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Narcos Pablo Escobar Wagner Moura, Boyd Holbrook, Pedro Pascal, Joanna Christie, Maurice Compte, André Mattos, Roberto Urbina, Stephanie Sigman, Luis Guzman, Juan Pablo Raba

Narcos (Season 1): two D.E.A. agents try to take down the world’s most notorious criminal – Pablo Escobar; a humble weed smuggler who became the wealthiest criminal in history. This feels like a mix between a high-production TV series, and a documentary – with dozens of long sections of expositional dialogue, archive footage, and additional information explaining (in great detail) external factors leading to some of the plot points. Even though this wasn’t particularly slavish to the historical facts; the continual reliance on archive footage makes it feel like it’s handicapping the story to non-fiction only. The ‘Original’ stuff is all brilliantly shot and written: and doesn’t shy away from the nasty side of the drug trade and organised crime; there’s plenty of blood, guts, sex, and violence in here for added authenticity. This is matched by a handful of fantastic lead performances from a cast of relatively unknown actors, who set the screen on fire. In fact, my only real gripe with watching Narcos is trying to figure out how long has passed between scenes – at one point a baby becomes a proper kid in the next scene, but Escobar is still running for election! Season 1 (10 Episodes) covers 43 out of 44 years of Escobar’s life in sufficient detail; leaving the worry that season 2 will be padded out or overly dramatised: 10-12 episodes could have made this a great one-off. Narcos is a gangster / crime epic that’s up there with the best of them: it’s is smart, thoroughly engaging, and truly addictive TV; adding another string to Netflix’s bow. Netflix and Chill? More like Narcos and Kill!!1!11!! AMIRITE?!?

Score: 8.5/10

Narcos Murphy and Pena Wagner Moura, Boyd Holbrook, Pedro Pascal, Joanna Christie, Maurice Compte, André Mattos, Roberto Urbina, Stephanie Sigman, Luis Guzman, Juan Pablo Raba,

Un Prophete: a petty criminal makes big waves in jail as he climbs up the criminal ranks inside the prison. This is the very epitome of a very, very broody-moody slow burner. In saying that, the direction’s absolutely solid, with key scenes being well handled and delivered – it’s just that at 155 minutes it could have just done with more brutal editing though – there’s lots of filler scenes that seem to just ramp up the runtime, and too many slow shots of the main guy looking contemplative for my liking. It’s very French, with what’s clearly some big French, socio-political issues and a French focus on race, identity and . Acting-wise, prison leader Cesar wipes the floor with everyone else; such a fantastic range. The story’s as grim, downtrodden, depressing, gritty, worst-case-scenario non-glamorised crime drama as you can get. It’s strange because I remember being blown away by ‘The Beat that my Heart Skipped’, however despite their similarities, ‘Un Ptophéte’ (and ‘Rust and Bone‘) feel like they’re handicapped by the pace.

Score: 3.5/10