Marvel's Daredevil (Netflix)

[JRibeiro]

Blinded as a young boy but imbued with extraordinary senses, Matt Murdock fights against injustice by day as a lawyer, and by night as the Super Hero “Daredevil” in modern day Hell's Kitchen, New York City.

Trailer

[BurnCycle]

Here Comes SuperHeroHype’s Review of Marvel’s Daredevil!
There’s a lot that Marvel Studios gets right when they make their movies. They’re very true to their characters, the plots hit the beats of big storylines, they’re visually interesting, and more importantly, they’ve made us believe all of these things share a continuity. But one thing that is easily found in the source material that we don’t see in the movies are the normal people, the neighborhoods, and the rest of the world. Enter “Marvel’s Daredevil,” the first of five planned Netflix shows, which provides the exact storytelling boost that the MCU needed.

“Marvel’s Daredevil” begins as one would expect, with the origins of Matt Murdock and his abilities, but from the beginning we’re thrust immediately into the accident that blinded Murdock and heightened his other senses. The opening ten minutes are a perfect encapsulation of the character as they showcase his origin, his commitment to his faith, his disturbance with the crime around him, and his abilities as a fighter. Not to mention the opening credits (with a brief teaser of his eventual red suit) are just perfect. Those opening minutes of the series feel like how any Marvel movie would function, establishing the character, his motives, and his style that makes him special, but once the roller coaster takes off from the station it’s like no ride Marvel has created yet.

Charlie Cox takes on the role of the man without fear and leads the cast with the perfect blend of wit, charm, humor, and grit that make Matt Murdock live on the pages of comics. There’s a dichotomy to Daredevil that makes him one of the best comic book characters ever created and Cox captures it in his performance in the ways that he speaks in court vs. with his friends, how he moves as a the blind lawyer vs. as a vigilante, and how he makes the seamless transition between the two. All the cast members of “Marvel’s Daredevil” bring their A game and there’s not a weak link in the bunch, from Elden Henson’s hilarious portrayal of Foggy Nelson to the damaged Karen Page as brought to life by Deborah Ann Woll. Rosario Dawson as Claire Temple and Vondie Curtis-Hall as Ben Urich provide an even deeper root into this “Real world” of the Marvel universe, and elevate the story around them.

Onj the villain side of things, a whole cast of ne’er-do-wells can be found with Vincent D’Onofrio’s Wilson Fisk as the shining bright center. Fisk is the most terrifying villain to come out of the MCU, bar none. He’s ruthless, cunning, and deranged to a level that no villain within a two-hour movie can achieve. Like all good villains, his heart is in the right place but his motives are flawed, he’s not just evil for the sake of being evil. Plus an extra layer to his character is produced in Ayelet Zurer’s performance as Vanessa, who provides the eyes and ears for the audience in the most subtly but clever ways. Toby Leonard Moore turns Fisk’s assistant Wesley into a regimented and emotionless cog that actually makes the character interesting (a step above his weak portrayal in the comics). Another “bad guy” in the cast that I cannot gush about enough is Rob Morgan as the petty crime guy Turk, a dopey regular character in the comics that very often takes a beating, but in this series would fit right in with the likes of Avon Barksdale from “The Wire.”

Make no mistake, “Marvel’s Daredevil” is an ensemble piece. Executive Producer Steven DeKnight has carefully assembled a cast that works off each other with the intensity and chemistry that some shows can only dream about. There might be a few scenes in a row that don’t feature Charlie Cox as Murdock, but that doesn’t make them any less interesting or noteworthy. That’s why this series works so well, it’s not about one man, it’s about a neighborhood, it’s about the people, and it’s about functioning in your patch of grass in a larger world that doesn’t even notice you. Cox no doubt gets the bulk of the material in the show, his character’s name being in the title and all, but the drama on screen even when he isn’t present is still a treat.

