to set up a Castle spin-off, the Iron Fist series, and Civil War all
at the same time. There are too many
clues and hints that lead to nothing but a deliberate and calculated ambiguity
that is neither creative or productive but lazy and inevitably frustrating for
the audience. It is a delicate juggling
act that never gets all of the balls in the air and keeps them moving with a
precision that has come to be expected from his original outing.
And, no I am not
making a balls joke at the point! What
do you think I am, predictable?
To continue, the
entire trial sequence, though intriguing, felt haphazard and pointless, even
after it revealed it was wholly set up to bring back a high power player. In addition,
Karen's character is overplayed, abruptly transitioning her from determined heroine
to fragile damsel, like a meth head
driving a stick shift. It's just too
chaotic; feeling forced and disingenuous.
Even more confusing is Foggy's consistent disregard for Matt's purpose,
even though it was well established by the first run's end. His relentless questioning of Murdock's dual
identity and quest is simply disjointed
and disconnected based on how their relationship evolved. Even the debate and resulting damage to their
friendship has gaping holes in the
continuity of the current story.
The Punisher's antics
last only a discouragingly few episodes before we are pulled kicking and
screaming into the pure adrenaline and excitement of a drawn out trial with
lots of technical legal jargon and endless conversations about it. After all, it's a winning concept; just think
of how well the Star Wars prequels did by focusing on logistics over substance
or expected adventure. I am not saying that this twist was
unnecessary. It was simply and unmistakably
unfulfilling as it felt like it went nowhere as slow as possible. Another significant point of annoyance; Goddard must have an unrequited affection for the previous Punisher cinematic outing, War Zone, because that connotation is uttered almost ad nauseam, bordering on involuntarily comedic, when describing the vigilante's reign of terror.
Finally, Daredevil's so called "Batmanesque" code of not killing ends up being undeniably hypocritical by series end. The writers seem to believe that if they simple construct dialogue that has our hero preaching against the terminal justice his cohorts wantonly deliver; that it somehow absolves him of any relationship with, or accountability to, it. Although Daredevil is a total bad arse in his own right; having his buddies do all the dirty work doesn't make him appear any more noble. Instead, it demonstrates an inherent weakness in his intervention by further justifying the fallacies of an adherence to an inadequate system that seemingly nullifies everything he accomplishes.
Finally, Daredevil's so called "Batmanesque" code of not killing ends up being undeniably hypocritical by series end. The writers seem to believe that if they simple construct dialogue that has our hero preaching against the terminal justice his cohorts wantonly deliver; that it somehow absolves him of any relationship with, or accountability to, it. Although Daredevil is a total bad arse in his own right; having his buddies do all the dirty work doesn't make him appear any more noble. Instead, it demonstrates an inherent weakness in his intervention by further justifying the fallacies of an adherence to an inadequate system that seemingly nullifies everything he accomplishes.
Okay, now the ugly:
there is none. This may have not been as
solidly written and cohesive as the first season that was more concerned with
telling a good story with amazing characters than setting up a legacy that will
eventually lead to the Defenders, but it was still well worth the journey. Stellar acting, unforgettable action, and a deep respect for character and canon
make this another decisive win for Marvel's darker side. Sequels have a habit of disappointing just as
subsequent seasons have a 50/50 chance of either escalating or eviscerating
their predecessors. This is truly a
compliment to the first year and may become an indispensable cog in the
continuing mechanical behemoth that is Netflix/Marvel machine.
3 out of 5 Kernels;
this go round didn't satiate like it should have but was still a delectable
meal for all the senses.
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