escribiÃ³: Â¿Alguien ya la viÃ³? Suena bastante interesante, pero quiero saber alguna opiniÃ³n
EstÃ¡ buena, es largo el primer episodio, pero ni se siente. Bastante tarantinesco todo, pero sin las pausas largas intentando hacer pasar un diÃ¡logo normal por inteligente como las Ãºltimas de Quentin. Es como una comedia negra... mezclada con novela negra. Vale la pena darle una oportunidad.La historia empieza a moverse cuando aparece Al Pacino al minuto 22 o 23. Su primera frase: En un mundo de diarrea y constipaciÃ³n, estÃ¡ bien ser un sorete a veces.
âHunters,â a new Amazon series about vigilantes seeking to bring justice to Nazis hiding in 1970s America, is fixated in ways by which violence can be made weird. It features a vast conspiracy of Nazis embedded in the U.S. government, one of whom enters the series by committing a gruesome mass killing. It goes on to depict the baroque ways a team led by Al Pacinoâs Meyer Offerman obtains revenge on their quarry, including force-feeding manure to a society matron as she pleads for mercy.
Yuck! This scene, like many others on âHunters,â makes its point, then goes on making it long after the stomach has turned. This show seems to borrow much of its aesthetic from Quentin Tarantinoâs âInglourious Basterdsâ â a film about the gleeful process of claiming vengeance on Hitlerâs footsoldiers â but it fails to get the alchemical balance right. Its nastiness, even as deployed against the worldâs worst people, fugitives from justice, somehow comes to feel more like abuse of the audience. Its big bad, a young convert to the Nazi cause played by Greg Austin, is somehow both superhumanly powerful and easily evaded to the point where his perpetual reappearances carry little weight its banter just isnât funny enough.
To wit: The crew isnât chosen solely for their skills, but also for the ways in which their persona adds some basic load-bearing element to the showâs attempts at comedy. (Josh Radnor, for instance, plays a vain actor moonlighting, so he gets a lot of material about his ego and theatricality he wonât abandon a cover until a fellow spy says âscene,â for instance.) And to introduce these broadly drawn personas, over surf-rock that sounds ripped from âPulp Fiction,â the gang enters with corny onscreen chyrons, with one pair described as âa couple of Chabad-assesâ we later get a fake movie trailer for the gang that weâre told is âRated J for âJewtastic.ââ Even Tarantino skeptics might wonder why âHuntersâ so explicitly invokes the comparison only to invite such an unflattering comparison.
âHuntersâ is above all else an exercise in genre pastiche, blending ultraviolence with brutally unfunny comedy. It strands its lead, Logan Lerman, in a grave and painstakingly emotional plotline about his quest for reprisal after the murder of his grandmother (Jeannie Berlin) thatâs surrounded by material whose only concern is proving that Nazi hunting can be fun. Later revelations about Pacinoâs character donât have the weight they could, given the actorâs barely-directed hamminess this time around (a shame, after he was so recently so precisely deployed in âThe Irishmanâ). The showâs general tone, cemented through each time a member of the crew acts precisely true to form with a one-liner that doesnât suit the situation, is sweaty seriousness about proving the case that a story about vengeance can be fun.
Which we already knewâ¦ from âInglourious Basterds.â The comparison is unfair but, again, itâs one the show requests. Thereâs a reason that merging wit, flair and joyful nastiness with the aftermath of the 20th centuryâs defining tragedy was so widely understood as an accomplishment when Tarantino pulled it off: Because itâs hard. âHunters,â with C-minus jokes and storytelling that inelegantly toggles between gravity and deeply self-conscious oddity, demands credit simply for trying, and not trying hard enough.