Marvel Daredevil

He’s a lawyer who breaks the law. A Catholic who dresses as the devil. The biggest advantage of Netflix's Daredevil is, to a large extent, its biggest weakness too. The creators were completely openly inspired by the best authors of the Murdock Saga; Frank Miller, Brian Bendis and Mark Waid. So, this adaptation is just as dark, uncompromising, full of rain and blood, based on a gloomy atmosphere, slow-paced, shows fights where every punch hurts and addresses purely adult themes, erases all differences between black and white, as might be expected. The centerpiece and main driving force is Murdock's defense lawyer (in this respect he is the only hero who is interesting in everyday life but the creators did not take full advantage of it, sadly) and his concealed alter ego. It's not just another standardized, fluffy, colorful popcorn movie for the whole family, which Marvel has previously mass produced both for TV and cinema screens. Daredevil is a dark crime movie about organized crime and corruption. So this is the first time that Marvel is more interested in characters than (super) heroic tinsel. The problem is that as the creators adapt the individual lines/motifs in above-mentioned way, they fail make them sophisticated enough, and so many of seem unnatural and forced an in one case the character also fades away. The ambitious are high, so the movie mentions a lot of things but most of them have no continuation. What's more, there's no as fatal escalation between Murdock and Fisk, who mainly acts from behind the scenes, as would be appropriate given how excellent thy both are (and I must stress that D'Onofrio's Kingpin is the first bad guy ever of Marvel's universe who does the job, is interesting and respectful). This snag is even more unpleasant considering that other filmmakers have done it already in the same or maybe even better way. And not only in the movie department, but also in the television and it will remind you of Arrow, but Daredevil has more in common withPerson of Interest in terms of style, approach to action, how the moral principles and bad guys are addressed. After all, the local Elias is the same as Kingpin.| S1: 4/5 | S2: 4/5 | S3: 4/5 (2015.04.13)

A paradoxical situation where the creators learned from a few mistakes of the previous series in order to make several new ones when solving them. The first season suffered somewhat the excessive footage of the thirteen episodes. The second, on the other hand, sometimes looks like the thirteen series are not enough and sometimes the episodes are too brief. The first season, despite its unnecessary length of several episodes, seemed tight and was based on the Matt/Fisk duality. The second season is much more dynamic, but there are separate story lines associated with Punisher/Elektra (he is supercool, but she is an incomparably more interesting character), where each character plays on his/her backyard, so it works much less tightly, especially in the second third, when almost six independent story lines are developing at the same time, and even though this time it strives for a certain duality (different strategies how to solve Matt/Frank's problems), this time it is not very stimulating. Last time it was about the great Fisk, but what was missing a bit were "street antagonists". Now it's almost exclusively about these characters, but there is no charismatic leader who does not get his hand dirty but rather controls everything from the shadows. The only thing that can be considered a flaw for both series is that if they have the main character at their disposal as a lawyer, then why the hell don't take advantage of it? Although they try somehow, but it does not do the job. Few other superheroes can offer such grateful story lines in their normal life. Otherwise, all good things have remained or increased in more than a small amount (elaborate characters where Matt is not "I'm a hypocritical Catholic who doesn't know what he wants", Murdock is not the most interesting character by far, black and white moral dilemmas, refined and full-contact "Raid like" fights if at all possible, are much more darker and more uncompromising than last time, and they did not hold back last time). For the third season, it would require a definitive return of Fisk (because when he is on the screen, the quality rises sharply; after all, it is no coincidence that this time the top scenes of the series are those where he is engaged), he would need a street bad guy to help (Bullseye?) and they should face an alliance of ambivalent heroes marked by a fragile internal tension. This would solve the problems of both series in one blow. In any case, I am more than happy with it. (2016.03.23)

There are dozens of ninjas, mysterious artifacts, animated corpses, secret sects, superheroes and who knows what else; Daredevil in the third season, he returns in the form of a nearly seventy-year-old thriller “Lumetov" style about the relationship between power and corruption, where Murdock's abilities seem almost out of place. This is Nolan's conception of (super) heroic material, not Marvel's. A gradual pace of narration (unlike other Marvel series, but for once justified) drawn by characters who, by their own actions, come into a whirlwind of causes and consequences, from which there is no easy way out. Excellently conceived concept of two sides of the same coin in the form of yin-yang pairing of Murdock and Fisk, dark, advanced and uncompromising, supporting characters (of which Daredevil is well half of the series essentially supporting character), a pleasure to look at. Paradoxically, one of the two shortcomings, it is essentially positive; frequent contact battles. With regard to how the whole thing is built, they are extra and their trigger is usually something that is forced and repeats constantly. On the other hand, they are well-done in terms of stunt men and choreography and they do not lack a tangible feeling of physicality, when you feel every punch, so you can't complain about them, especially when Daredevil is wearing in finally decent clothes. The problem, and unfortunately the fundamental one, is the final. All the while, it inevitably leads step by step to a fateful clash, when the two finally meet face to face, when the full scope of Fisk's multi-layered plan is revealed, when ... When nothing much happens, the three characters get into a fight and that's it. Murdock and Fisk don't even have a proper dialog; fortunately, this aspect is saved by the tense scene of Karen Page's visit to Fisk. This is exactly the style in which the final was to take place. Unspoken threats, hints between the lines, tense tensions and not simplistic bum-bum-ouch and end. In any case, an excellent season, which will hardly be followed up with dignity. (2018.11.05)