REVIEW: THE DEFENDERS

CAST

Charlie Cox (Stardust)
Krysten Ritter (Veronica Mars)
Mike Colter (Zero Dark thirty)
Finn Jones (Game of Thrones)
Élodie Yung (Gods of Egypt)
Sigourney Weaver (Avatar)
Rachael Taylor (The Loft)
Eka Darville (Power Rangers RPM)
Elden Henson (The Hunger Games: Mockingjay)
Deborah Ann Woll (Ruby Sparks)
Jessica Henwick (Game of Thrones)
Ramón Rodríguez (The Taking of Pelham 123)
Rosario Dawson (Sin City)
Scott Glenn (The Silence of The Lambs)
Simone Missick (K-Town)

RECURRING / NOTABLE GUEST CAST

Wai Ching Ho (Cadillac Man)
Carrie-Anne Moss (Chuck)
Peter McRobbie (16 Blocks)
Rob Morgan (Stranger Things)
Marko Zaror (Machete Kills)

 

The Defenders is Marvel’s best Netflix show, hands down.  While the crossover between Daredevil, Jessica Jones, Iron Fist, and Luke Cage can occasionally veer into a fragmented set of mini-episodes early on, the awesome foursome eventually unites to form a show greater than the sum of its parts. The street-level superheroes provide a fantastic eight-episode run with high stakes, a frenzied pace and, most importantly, effortless chemistry.Things don’t start off that way, though. The opening pair of episodes read almost as a greatest hits collection of each hero’s respective shows before the narrative eventually relents and shoehorns the plot in a comically convenient way for the four to come together. The lack of instant gratification can be grating, but this is easily relieved by the fun interaction between fan-favourites that leads up to the team-up. Misty Knight and Jessica Jones’ brief scenes are worth the price of admission alone and there are a few, shall we say interesting, crossovers you won’t see coming. Without giving too much away, a cataclysmic event is unleashed upon New York and The Defenders, each following their own leads, stumble into each other’s paths in the same building. And then things get good. Really, really good. Unsurprisingly, The Hand are the villains of the season and are led by Sigourney Weaver’s Alexandra. Her performance is tempered by an unidentified terminal illness which spurs her character on and at least drives her away from the realms of cartoonish MCU villain as  she has an actual character arc rather than the bland go there, be evil trope of prior bad guys. When the show does focus on The Defenders (and, in fairness, that’s 90% of the time) the show is a rollercoaster of wisecracks, quips and, yup, Jessica Jones’ side-eye. It’s glorious fun and, for my money, feels like a much bigger event than The Avengers ever was. There’s a spine-tingling moment, complete with an inspirational score bubbling up in the background, where the four heroes unite to take on a foe at the midway point which ranks as an all-time great Marvel moment.Yes, The Defenders run is short, but those thinking a mere eight episodes won’t cut it can have their fears put to rest. Coupled with Game of Thrones season 7’s clipped seven-episode run, it feels like we’re reaching a watershed point in television where shows don’t need to be chained to a long episode run anymore. Barely a second is wasted in The Defenders: Every quiet character moment is poignant and fleshes out something or someone; every action sequence leads to something bigger, better, and more shocking; and every one-liner and on-the-nose dig at Iron Fist will make you laugh. Nothing outstays its welcome.

 

 

 

 

 

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REVIEW: JESSICA JONES – SEASON 1