Visually, “Marvel’s Daredevil” is one of the best adaptations of a comic book I’ve seen, as the framing and depiction of the city look exactly like a Daredevil comic come to life. Citizens walk about their day, people ride the subway, cops talk to each other, it’s perfect. There’s also a level of action found in the series that reflects its comic book basis very well. The way fights are choreographed reflects the scrappy and semi-grounded world of Daredevil. The shadow of Matt’s boxing father is felt as he knocks teeth free from criminals, but the way he bounces around and throws his cane look like comic book visuals in reality. It’s enough to turn this decades-long Daredevil fan into a little kid. I should also note, however, that the violence level in Daredevil reflects the nature of the story. This isn’t a big cartoon, so the punches are felt, the blood flows, and sometimes body parts are severed. In no way is it like a “Saw” movie, but there’s gore not found in any other Marvel production. Daredevil’s patented “Radar sense” is also included as a visual cue, though done in a less-obvious and potentially controversial way.

I cannot applaud “Marvel’s Daredevil” enough. From its succinct telling of the origin, to the dynamic character drama, to the stellar fluid action, and the underlying through narrative, the show is another home run for Marvel. Drew Goddard’s script for the first two episodes is flawlessly put together with the same melding of reverence and new flavors that make the other Marvel products work. Executive Producer Steven DeKnight has developed a world within the Marvel Universe that is both unique and lived-in but also now integral to the scope of the MCU. If the rest of the Netflix shows are done with the same amount of heart, guts, and edge that “Marvel’s Daredevil” has, then there is nothing at all to worry about.

Fonte

[Samwise]

Esta série parece ser boa. Fiquei com algum interesse. Gosto do personagem (desde há muitos anos, dos livros de "quadrinhos" da Marvel pela editora Abril), mas não gostei do filme com o Affleck.

No trailer, o Scott Glen é o homem que o "vai treinar"...

[BurnCycle]

O universo cinematográfico que a Marvel criou está a ser um tremendo sucesso. Tendo em conta o formato que estas séries (da Netflix) vão tomar deixa-me completamente em pulgas para ver todas estas séries.

[JRibeiro]

Review da série

Netflix's 'Daredevil' quickly moves to the top of the TV superhero heap

The last few years, some network TV executives have tried to do away with the pilot process, ordering shows straight to series based on a script, or even an idea, rather than spending a lot of money filming a pilot episode before deciding whether it's good enough to order to series. This is essentially like deciding to build a house on land that hasn't been surveyed yet and hoping that it'll hold the structure. The results have gone about as expected: "Hieroglyph"(!) was pre-canceled before a second episode was filmed, NBC decided to sell "Unbreakable Kimmy Schmidt" to Netflix rather than have to cancel it after three episodes aired, and other straight-to-series orders have been delayed, or similarly pre-canceled, or (as in the case of FOX's "Weird Loners") sent off to die quietly.

Netflix has had more success doing away with pilots, but that's in part because no one but Netflix has any idea how the streaming service defines "success." Still, even for Netflix and its secret, potentially magical, economic model, making a deal with Marvel for FIVE different shows, to debut in successive years, all sight unseen at the time the deal was made, seemed an enormous gamble — like building an entire housing development on unsurveyed land.

The plan was to do a TV version of what Marvel's movies did in leading up to "The Avengers," by separately introducing the characters of Daredevil, Jessica Jones, Luke Cage and Iron Fist before having the four of them team up as the Defenders. Yes, these were pre-existing characters with fanbases of varying degrees, but the deal was struck while Marvel's only TV show at that point was "Agents of SHIELD," mired deep in its early-season 1 mediocrity. If "Daredevil" wound up generating as little enthusiasm, and/or if nobody cared about "A.K.A. Jessica Jones," Netflix could have been trapped on a five-year path to a superhero team show built around characters the audience had long since rejected.

