‘Black Rabbit’ Mini-Series: Rising High Only to Fall Short

The mini-series ‘Black Rabbit’ skirts the edges of excellence, but never quite makes the leap. Despite strong elements, its representation comes across as somewhat unrefined and its elements don’t always hit the mark. The performances feel unauthentic; the setup remains vague. A sense of imbalance permeates the plot, which doesn’t necessarily make the series unbearable, but it leaves it falling short of what it could achieve, considering the genre, budget, and talents involved.

Set in New York City, ‘Black Rabbit’ delves into the gritty world of crime, starring Jude Law and Jason Bateman as Jake and Vince Friedken, brothers with a complex relationship. The duo once co-owned a hip bar-restaurant named the ‘Black Rabbit’, an homage to their indie rock band, the ‘Black Rabbits’. However, Vince’s struggle with addiction and instability led to his ousting.

In the aftermath of their fallout, Jake takes the reins of the restaurant, steering it towards success. His current ambitions lie in raising funds to create a new establishment that would place him at the summit of the New York culinary scene. On the other hand, Vince, tangled in a web of problems, is left with no choice but to request his brother’s assistance to payoff imminent gambling debts owed to a nefarious gang led by Joe Mancuso, interpreted by Troy Kotsur.

Jake is aware of the potential dangers his brother brings, yet his innate sense of familial loyalty doesn’t allow him to turn Vince away. As Vince infiltrates Jake’s personal and professional life, the risks accompanying their dysfunctional relationship mount, threatening to derail both their lives.

The narrative of ‘Black Rabbit’ borrows heavily from the fabric of older and modern NYC crime drama classics, and shines brightly when it explores the complex co-dependent relationship between the brothers. Vince battles addiction to substances and gambling; Jake grapples with his addiction to Vince. Jake’s willingness to sacrifice his stability for his brother’s sake feels raw and authentic, setting a compelling contrast against the backdrop of the rest.

Yet, a certain element of authenticity is lost due to Law’s strained attempt at a Brooklyn accent. The most glaring pain point, however, is Bateman’s performance. Holding the positions of co-lead actor, executive producer, and director for the first two episodes, Bateman’s portrayal of a tough, street-hardened character from Coney Island is far from believable. This is especially noticeable considering his success portraying a non-threatening character like Marty Byrde in Netflix’s ‘Ozark’.

The problem with Bateman’s performance is that it is more or less a mimicry of his usual style of acting; sharp, tense, and sarcastic. His character lacks the vibrancy and spontaneity that is characteristic of Vince in the narrative. The performance is reminiscent of many of his vastly similar roles from the past. From a directorial perspective, subtlety doesn’t seem to be his forte, with a preference for more blatant, in-your-face techniques.

Bateman, along with show creators Zach Baylin and Kate Susman, seem to struggle with really capturing the series’ intended backdrop. They attempt to imbue the narrative with the grimy, underground vibe of the early ’00s post-punk revival, as evidenced by featuring music from The Walkmen and Interpol and a cameo from Strokes guitarist Albert Hammond Jr. Nevertheless, this ambiance is largely irrelevant to the world the tearaway brothers inhabit, rooted in the upscale nightlife and working class outskirts of New York.

The inconsistencies in the portrayal of the setting create a sense of disconnect. Attempting to texture the narrative with elements symbolic of ‘gritty New York City’, the series ends up appearing uncoherent. Notwithstanding, the series shines in its ability to secure impressive filming locations across the city. The camera explores locales from the insides of Russian & Turkish Baths to Times Square at dawn, offering a visually compelling perspective even if the narrative context falls short.

The series’ aesthetics borrow liberally from Safdie brothers’ acclaimed thrillers, notably their distinct long-lens views that make you feel like an observer in a game of hide-and-seek. This visually compelling approach grabs attention, and so does its high-level execution of sound design. Despite these technical triumphs, however, the series leans heavily into the style of “Ozark”, including the use of an almost identical opening credits format.

The plotline of ‘Black Rabbit’ constantly teeters on the edge of tension, introducing an array of characters and intertwining subplots. From timely discussions on workplace harassment that leads to unforeseen fallout to unwanted interference in Vince’s daughter’s life by his debtor, the narrative is never at a loss for action. However, these subplots often feel over-articulated and imbalanced with regard to their significance, leaving the audience yearning for a better paced experience.

The series takes its time to kick off, with the storyline gathering speed towards the end of the second episode. While there is much to appreciate, the narrative loses itself in extended scenes and bloated runtimes that often have viewers tapping the fast forward. These elements create a feeling of not being quite tight enough.

The saving grace lies in the last two episodes, directed by rising star Justin Kurzel. With experiences working with Law in acclaimed projects like ‘The Order’, Kurzel showcases his prowess in navigating Law’s acting capabilities while capturing heartrending scenes. A distinct scene places Law against the flashing lights of a police car, reminiscent of a poignant, Michael Mann-esque vision.

In conclusion, while ‘Black Rabbit’ displays immense potential, it lacks the precise thoughtfulness to leverage its capacity fully. Its self-seriousness and intriguing themes are offset by its casual handling of plot and setting details, making it a spectator in the city it claims to represent. While not entirely a letdown, one can’t help but notice its shortcomings and what-could-have-beens.