MAIN CAST
Krysten Ritter (Veronica Mars)
Mike Colter (Ringer)
Rachael Taylor (Transformers)
Erin Moriarty (The Watch)
Eka Darville (Power Rangers RPM)
Carrie-Anne Moss (The Matrix)
Wil Traval (Once Upon a Time)
David Tennant (Doctor Who)
RECURRING / NOTABLE GUEST CAST
Susie Abromeit (Sex Drive)
Robin Weigert (Lost)
Kieran Mulcare (The Following)
Clarke Peters (John Wick)
Colby Minifie (Nurse Jackie)
Rebecca De Mornay (The Hand That Rocks The Cradle)
Thomas Kopache (Stigmata)
Michael Siberry (Highlander: The Series)
Rosario Dawson (Daredevil TV)
jessica jones poster
Marvel’s Jessica Jones announces its noir intentions from the get-go. From the slinky music and impressionistic animation of the opening credits, there’s no doubt what kind of series this is going to be, and the (naturally) hard-boiled narration of series star Krysten Ritter sets the stage for the dark, sardonic world she occupies. Thankfully, the narration can best be described as “unobtrusive.” It’s there because that’s how noir works, but the show is otherwise self-aware enough not to cling to the expectations of its genre. Sure, Jessica works behind a glass door with “Alias Investigations” typewritten across it, but this also the type of noir in which Jessica asks someone why they thinks she lives alone, and their response is, “Because people don’t like you?”
Created by Melissa Rosenberg (who put in time on shows as varied as Dexter, Birds Of Prey, and Party Of Five in addition to writing all five Twilight movies), Jessica Jones avoids a villain-of-the-week structure by having Jessica essentially work on the same case for the duration of the first season. There’s no onslaught of new superpowered (or “gifted,” in the parlance of the show) opponents for the heroine to face each episode; in fact, despite her super strength and impressive vertical leap, Jessica would strongly object to being called a heroine at all. Her brief attempt to use her powers for good resulted in her being taken under the sway of Kilgrave (David Tennant), whose mind control tactics caused her to commit a terrible crime that the show slowly teases out.
It’s his apparent return that kick-starts the action on the show. A missing college co-ed case turns out to be more complicated than Jessica initially assumes, and forces her to reconsider her distaste for heroism. Reasonably content to drink her way through her PTSD and take PI cases from high-powered attorney Jeryn Hogarth (played with admirable steely ferocity by Carrie-Anne Moss, long marooned after the Matrix movies), Jessica is soon faced with the prospect of her own responsibility for taking care of Kilgrave.
Along her ambivalent path towards heroism, she looks out for her junkie neighbor (Eka Darville), flirts with the handsome Luke Cage (Mike Colter), and slowly reconnects with her foster sister, Trish (Rachael Taylor). The show really starts to cook once Jessica and Trish start working together on the Kilgrave case. Trish, a former child star and current celebrity radio show host, is the only one who knows everything that happened to Jessica. Initially introduced as the disapproving straight arrow friend, she’s quickly revealed to be something much more interesting, despite her lack of superpowers. She’s also positioned as the moral center of the show, which proves to be vital for Jessica, who’s unsurprisingly given to a bleak pessimism.
It should be said: Jessica Jones is a deeply feminist show, all the way down to its depiction of sex, which is pointedly empowering for the women. More than that, its central conflict is its lead character struggling to maintain her agency against an abusive man. All the people in positions of power (minus Kilgrave) are women, and the story of the missing co-ed extends beyond the mystery of her disappearance. Trish is by no means content to sit on the sidelines of the action, and Hogarth seems to spend all of her time conducting important business meetings in impeccably tailored dresses and confidently seducing her assistant. Moss has a way with a withering putdown, though Ritter gets her fair share, even if the show doesn’t take full advantage of her comedic side. She’s compelling as Jessica. The slow build toward a confrontation between Kilgrave and Jessica is tensely effective, hanging over everything else she does. Tennant’s face is barely seen on camera for the first couple of episodes, but rather than make his absence seem pointed, the tactic works as a way to build up Jessica’s dread about his return.
While the series clearly takes place in the same universe as Daredevil, complete with brutal violence and punches that really land, the fight scenes themselves have a very different feel. Jessica’s too strong to lose fistfights, and she partakes in them with a weary sense of resignation that people are wasting her time trying to resolve problems this way. All of this adds up to a show that is very certain of its voice and tone. Streets are always covered with a foot of grimy snow, Jessica doesn’t own a garment that doesn’t have a hole or three in it, and every drawer or cabinet contains a bottle of booze or a pistol. A Must See