“Black Rabbit” brings a feeling of not-quite-right that permeates everything, from character performances to its intricate plot. How it’s all set up leaves a lot to be desired. There’s much about this show that, while not disasterous, ends up forming a sum that’s lesser than its parts. This underperformance comes as a surprise, particularly considering the experienced personalities involved and ambitious nature of the project itself.
This New York City based limited series features Jude Law and Jason Bateman portraying Jake and Vince Friedken, two brothers with a complex relationship. They were once partners at a chic Lower Manhattan eatery, the Black Rabbit, which is named after their erstwhile indie rock band, the Black Rabbits. However, owing to Vince’s struggles with addiction and instability, he is eventually ousted.
In the meanwhile, Jake has managed to continue operating the successful restaurant and is now on the verge of a considerable breakthrough; he’s planning to open a new restaurant that would catapult him to the top of New York’s culinary scene. But he needs to secure the necessary funds. Vince, on the other hand, finds himself in a dangerous predicament and decides to reach out to his brother for help.
Vince’s looming gambling debts to a syndicate led by ruthless Joe Mancuso (Troy Kotsur) has put him in hot water, and time is fast running out. And despite being aware that his brother brings an unwanted heap of troubles along, Jake cannot resist extending his help. Vince’s re-entry into Jake’s life and business triggers a cycle that could potentially end in disaster for both brothers.
“Black Rabbit” pays homage to the quintessential New York crime stories like “Mean Streets” and “Good Time”, focusing especially on the intricate web of interdependence between the siblings. Vince’s struggle with substance and gambling addiction are given as much weight as Jake’s addiction to his brother himself. The reckless risks Jake poses to his everything for his brother lands quite authentically, let’s say, with conviction.
However, the rest of the show doesn’t really sustain the spark of genuineness. Jude Law’s Brooklyn accent, for instance, doesn’t land as it should. The larger issue, however, is with Jason Bateman, who in addition to being the co-lead actor, is also the executive producer and director of the first two episodes.
Bateman, known for Hollywood’s polished roles, appears misplaced as Vince, a hard-edged Coney Island native who’s immune to the harsh realities of his life. Bateman’s previous character portrayal in the Netflix hit “Ozark” was successful because his character was discernably not a tough guy, and Bateman did extremely well portraying him. But here, he seems unconvincing, restricted to his tried and tested typical on-screen persona.
Bateman’s portrayal of Vince is a character that should have an organic fun and reckless charm, but all we’re treated with is the one-dimensional performance we’ve seen Bateman do before. His direction also misses the mark. He appears more inclined towards the vast and showy than the subtle details. This was suitable for “Ozark”, but doesn’t quite work for “Black Rabbit”, which occupies a much more nuanced and particular universe.
The creators of the show, Zach Baylin and Kate Susman, have attempted to tap into a gritty early 2000s punk energy, with a contemporary High-end nightlife setting. This includes Jake’s ambition to open a restaurant in the former space of the Four Seasons, symbolizing utmost sophistication and opulence. But the contrast between their high life and working-class roots is not seamlessly integrated into the narrative.
“Black Rabbit” sports an array of New York locations that adds a visual credibility, despite the narrative failing to earn it. The money that has been poured into the production is evident on the screen, and the show looks undeniably stunning. Visually, it seems to draw heavily from the New York thrillers by the Safdie brothers, with the intriguing camera tricks, filming at a distance that gives a feeling of watching through a telescope.
Even the sound design is a standout, with some technologically impressive choices allowing them to film next to traffic-heavy areas without being disturbed by background noise. It achieves a similar aesthetic to the Safdie brothers’ films but its underlying vibes are very reminiscent of “Ozark”. The opening credits have been taken straight from Ozark’s playbook, featuring objects that will be significant later in the episode.
The plot folds in various characters and subplots, keeping the pace taut with tension. It touches sensitive issues like a regular customer’s harassment of staff, handled erroneously by Jake and shuffled onto the chef Roxie (Amaka Okafor) with unintended consequences. Among other plot points, Vince’s debt collector subtly meddling in Vince’s daughter Gen’s (Odessa Young) life also livens up the storyline. However, the show is marred by ham-fisted execution which dilutes the intensity and hinders the plot progress.
The narrative tends to dwell too much on not-so-important issues, and the long runtimes can make some scenes seem dragged out, tempting you to fast forward. The story only takes off towards the end of the second episode, serving as another indicator of poor pacing of the series. But, the show does see some improvement as it progresses.
The final episodes directed by rising filmmaker, Justin Kurzel, bring forth a much-needed improvement. Kurzel, who has worked with Law prior, skillfully draws out the actor’s capabilities against the backdrop of the emotional finale. The overall landing isn’t optimal, though, as “Black Rabbit” delivers a mediocre performance overall, which is disappointing considering the excess of serious themes, visual aesthetics and ambitious setting it had at its disposal.
The post Black Rabbit: A Tale of Ambitions, Addiction and a Fractured Brotherhood appeared first on Real News Now.
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