Daredevil

The fight choreography in Daredevil deserves immense recognition. Let's be clear here: the entire season is a triumph, from plot to characterisation to soundtrack. But the fight sequences are some of the best I've seen in years, probably since the lobby sequence in the Matrix. In particular, the long take in the hallway at the end of episode 2 had me utterly riveted. I'm not sure I've ever seen a piece of action that so carefully balanced humour, suspense, cinematography and realism in any film or TV show before. That sequence will stay burnt into my memory for many years to come and, for that sequence alone, Daredevil is required watching.

Yet, the fighting is also the shows biggest downfall. I understand that Netflix wanted to present a grittier, more realistic side of the MCU and they've definitely succeeded, but every now and then the excessive violence was just that – excessive. The Kingpin would be just as terrifying, arguably more so, if the scene where he exacts his revenge on one half of the Russians was less visceral, even occurring off-screen. Yet at the same time, it is refreshing watching a superhero that grows fatigued, with injuries that actually hamper people rather than just extending a fight. So I'll grant that the reality and gore of Daredevil does succeed in elevating the stakes, even when they do go overboard.

It's also genuinely refreshing to see a dark, gritty, realistic superhero property where the hero is both clearly super and human. Matt Murdoch is wonderfully cast and portrayed, with a real sense of depth, yet his alter-ego is clearly more than a well-trained bloke; they don't mince around making you guess if he has genuine superpowers, addressing that question within the first few episodes. The end result is a much more tangible show than the likes of Agents of S.H.I.E.L.D, but one that still feels distinctly connected to that universe.

Part of that tangibility, that connected feeling, is definitely the surrounding cast. Every character is perfect, even the ones that are only brief acquaintances. Murdoch feels like a man walking a fine line between hero and monster, whilst accepting an existence that screams double-think so well that it actually makes you question the normally black and white reality of comic book morality. Foggy, Karen and Ben are all solid foils and mirrors, cleverly reflecting or highlighting many of the nuances that make Daredevil such an interesting hero, whilst presenting genuinely enjoyable dialogue and some very well crafted humour along the way.

But a hero is only ever as good as their villain and, once again, Daredevil does not disappoint. Vincent D'Onofrio plays a very interesting Wilson Fisk, arguably one of the best takes on the character in some time. This Kingpin is ambitious, monstrous and chilling yet, somehow, almost sympathetic. Whilst his true plans are never fully laid bare, you begin to believe that, though his methods may be foul, his intent could (just) be pure. Plus, as with Murdoch, Fisk is surrounded by a wonderful supporting cast of career criminals. They feel fresh from the pages of a graphic novel, yet equally at home in the real New York; somehow, both wonderfully pastiche whilst remaining nuanced and believable.

Then there is Wesley. The Kingpins right-hand man, an utterly loyal lackey and a character that left me utterly morally confused. James Wesley is clearly intelligent, cunning and ambitious yet he never feels like a Brutus, just waiting in the shadows for his time in the spotlight. No, that he is utterly devoted to Fisk, not just as a businessman but as a friend, is without question. It is this moral sleight-of-hand that Daredevil succeeds in so well; both Fisk and Wesley are clearly immoral people yet, as with all the best villains, you can't help but feel for them, even begin to like them. So when Wesley gets dealt his comeuppance, it doesn't feel victorious - it hits you like a punch to the gut. The combination of anticipation of Karen's death and the slow build of incite into Wesley's mind over the preceding couple of episodes culminated in a moment of incredible television. As with that hallway fight sequence, I believe Wesley's final scene will stay with me for some time to come. It was simple, unexpected and genuinely shocking without the need for any over the top violence or effects.

So, if you are still in any doubt as to where I stand on Daredevil, let's put it plain it in one word: brilliance. Utterly enjoyable, cleverly scripted, perfectly paced and an excellent balance of humour, action and moral questioning. I've heard great things about the rest of Netflix and Marvel's team-up but I'm not convinced they will ever top these thirteen fantastic episodes. I said it at the start and I'll say it again, Daredevil is required viewing. Watch it – now!

The first season of Marvel's Daredevil remains one of the company's crowning achievements. The choreography, the character development, the acting, pacing, scripting and sound – everything was done exquisitely. After a solid follow-up in the form of Jessica Jones we were thoroughly looking forward to seeing what the other powered inhabitants of Hell's Kitchen were up to. The fact I'm reviewing both in the same month certainly shows that Daredevil retains its "just-one-more" addictiveness, but what about everything else?

Put frankly, everything else was a little disappointing. To be clear, season two is still a solid, entertaining and thoroughly well-crafted outing. The original actors weren't about to suddenly lose their flair (and definitely don't) and new characters are just as well cast, in particular the Punisher. Dialogue, for the most part, is well rounded and believable, without any real fluff, and character arcs are (largely) clear and coherent.

Perhaps season one was just too perfect. It all slotted together wonderfully, creating a story that was equally captivating whether focusing on the people or the powers. Season two does have some of those moments of brilliance, but unfortunately veers too much towards the latter. Whilst season one could get away with a constant tension as Matt tried to keep his identity secret and balance his two lives, season two neither needs nor pulls off this trick. Foggy already knows his secrets, so why Murdoch continues to lie and throw up smoke screens isn't clear and becomes irritating. Many plot points could have been cleared up had main characters just remembered to communicate with one another, but instead drama is invented that makes them choose not to. It's an old TV sin that remains unforgivable, no matter how great everything else going on is.

