Reparto:
Diego Luna, Scoot McNairy (narrador), José María Yazpik, Fermín Martínez, Michael Peña, Alejandro Edda, Alfonso Dosal, Fernanda Urrejola, Alyssa Diaz (más)Temporada(3) / Episodios(30)
Sinopsis(1)
Reseñas (3)
Felix Gallardo may feel like a poor relative and schoolboy of real narco- sunroofs by a pool with hippos in Colombia, but this parallel history lesson (or a bridge between the 3rd and 4th series?) can look straight into the eyes of the past three seasons. It does not lose out qualitatively. Yes, contemporary Mexico and Felix as a drug addict are somewhat more run-of-the-mill than Pablo and the gentlemen from Cali, but that is the strength of the series. It flows slowly, unobtrusively, sometimes just by varying familiar situations, but giving them an interesting measuring scale, a disturbing undertone that stands out all the more when you know the current testimonies about the state of affairs. For example, Heli Amata Escalante, who directed the great fifth episode and underlined Netflix's courage to hire art directors with a very radical CV. The second example - the excellent retro beauty rides of the seventh and eighth episodes, which the outlaid Mexican formalist Alfonso Ruizpalacios directed. The sense for detail and atmosphere of these episodes is as exceptional as the creators' feeling for type casting. The transformations of the main characters and the constant influx of interesting supporting characters elevate Narcos amongst the elite. Mexicans can feel at home here, even though the peak of the series, combined with another excellently chosen protagonist, Kim, comes between episodes nine and ten. I can't help but be excited about drug addiction again. The one where benevolent killer Don Neto rises especially breaks the heart.
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Before the War on Drugs broke out as we know it today (when it is no longer possible to tell who is against whom and who commits what), before it turned into a genuine open conflict full of war atrocities and crimes against humanity, with billions of narco-dollars flowing from human wreckages in America to lavish haciendas in Mexico, there were couple of “outsiders" at the very beginning that decided to turn unconceptual weed smuggling into a “serious" business by establishing the first cartel. Which they did so well that they got the momentum, realizing that they didn't have to face the direct threat of cultivation because they had a huge “competitive advantage" in the form of huge and open trade borders with the United States. So, they decided to protect the distribution of “white gold"; and from that moment everything went to hell. It is paradoxical that if you want to criticize the first series of Narcos spin-offs, then it´s just a certain “countryiness", because compared to previous Colombian series, it is undoubtedly much calmer, less emotional and violent and more business. Yes, it's about a time when the DEA was looking for its place, when drug traffickers were just beginning to realize what they really had in their hands, when it was still more about gentleman's agreements than about severed heads on the doorstep. About times when they had no idea that slaves do not have to be in the gears of politicians and police forces, but on the contrary that they are the ones who support politicians and decide who the police shall punish. So yes, it's not that Mexico yet, where the relationships and intrigues between the individual cartels even overshadow the plots in the Game of Thrones. None of this means that it would not be great and interesting. Yes, you just have to pair it with the situation one or two decades later. It's perfectly cast, few series are so lucky to have juicy supporting characters; especially Don “Mexican Krobot" Neto and Pablo “Mexican Zednicek" Acosta gives it a heart and a soul. The budget was big, (not only) the period design is staggering. Many will be annoyed by Luna as the main bad guy, because “he is not as charismatic or insane as Escobar", and El Chapo is here (so far) only as a butler of bigger bosses This is undoubtedly true, but Luna plays it excellently, and it is his inconspicuousness, that “manages the whole company as a white-collar" is his advantage that distinguishes him and makes him interesting. In addition, the creators work significantly with its pairing compared to Peño's character; both are outsiders from the middle of nowhere, who no one takes seriously, and even though they are already successful, but only because their bosses need them More than a solid start, which fully stands on its own and not only as a complement to the Colombian trilogy. And compared to it, it has a considerable advantage in the immense potential for the future, because when it reaches the point where El Padrino falls, it will free up space for the already mentioned butler. And then it starts. | S1: 4/5 |
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Solid, but probably the weakest Narcos. The setting of Mexico is certainly appealing, but the characters are not as engaging as before. Michael Peña isn't Pedro Pascal and Diego Luna doesn't have the charisma of Escobar or the Godfathers of the Cali Cartel and that's quite a problem. The only crazy character that really entertains is Rafa. The action is more intimate than spectacular and unfortunately there isn't much of it as no one is properly at war with each other; there more personal murders which, although detailed and brutal, I expected much more. Slight disappointment, but still 4 srars. 75%.
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