Kaala Paani (Black Water) is about the unraveling of a society under crisis. An epidemic strikes the island, and the show follows characters on disparate journeys as they all come to understand how civility is a thin veneer, and there are different rules for survival in a dystopia. Netflix bills this as their first Indian survival drama, and if that’s what you’re looking for, this delivers.
Kaala Paani remains rooted in Indian drama, with enough familiar Bollywood tropes and super dramatic acting to satisfy (or frustrate, depending on taste). The setting of a near-future Andaman and Nicobar adds a little freshness for seasoned viewers of both Indian dramas and english post-apocalyptic drama (why so many desert wastelands?). But if you like this show, credit is due to the writer’s clarity of idea — the human aspect of epidemic survival — and the director’s focus on execution. The team said yes to liberal use of fable & philosophy tropes, yes to time skips, yes and yes again to flashbacks (make it like Oprah’s giving them away), and no to in-depth explanations of science/procedure/things-that-aren’t-drama. The focus is entirely on the character journeys undertaken by a set of individuals from a distribution of roles across the island society. The actors all did very well, and most have juicy dramatic bits preceded by overlong childhood flashbacks (can you tell my biggest quibble? yet they are a classic Indian trope that can’t be escaped… get it?) to hammer in that character development. This is not a mystery series: there are no twists, no red herrings. But the 7 episodes are meaty with social drama, seasoned with the urgency of a thriller, and light on the boring gristle. Overall, Kaala Paani will hits the spot. And if my review hasn’t put you off it, I think you’ll enjoy it too.
A second season is possible but not required. The epidemic isn’t fully resolved (given the time frame it can’t be anyway), but most characters have reached a climax and denouement to complete their arc. If continued, here’s hoping the writing remains true to concept with new character journeys so that the energy stays high.
I can only describe this show as 'perfectly awkward'. I adore how it skips across the balance beam of comedy and drama, depicting some incredibly realistic situations and life events that range from hilarious to depressing, without wallowing in either of them. This is not a tearjerker about depression, or a rofl-comedy, but that perfect sardonic middle where all characters are both likeable and flawed.
Showrunner, writer, and lead Josh Thomas has said it is based on his own life. Although his unique voice was a bit of a hurdle at first, I quickly warmed to his, and other characters. Give it a few episodes at least :)
The first two episodes set such a low bar that I genuinely wondered how the test audience let it fly under the radar... then I remembered the existence of Iron Fist. The premise of Inhumans is fine, but the plot and action is dull and slow, presumably to allow for character development... unfortunately the characters are unlikeable, as all the 'good guys' are simultaneously arrogant and naive, making them unsympathetic. Iwan Rheon's character is a rare exception, but I suspect my misplaced affection for Misfits may muddle my judgement there.
TL;DR If I didn't know better I'd think it was a second-rate mockbuster, but given The Defenders... maybe I need to resign myself to the new Marvel/Netflix reality.
I was excited about the premise, as a fan of both Star Trek as well as sci-fi comedy, but having seen 3 episodes it falls short of expectations.
I had hoped for either a clever parody, or a farce exaggerating Star Trek plots to comical extremes. Instead, it comes off as a weak-tea homage. Sure, numerous Star Trek references provide fanservice, but the characterization/acting is flat and the comic moments feel silly rather than punchy. I do appreciate the show's dedication to ethics as espoused by the original Star Trek, and will probably continue watching if only to see which ethical debates the writers think are most relevant in 2017.
Overall, I get the impression of a skit or community theatre, leaving me wishing for a stronger script.
This dramedy is set in the premise of alien segregation, such as "V", "District 9", or the contemporary "Cleverman". It is rather heavy-handed with the metaphors and at times patently ridiculous. If you're looking for a more reflective social commentary, I suggest you check out one of the others (listed in order of release).
On the other hand, this wry, dry, and (very) British miniseries offers a relatable taste of a character that discovers something about himself, and proceeds to walk that fine line between f***ing his life up and figuring it out. There are no superheroes here, but Michael Socha is believable as the gobsmacked and impulsive Lewis, who makes me want to facepalm at least once per episode.
No interest in sci-fi required, but if you sneer at soft SF you may wish to skip this one.
This show made me feel somehow validated, confused, then betrayed, and more confused. It wasn't fast, and I still don't understand it, but it got steadily more complex and kept me interested in the ride.
If you liked the X-Files, and Stranger Things, give this a shot and be prepared to be patient through the slow start. If unexplained mysteries irritate you, or you will always pick the latest superhero movie over an arthouse feature, ymmv. Either way, watch with a friend so you can yell about it afterwards.
If you loved the books, you needn't fear disappointment! The tone stays very true to irreverent comedic melancholy of the books, and is supported technically by the sets and lighting (like a city immediately after a rainstorm, generally damp and gloomy but especially vivid at the same time).
Note that all characters are closer to two-dimensional caricatures than actual people. This is, however, in line with the book series, where the 'writer' reports facts and events with emotional distance. I believe this was designed to allows readers the room to marvel at the utter ridiculousness of all the adults, and at the inventive perseverance of the Baudelaire children, while still preserving the central overarching mystery. This strategy works great in print, but doesn't translate quite as well to the screen.
For myself, the dark humour and Neil Patrick Harris's portrayal of the frankly outrageous Count Olaf more than made up for flat characters, but if neither the author's dark humour nor NPH is your thing, then ymmv.
