You decide someone deserves to be gone, and bang, they're gone. No second thoughts, no qualms, no conscience. And then on you go, happy and safe on your... I guess at least borderline psychopathic, merry way.
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Lightfoot's almost R rated take of this beloved character of comic books, holds no bar on glorifying its protagonist to its peak with all possible tactics. The mean street themed anti-hero of ours may resemble a lot to its companion Murdock, but as far as morality and sanity clause is considered, Bernthal's character has been free from such strings far before it even hits the screen. He has got deep voice, he reminisces about his past, he ignites his anger through sorrow and he is the protector working from outside the law. And with all these stated pragmatic theories, the action that it thrives upon too communicates a lot to its viewers.
With well choreographed and lethally performed actions, the gore vision of the makers is justified thoroughly on the screen, personally I still prefer Goddard's typical Daredevil mano-y-mano fight compared to the jump-the-shark and often too-much-to-swallow action in here. Bernthal's genuine commitment to this role inherently enhances his portrayal where his emotionally driven monologues- something that we first glimpsed when he arrives in Daredevil- is one of his finest bits. As far as the storytelling is concerned, the writers adds enough characters to distract and distribute the storyline with gripping well constructed sequences to keep us tangled.
But, the real culprit is the screenplay and the conversation that comes off chalky or cheesy to breed out the sincerity of the emotions it goes through. Another signature of it, is how it weaves out brilliant eye popping culmination of characters on screen, but this is something that is usually seen in its initial stages, for the last act is often a mind numbing bloodbath. Addition to that, the supporting cast isn't convincing enough to push Bernthal for a better closure let alone support him.
The respect earned by its first season by creating an eerie yet soothing bond between Bernthal and Ray Newman is shucked away with none whatsoever emotional string in this one. Plummeting down vigorously with its repetitive narration and questionable sequences, the lack of practicality in conversations results to be the stab at the back of the series.
One Bad Day
The storytelling whispers no logistics or sense into the emotions of the characters and on the other hand the background score and camera work directs towards another direction, either way this mishap is a big mumbo-jumbo commercial act.
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