Marigold

This guy's SUCH A FREAK!!! The Kingdom is a very strange project that synthesizes a parody of medical dramas, horror and utterly beastly psychological terror in its swampy heart, which clearly makes Mr. Trier feel good. Traditional attributes like civilian acting, a documentary impression, the trembling camera and the almost Lynchian absurd scenes create a suffocating and electrifying atmosphere of a place that, while on the surface, is a proud memento of civilization, no mysticism escapes from its sight, but which is so saturated with mystery and irrational things (whether it is a genius loci or character relationships) that it simply cannot give the viewer anything other than a depressing impression. A cabinet of curiosities and bizarreness. And by the way, one of the greatest shows of all time.

Guilty beyond a reasonable doubt? But what can happen to you in the meantime before doubts are admitted / dispelled? The oppressive to suffocating atmosphere of the series, which notices the "blind spots" of justice, is one of the experiences of the year. The Night Of is not only an impressive drama about a sharp turning point in life and one personal transformation - it is also a procedural view of how repression can awaken the instincts of a predator in a seemingly peaceful human being. A series in which everyone is a bit of a prisoner in a world suffering from incurable eczema. And the liberating performance of John Turturro.

An intuitive gender detective story that needs to be perceived as a giant film project. The division into parts is very artificial and, due to the structure, which is really governed by emotions rather than by a refined narrative plan, actually tears one away unnecessarily from contemplation. I wouldn't be afraid to talk about earthy magical realism, a kind of Picnic at Hanging Rock for the 21st century. The captivating charisma of deranged characters (Patriarch Matt, the gray mother-guru GJ), a very personal reflection of femininity, masculinity, conception, death... the only thing that fails is the predictable and literal point of the film. But the power of Top of the Lake is in what comes after. A scene woven from the captivating New Zealand landscape, silence, wind and a few loose words. An unforgettable, cruel and increasingly engaging world that reveals how deep the possibilities of current TV series are. [90%]

Daredevil has fit everything that Marvel lacks on the big screen into thirteen well-built episodes that don’t bore or waste time, because they are driven forward by an influx of famously cast side characters, as well as a great conflict between good and evil...but actually...are we able to talk about something similar in Hell's Kitchen? The villain Fisk is completely at odds with the Marvel film canon, built with a biblical ambivalence of love and hate, tenderness and cruelty, and from the beginning Matt has doubts about how good should be done. The series thus offers viewers two answers to the question of good and evil - one short and the other very long. A very challenging and unpredictable journey leads to all (justified) comic clichés, adorned with great directing and an unusually spectacular conception of man-to-man fights uncommon for television. Sometimes one wonders how people in the world of The Avengers can have such mundane and real problems. Daredevil balances its social level with iconic enlightenment, yet the impression that it is the "rea deal" and not escapism still prevails. All the more intoxicating are the moments when the symbol triumphs over an overly complex fact, where there is no sterility and the two-dimensionality of Iron Man, Captain America and others. For me, the best comic book film since The Dark Knight. No debate about it. Drew Goddard is the man.

The problem of the first series is: 1. that the concept wasn’t handled well, and 2. the non-establishment of the form. My first point roughly means that twenty episodes amount to so many twists and false clues that in episode 17, it seems that the film crew also starts getting arrested. The detectives act like affected lunatics for whom the blame stems from a single (albeit indirect) piece of evidence. The problem, after all, is that some "sidetracks" just give the impression of purposeful retardation of the plot, and moreover, in that amount of deceptive ballast, one begins to become a little isolated from the details of the case. Point two means that the first about 3 episodes look like a typical television detective story with an unattractive visual. Only the arrival of the experienced Henrik Ruben Genz makes it an interesting and dark spectacle with an imaginative use of "psychological" details. Otherwise, I'm satisfied - the idea with three parallel levels is quite good, although the family storyline sometimes fails to go anywhere. A huge positive is the cast, led by the incredibly charismatic Lars Mikkelsen (oh those family genes) and a lot of characters who, in their indistinctness, acquire typically Nordic contours of clenched and obsessed weirdos (this is especially true of the central duo). I simply appreciate The Killing as a bold attempt to show the investigation as a drama full of mistakes and personal tragedies. The ending is flawless, not so much because it is surprising, but rather because it perfectly respects anti-happy endings.

Season 1: Episodes Sidetracked and One Step Behind are spectacular. Here, the detective story genre is a kind of glue of a psychological drama about an internally decomposing detective, broken personal ties between police officers and the social ills of contemporary Sweden. One can easily talk about parallels with Larsson's infinitely overrated Millennium, the framework, the atmosphere and the similar approach. Philip Martin's direction brilliantly incorporates elements of Nordic dramas, depersonalized placement the characters in the landscape, jumps to moody lyrical shots, and the frequent positioning of the viewer behind glass, into isolation from the character. A cold yet thoughtful work that gives this series a completely unique atmosphere. Brannagh is breathtaking and easily plays all the different positions of sadness and waste that Wallander goes through. The middle part, Firewall, is a little out of concept, more classic, the plot is exaggerated, escalated into a slightly barren conspiracy thriller with elements of a forgettable melodrama about femme fatale. Certainly not the path Wallander should take. Overall: the series is 100% stylishly compatible with my taste. An existential crime thriller for those who like the North. Season 2: I see no weak spots here, I just have to highlight how Wallander is going against cheap political correctness, whether in The Faceless Killers (topic of immigration and racism) or in the absolutely fabulous episode The Man Who Smiled (exploitative compassion for third world countries). Wallander's psychic schism deepens to the point of complete dislocation from the world - Fifth Woman is an elegant closing of the dramatic arc and a kind of partial catharsis of the depression-torn "Job of Ystad". This needs another season - next to Sherlock, the best detective series I've ever seen.