The latest episodes of Ozark are confusing. Not because they do not do exactly what Netflix’s ridiculous police thriller has been doing since 2017, but because they do it with an uncharacteristically vulgar emotion. For a drama that prides itself on multiple terror executions and the unimpeded depths of rivals like Darlene Snell (rest in peace, Queen), the serious suspense plays an almost eerie second violin in the Byrde family’s fourth season swan song. Sure, there is bloodshed. there is always blood. But these seven episodes are more about saying goodbye than good discharge – a shocking change of tone for a show so dark that it once threatened to drown a baby. However, it is a surprisingly effective choice for the finale. Although it does not correspond to the best emotions that Ozark had overall, the alternation of the fourth season of the second part with stormy hugs, surprise appearances and flashbacks with foggy eyes offers a nostalgia almost Friday Night Lights that will make you miss the Maniacs who wash away money when they leave; but it happens. SI-
Ozark
Created by
Bill Dubuque, Mark Williams
Protagonist
Jason Bateman, Laura Linney, Julia Garner, Sofia Hublitz, Skylar Gaertner
It premiered
April 29 on Netflix
Form
Hourly drama? all seven episodes were watched for control I pick up shortly after Ruth (Julia Garner)’s famous “If you want to stop me, you have to kill me!” tirade, Marty (Jason Bateman) and Wendy (Laura Liney) begin their final journey trying to contain the rage of their former protégé. Ruth vows revenge after the murder of Wyatt’s cousin (Charlie Tahan) by Xavi (Alfonso Herrera), nephew of Mexican drug cartel leader Omar Navarro (Felix Solis). But of course, killing Ruth Xavi is like a storm, so the Bydres do everything they can to protect him from her – and she from herself. Meanwhile, Charlotte (Sofia Hublitz) and Jonah (Skylar Gaertner)’s alliance with Ruth is causing problems, as Jonah has been a pedestrian, speaker, teen curveball since the second season, and loose lips sink the ships. These seven episodes are more about saying goodbye than good discharge. G / O Media may receive a commission In the suburbs, FBI agent Maya Miller (Jessica Frances Dukes) faces the aftermath of Navarro’s arrest – just as private investigator Mel Sattem (Adam Rothenberg) and Wendy’s father Nathan (Richard Thomas) arrive in the Ozarks looking for him. missing »Ben (Tom Pelfrey). But Wendy can not focus on the possible discovery of her brother’s murder, because she is still in hot water for the cartel agreement with pharmaceutical CEO Clare Shaw (Katrina Lenk). Julia Garner at Ozark Photo: Netflix Sounds a lot to follow? Is. As in previous seasons, the interconnected drama and stakes of these duel plot lines make for some decently juicy twists and turns around the Byrde family’s grid of chaos and throughout their sphere of influence. But there is a sloppiness in the overall execution of these episodes – in the editing, in the filming and, above all, in the writing – that essentially undermines the rest of the series’ most successful intensity building. The holes in the plot abound as established parts of the Ozark ecosystem are inexplicably set aside for the flawless additions of the fourth season that at best feel inappropriate and at worst take you out of history. For example, Kansas City Mafia leader Frank Cosgrove (John Bedford Lloyd) has more than one appearance, while a relatively new character plays a completely unfair role in the latest episode, which is central to a show theft point. Even when the most important characters appear, the energy seems to drop as their motivations become darker from episode to episode. There is no tone to make your heart beat faster, if only because every narrative movement feels compelled by the need to make familiar characters interact with each other one last time – even if the central story does not have the proper justification for to do it. Skylar Gaertner and Sofia Hublitz on OzarkPhoto: Netflix Still, it’s fun to watch this cast — especially Linney and Garner — chew their characters in a common winning round. Whether it’s admiring the Marty’s mobile stand or deciphering cryptic symbols in the introduction, the fourth season part two offers a lot of reminders of what made this show work really well for a while. Ozark may not come out clean. But it is not too welcome.