This was a very big risk, even for a company that seems to be rolling in money and can tell people how successful it is without anyone being able to question that. But the first five episodes of "Daredevil" (the whole first season debuts tonight at midnight Pacific) suggest it was a risk worth taking. This is easily the best of Marvel's three shows so far, and quickly moves towards the front of the overall superhero TV pack.

Thanks to the misshapen film with Ben Affleck, Daredevil is far better known than the heroes who will follow him on Netflix, or than the various SHIELD agents from the two ABC shows. Because of that, producers Drew Goddard and Steven DeKnight(*) do something very smart — something that many comic book adaptations don't have either the nerve or ability to do — in not devoting themselves entirely to telling a superhero origin story.

(*) Both have ties to Joss Whedon, as former writers on both "Buffy" and "Angel" (and Goddard as director and co-writer of "Cabin in the Woods"), but also have ample TV experience away from the almighty Joss, including DeKnight running Starz's various "Spartacus" series.

Yes, the series' opening scene involves young Matt Murdock being blinded by toxic chemicals after pushing an elderly man out of the path of the truck carrying them. And yes, the season has to get him to the point where he'll be calling himself Daredevil and wearing the familiar red costume (which appears only in the title sequence of these early episodes). But the show proper begins with Matt (played as an adult by "Boardwalk Empire" alum Charlie Cox) having mastered his powers — to the point where the producers don't even bother explaining to the audience exactly what they are (heightened versions of his other four senses, plus a new one that allows him to "see" in a different way) and how they work for several episodes — and already acting as a vigilante in Hell's Kitchen, albeit wearing simple black clothing and a homemade black mask. It's a much more exciting way to open the series (which still offers flashbacks to Matt as a child adjusting to his changed circumstance) than dwelling mainly on the origin because that offers an easy structure.

The black proto-costume, and many of the key story points, come from "Man Without Fear," a 1994 miniseries from seminal Daredevil writer Frank Miller. His dark, violent take on the character isn't the only one (recently, Mark Waid has had great creative success bringing Matt back to his more light-hearted, swashbuckling '60s roots), but it's been the most popular version for 30-plus years, just as so many Batman screen adaptations have also been influenced by the work Miller did on that character following his initial Daredevil run. This is a brutal show, where the bad guys are particularly nasty and cruel (in one of the very first scenes, Matt busts up a human trafficking ring), and where we see limbs broken, faces impaled on spikes, and torture committed by hero and villain alike. The show commits to the idea of Hell's Kitchen as a place desperately in need of a hero (the Avengers are referred to in passing, but they have more important things to do), even if Matt at times comes too close to becoming the thing he is fighting against.

In a TV universe that already includes "Banshee," "Strike Back" and "Arrow," the bar is awfully high for action, but the "Daredevil" stunt team does an excellent job of conveying how a single man, even one with enhanced senses, could be such a threat to the underworld. (And, like "Arrow," the show takes advantage of filming most of its fight scenes at night without actually hiding the stunt work in darkness.) One episode has an extended brawl that's presented as a single take — if you know where to look, you can spot where the edits were hidden, but it's impressive even then — to give you a sense of just how dangerous Daredevil is, and also how much punishment he can absorb in any one skirmish.

Cox deftly balances the lightness of Matt the lawyer with the steeliness and Catholic guilt that defines him as Daredevil. (The Irish actor also does a passable enough American accent that it's easy to focus on how strong the overall performance is.) As Foggy Nelson and Karen Page, who are respectively Matt's law partner and secretary, Elden Henson and Deborah Ann Woll(**) are incredibly likable; there's a subplot in one episode where they go on a pub crawl to take her mind off her problems, and they're so charming together that I would have watched at least a full hour of it without a single appearance from their superpowered associate. As nurse Claire Temple, (a '70s love interest of Luke Cage's), Rosario Dawson makes a strong foil for Cox. And Vondie Curtis-Hall invests investigative reporter Ben Urich — working in a dying industry where his skill set is no longer valued — with so much humanity that a story arc involving him and Karen quickly becomes compelling even though it has very little to do with Daredevil in the early going.