There's also the issue of Elektra. In many ways, Daredevil manages to do justice to the much-loved character. She is definitely not 'just a love interest', nor is she treated gratuitously. Elektra is a strong, independent character that brings something genuine to the storyline. She helps Matt realise that he isn't just living two lives, he is two people, and he's beginning to prefer the vigilante alter-ego. It's an interesting take on the characters and it does feel organic. Unfortunately, it is overshadowed in the first half of the season by the far more interesting, nuanced and clever Punisher plotline and then morphs into a deus ex laced confusion of magical, immortal ninjas and prophecies. Whilst the revelation that Elektra is a member of the Chaste works well and gives her actions purpose, turning her into a prophetic incarnation of evil serves to destroy her agency as a character. It's a blow that such a strong female hero has to be reduced in such a way, that her abilities could not just be her own. It also sets up a predictable ending forcing Matt to resume his split life, rather than simply becoming the devil full time. It's entertaining and contains some wonderful fight sequences, but it also feels a little rushed and lacks the nuance of the first season.

On the other hand, the introduction and development of the Punisher is fantastic. In all honesty, had season two decided to just focus on the Punisher arc it would have been a lot more interesting. His introduction, build-up and reveal are all wonderfully executed. The interactions between Daredevil and Castle are clever and insightful, serving to shine a light not just on the problems of vigilantes but of wider cultural perceptions of mental illness, PTSD and the morality of law. Castle's evolution from sociopath to victim during the trial and his actions after his escape serve to push back at Murdoch's conceptual black/white moral code, friction which is well mirrored in the other characters, particularly Karen. In many ways, the Punisher is a very fitting follow up to Wilson Fisk and his inclusion allows the show to deviate in fresh ways. As mentioned, however, the overlap with Elektra's storyline feels forced, unnecessary and irritating. Matt's absence from the trial may serve to set up the characters for a third season but it also feels out of character and dumbly written. The Matt Murdoch of season one was a brilliant lawyer; the Matt Murdoch of season two is an arrogant, self-involved ass with a hero complex.

Part of why the first season worked so well is that it focused on the people. Sure, one of those people had superpowers and occasionally dressed up as a demon to beat on bad guys, but that was almost just an extra bit. Entire episodes occurred where Matt barely suited up, but in season two he practically lives in the damn thing. I think the writers were trying to make this all tie together with the Elektra plot, but it didn't work. To be honest, the entire season feels like Netflix brought the release date forward by about a year, which is a shame. Season one was tight, controlled and powerful as a result. Season two has wonderful moments (Fisk's rise to Kingpin, the rooftop debate between Daredevil and Punisher, Foggy stepping up at the trial, Karen's discussion with Frank in the diner) but each one is blunted by a lazy piece of missed/forced dialogue or overuse of action in place of plot. It remains entertaining, but it lacks the magic of season one. Too much emphasis on heroes and not enough on humans.

The third and final act. What a shame. After a lacklustre second season, the third returns to the show's roots and is utterly improved for it. Kingpin is just such a brilliant villain and his portrayal in this show is perfection, so putting him back in the main seat was a great decision. I also really enjoyed the evolution of Dex – particularly given that we watched Fisk pull his strings – and the final reveal that he has become Bullseye was a great teaser at a future we'll never get to see.

In many ways, season three is a mirror of season one. It starts with Matt seriously injured and presumed dead following the whole Defenders plotline, as well as him having given up the "devil" to go back to something simpler whilst keeping his existence secret from Foggy and Karen. That this turns full circle by the end was a nice touch and left the show's heroes in a great position, too. There are subtler dualities as well, including the exceptionally filmed one-shot fight scene in the prison coming in the latter half of the season, mirroring the much-lauded hallway fight in season one which happens earlier.

I really enjoyed that Matt ended up back at the orphanage where he was raised. It gives the character a nice journey and fleshes out his back story in an organic manner. The revelations around Sister Maggie being his mother and Father Lantom knowing about it were also well done, though I did feel a little telegraphed. Similarly, the insights into Karen's past and surfacing of her killing of Wesley are excellent moments that really bring her to life.

Nadeem's entire arc is a great one. The fact that the leverage Fisk holds over him is his financial ruin due to America's utterly broken healthcare system is a damning indictment of how that country operates and an interestingly different take. His continued battles with the desire to save his family and stand up for what he believes is fairly treated and treads a fine line that keeps him believable as a character, even if there is the occasional moment where it slides to far into irritation. That he ultimately does the right thing and is killed for was a solid ending.

Another clear hallmark that we're back to season one comparison is the pacing: it never lets up. Characters are killed and attacked, twists happen every episode, and you never quite know what's going to happen next. It never feels out of control, though, instead just amplifying this feeling that Fisk is pulling everyone's strings and you can't see how until it's too late. It creates a nice sense of audience engagement with Matt's own journey and works perfectly.

And then there's the finale, where it all comes crashing down around Fisk's ears. The overzealous nature of Vanessa proves their undoing, and seeing Dex and Matt both fighting him at his wedding is a great piece of comeuppance. I like that they get him, in the end, through a mixture of the Daredevil, Foggy, and Karen – again, much like season one – and it leaves the show on a positive note. I'm extremely sorry we're not getting any more of their antics and I will miss these characters a lot, but it does at least feel a like a good point to end on.