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Daredevil – Guilty as Sin (Review)

This month, we’re doing daily reviews of the second season of Daredevil. Check back daily for the latest review.

Part of what is so infuriating about the second season of Daredevil is that fact that there is a lot of good material here.

The issue is nothing as simple as saying “good ideas, terrible execution”, or anything as trite. There are good ideas that are executed well and bad ideas that are handled with a surprisingly deft touch; there are also good ideas that are needlessly squandered and bad ideas that turn out to be exactly as terrible as they initially appear. It isn’t even that there are clearly discernible unambiguous flaws. Everything is a mix. For all the issues with the writing of the Punisher and Elektra, Jon Bernthal and Elodie Yung do great work with the material afforded to them.

Let us pray...

Let us pray…

The second season of Daredevil is very much a curate’s egg of a television season. There are good bits and bad bits. There is breathtaking ambition and incredible miscalculation in equal measure. The series is not entirely a failure, but it is far from a success. With Guilty as Sin, the show clumsily repositions itself as a morality play about the conflict between good and evil within the soul as Elektra Natchios. However, there is a similar conflict brewing at the heart of the show.

Even in the season’s strongest moments, there are clear weaknesses shining through. Even in the season’s weakest moments, its strongest elements are frequently in play.

Eye see.

Eye see.

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Daredevil – Stick (Review)

To celebrate the launch of Marvel’s Daredevil and the release of Avengers: Age of Ultron, we are reviewing all thirteen episodes of the first season of Marvel and Netflix’s Daredevil. Check back daily for the latest review.

Sitting smack bang in the middle of the season, Stick is something of an oddity.

It demonstrates just how episodic Daredevil can be in structure. Stick lets its focus move away from Matt’s conflict with Wilson Fisk, offering an episode built around a guest star and shedding some light on one of the members of Fisk’s cabal. “Ride with me tonight,” Stick urges Matt. “Help me destroy Black Sky, keep it off the streets, and I promise you this: Wilson Fisk will know the taste of fear the day he faces you ’cause he’ll know that you kicked the guy he’s afraid of right in the nuts.” Fisk is still a target here, albeit one temporarily shifted to the background.

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There are obviously ripples from Stick that reverberate through the rest of the season. Nobu’s loss here helps to mount more pressure on Fisk in Shadows in the Glass, while it leads to a very physical confrontation between Nobu and Matt in Speak of the Devil. At the same time, it remains curiously disengaged from the show around it. Despite the fact that the casting of Scott Glenn was announced with the fanfare reserved for primary cast members like Rosario Dawson or Vincent D’Onofrio, this is his only appearance in the whole thirteen-episode season.

Of course, there might very well be a reason for this. Stick is the only episode of the first season with a closing scene that hints at something far beyond the scope of this individual show – a coming “war” between mystical and magical forces. In some ways, Stick feels like it takes advantage of the episodic structure of a thirteen-episode season to relegate all the obligatory set-up and world-building for material outside the show to a single episode in the middle of the season. This is perhaps the ideal place for it, not distracting from the beginning or the end of the run.

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A lot of this feels like set-up for the Defenders project that will unite all four of the Netflix and Marvel miniseries, bringing together characters like Matt Murdock, Jessica Jones, Luke Cage and Danny Rand to fight an incredible evil in much the same way that The Avengers brought together Iron Man, Captain America, Thor and Hulk. Stick seems to allude to something decidedly more epic in scope than the details of this individual thirteen-episode run. It is, essentially, the second act of Iron Man 2 structured as a mid-season episode of Daredevil.

However, it all works. Stick might be divorced from the larger plot concerns of the season around it, but it never loses sight of its main characters. After a run of episodes focusing on Wilson Fisk, Stick brings the focus back to Matt Murdock. The return of Matt’s childhood mentor might be tied to some larger plot, but it also helps explain Matt’s character a bit more. Meeting Stick, we get to know a little bit more about how Matt ended up this way.

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Non-Review Review: W.

Oliver Stone famously rushed just about every aspect of this production in order to get it into cinemas before last year’s November election. Does that affect the movie? It does and it doesn’t. It doesn’t in that Stone seems to have a clear image of the President in his head and it’s perfectly captured on screen. It does affect the movie in that Stone has to choose an arbitrary cutoff point for his movie, since he can’t end it with the end of Bush’s presidency. So he chooses the re-election of George W. Bush in 2004 to serve as the film’s ending. That point arguably suits the central thesis of Stone’s psychological profile of the man, butit also serves to make that thesis seem heavy-handed or forced. The other side of that coin is that I doubt the Stone would have been able to market and sell the film for a few years after the end of the Bush administration, and the fact that so vintage a diretcor as Stone can still make such a raw and energetic film is a testament to his abilities (that some of us may have doubted after World Trade Centre and Alexander).

bush

Misunderestimate at your peril...

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