by Jake Bourgeois, Contributing Writer
Maybe someday soon, one of my reviews won’t just devolve into how something compares to something else.
But today it will.
Maybe it says something about where we are in the release schedule, or just pop culture in general, but after reviewing how a Season Two compared to a Season One, how the second half of that season compared to the first half, and how the second solo directorial effort of a Coen compared to his first, it’s time to examine how the creative team behind Ozark follows it up with Black Rabbit.
I mean, aside from just looking interesting, the fact that many of the same players behind a show I really enjoyed for four seasons is back again was a big selling point on the series. Aside from starring again, Jason Bateman is back in the director’s chair for a few episodes, alongside his Ozark costar Laura Linney, Justin Kurzel (Macbeth and last year’s Jude Law film The Order), and veteran TV director Ben Semanoff (also an Ozark collaborator). With writer Zach Baylin working as writer and creator (he also wrote The Order, King Richard, and Gran Turismo, which I’m hearing is based on a true story), there’s a lot of creative crossing over between the cast and crew here.
That gives the series a very consistent tone. It’s a very dark (visually and narratively) crime thriller that has a certain feel throughout, as we follow brothers as they are dragged into the dangers of the crime world when older brother Vince (Bateman) comes back into younger brother Jake’s (Law) life, threatening his titular bar and both their lives. The narrative, though somewhat simple, mixes in flashbacks and reveals in a way that always keeps things interesting (the Ozark crew does love an in media res open and to utilize those credit image teases). They come at the perfect time when the formula is threatening to frustrate me too much. There’s nothing wrong with formula, necessarily. There are types of stories I consistently find myself drawn to because I’m a fan of the tropes. The same is true here. When that’s paired with something that’s well and stylishly shot, it makes for a pretty solid viewing experience. Though I’m conditioned to know there’s a complication coming anytime it looks like things are going too well, I tuned in because I like these type of crime thrillers, and the talent behind and in front of the camera does the job enough for me to have a good time.
Speaking of those in front of the camera, Law is probably our main character. While I still haven’t checked out The Order, he’s putting in another good performance here. There’s depth and nuance to his facial performance that always makes it an interesting watch. As for Bateman, it’s interesting because I’ve gotten so used to him being a criminal that’s smarter than everyone (and probably enjoyed the family dynamic better in Ozark better for the more variety of relationships), watching him play the constant screwup was a changeup I grew to really enjoy — especially since there’s still that trademark dry Bateman wit that comes with it. The interplay between the brothers is also fascinating, as it’s a frustrating relationship that you still understand. It’s really brought home with a true moment of catharsis in the limited series’ finale that’s the best emotional moment of the show
As for the supporting crew, it’s all solid work, but there’s one true standout. Surrounded by fairly stock underworld baddies, Troy Kotsur’s performances as the big bad was my favorite of the entire show. This is not your CODA-fied Kotsur either, where he’s funny, endearing, and uber charming. He’s absolutely terrifying, and the performance lands. It was great to see him back on my screen, made even more so by how different he is here from his Oscar-winning role. He commands the screen every moment he’s on and the show does a great job of giving him to us in the perfect amount.
So while Black Rabbit didn’t blow me away, it’s a dark crime thriller similar enough to Ozark to make me enjoy my time.
Rating: Liked It
Black Rabbit is currently streaming on Netflix
You can read more from Jake Bourgeois, and follow him on Bluesky and Letterboxd