(**) "True Blood" vet Woll is a public fan of cosplay, having appeared at different comic book conventions dressed as Hit Girl and Axe Cop. Her longtime boyfriend, E.J. Scott, is legally blind, and he attended the L.A. premiere with her dressed as Matt Murdock. I don't know if that's the primary reason she took the job, but all involved with the show are very lucky that she did. She's terrific.

As secretive (to the point where saying his name out loud in public can lead to a fate worse than death) Hell's Kitchen kingpin Wilson Fisk, Vincent D'Onofrio doesn't have the otherworldly size of the character in the comics — but then, not even the late Michael Clarke Duncan quite measured up in the Affleck film. Other than that, though, D'Onofrio is everything the show could ask for in an arch villain, as he and the creative team bring a great deal of complexity and shading — in his own way, Fisk seems himself as the hero of Hell's Kitchen, and Daredevil as an obstacle to healing the neighborhood — to the role.

DeKnight, Goddard and company also understand that this is a show likely to be binged over a weekend by many of its viewers, and play with the format accordingly. Each episode is structurally different from the one before, so that it doesn't feel monotonous even when watched all in a rush. The first episode's a bit generic (even with Matt already in action, there's still a lot of exposition to get through), but following that, you get a very claustrophobic story about what happens after Matt has been in a fight where he's gotten punched, kicked and stabbed multiple times; then an episode focusing largely on Matt and Foggy's legal practice (which, as in the comics, provides a secondary story engine so the show doesn't have to always lean on the superheroics); then a Kingpin spotlight; etc.

It definitely gets grisly at times, but in a way that feels true to the world of the show and to the most dominant version of the source material. Even though Matt never uses the phrase "radar sense" (the visual depiction of it is both surprising and cool), this feels in every way a series committed to and unapologetic about its comic book origins. Some comic book adaptations struggle to appeal to the widest possible audience, and from seemingly answering to too many different corporate masters: just look at the schizophrenic, overpopulated "Gotham," or the bland, some-things-to-some-people early days of "Agents of SHIELD." Because this show's being made for Netflix, the home of a thousand niches, no one involved has to worry about making this anything other than the most kick-ass "Daredevil" adaptation possible.

So far, they've succeeded at that, and made me even more eager to get a look at the other heroes who will eventually partner up with Matt Murdock.

[BurnCycle]

Estreia hoje no Netflix.

[PanterA]

> PG-15

Fuck yeah. Já não era sem tempo haver algo de super-heróis hoje em dia que não tenha aquele rating da treta.
Sendo assim vou já de cabeça para ela, visto que a critica tem sido super positiva.

[BurnCycle]

Visto o primeiro episódio apenas uma coisa a dizer: uma autêntica pérola!

[JRibeiro]

Já vi 5 episódios e está de facto muito boa, sendo que faz parte do MCU e é apenas o início, a seguir teremos Jessica Jones, Luke Cage e Iron Fist, tudo para culminar numa mini-série dos Defenders.

[DigitalDesperado]

Acabei ontem de ver os 13 episódios e posso dizer que, na minha opinião, se confirma todo o bem que se diz nas críticas desta série. Sendo um fã da personagem, e tendo lido todos os épicos que autores como Frank Miller e David Mazzuchelli criaram à volta dela, fiquei plenamente satisfeito com este projecto televisivo da Netflix.
O elenco: exemplar, com todos os actores a darem 100% para criar personagens credíveis e complexas. E, em Wilson Fisk, o universo cinemático Marvel encontra o seu primeiro vilão "a sério", cortesia não só da forma assombrosa como foi escrito, mas também do trabalho de composição de Vincent D´Onofrio.
Acção, suspense, drama, há de tudo um pouco, numa história com principio, meio e fim, mas que está recheada de easter eggs ao universo Marvel, e deixa algumas pistas excitantes para as próximas séries Marvel/Netflix, nomeadamente "Iron Fist".
Parabéns, e que venha mais material desta qualidade.
Com "Os Agentes SHIELD" a melhorar incomparavelmente na sua segunda season, e o triunfo de "Agente Carter", a Marvel começa também a dar cartas na TV.
Mas também sou um grande fã de "Arrow" e "The Flash" e do universo DC que estão ali a construir. Quanto a "Gotham"...esqueçam.Para mim, é um autêntico desastre.

[Samwise]

Não me vou alongar muito. Tinha altas expecativas para esta série e em grande parte foram cumpridas. Talvez não esteja mesmo ao nível daquilo que exigiria, mas é provavelmente a melhor exploração que vejo ser feita do universo de um super-herói enquanto narrativa abrangente em torno do seu "coming of age". Ajuda muito o formato de série - e haver tempo para explorar tudo como deve ser. Tem um elenco imaculado em termos de escolhas para os papéis, e também de interpretações (a destacar... destaco todas ). Tem uma forte ligação aos ambientes criados por Miller&Mazzuchelli, como já foi dito, e um respeito bastante grande pelo historial do herói. Tem alguns fortíssimos diálogos e tem outros assim-assim. Tem uma componente de porrada bem encenada em todos os episódios, bem como uma vertente de character development para a equilibrar. Não escapa a uma série de chichés que já estão muito batidos, e de aproximações às psiques de outros super-heróis, mas isso é algo que já vem da BD - e de um universo super-populado de heróis onde é complicado inovar; o que esta série faz, quanto a isso, é apenas filmá-los bem, e fazer com que esse tempo valha a nossa atenção. E vale. Comparando com o filme do Affleck, é tipo "dez a zero". Em suma, uma grande série. Para quem gostar da personagem, vai delirar com isto.

[BurnCycle]

Para quem não está atento ao tópico das noticias, a série foi renovada para uma segunda temporada.

[PanterA]

Também já a vi de maratona e gostei bastante. Mas mesmo assim acho que tinha tudo para gostar mais. Assim de cabeça, faltou mais variedade de antagonistas. Até podiam não ter o mesmo peso que o Kingpin na história, mas sempre era um maneira de o foco não estar sempre na mesma pessoa. E quem sabe, já começar a criar background para a 2º season. Entre outras, mas a pior foi mesmo a personagem/actor Foggy. Completamente desconectado de tudo o resto. E mesmo a sua vertente mais cómica, descaracterizou aquele dark-noir que a série tem de tão bom.

Por outro lado, tudo o resto esteve praticamente tudo no ponto. Não senti que houvesse lá fillers, cenas para encher chouriços apenas porque sim, nem aquele show off muito característico neste género de super-heróis. Como a própria abordagem mais humana da série, sem recorrer a super computadores ou outras tretas do género para resolver os crimes. Tudo com a base da velha boa investigação old-school. Aliás, os próprios diálogos acho que foram talvez os mais bem conseguidos que vi no género. Tanto que no confronto entre Kate vs o gajo de óculos, se se lembrarem, aquilo é fotocópia de Matrix quando o Smith tem o Morpheus preso no prédio e começa a falar com ele sobre o Mundo que ele odeia. Mas mesmo assim, cópia ou não, ficou ali bem empregue.

Em relação ás coreografias. Realmente daquilo que ia lendo por aí, o meu hype estava lá em cima visto que sempre fui super fã da coisa. Tanto em filme como em série. Sem dúvida que estiveram muito bem, mas deu ali a impressão que por vezes, não sei por falta de orçamento ou não, que nem se tocavam uns nos outros. Tudo muito forçado, apenas minimizado pelos efeitos sonoros. Como a própria escassez de sangue, tendo em conta o seu PG, talvez podia estar lá mais um bocado de ketchup.

Venha de lá a 2º Season!!!