Jude Law and Jason Bateman’s Brother Act Is the Reason to Watch Netflix Thriller Black Rabbit

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The Black Rabbit, located at the intersection of FDR Drive and Brooklyn Bridge, is a restaurant often compared to a private clubhouse. This multi-story establishment, featured in the Netflix thriller “Black Rabbit,” boasts an iconic location, exquisite cuisine, a celebrity co-owner, decor that blends shabby chic with bohemian elegance, and a fashionable clientele who consider the VIP room their second home. The captivating former rock frontman Jake Friedken (portrayed by executive producer Jude Law) welcomes guests to this establishment during a high-end jewelry exhibition, describing it as a place where the evening can unfold in any direction. And unfold it does, as a duo of masked robbers crash the party, brandishing guns and demanding the precious jewels.

As a film enthusiast, let me share my take on this: Following an engaging and dynamic opening scene, “Black Rabbit” takes us a month back in history, delving into the intricate roots of a robbery that leaves us pondering some thought-provoking questions, like why the culprits have a key to the restaurant’s locked gate. This ongoing heist is unresolved when the series shifts focus. The drama appears to unfold when my diligent, responsible brother, Vince (portrayed by executive producer and director Jason Bateman for the first two episodes), re-enters the city after an escapade in Reno that concludes with him hitting a man trying to steal his valuable coins from a casino parking lot. Considering the financial and emotional burdens Vince has imposed on me throughout the years, it’s perplexing why I, a hardworking and organized individual like Jake, would not only cover his travel expenses but also embrace him back behind the Black Rabbit’s bar.

The crux of the intricate bond between the main characters in “Black Rabbit,” more so than the initial storyline presented in the premiere, is the central enigma driving the show. When it delves into its principal figures, particularly during scenes where they interact, the series can be captivating. However, the decision by creators Zach Baylin (of “King Richard” and “Creed III”) and Kate Susman to fill their scripts with excessive plot, rather than utilizing that time to flesh out the numerous secondary characters, diminishes the brothers’ environment. Despite being filmed on location, this portrayal of New York City becomes a collection of outdated stereotypes that could have worked in a feature film but struggles to maintain interest over an eight-hour series.

It’s understandable why Bateman and Law would be eager to take on producer roles for this project, as it offers both intriguing roles and opportunities that aren’t always available to actors over 50. Originally from New York’s Coney Island, the Friedkens rose to fame in the city’s Y2K rock scene with their band, the Black Rabbits. They seem to be a bridge between Nirvana and the Strokes, as hinted by a black-and-white music video of them performing their hit song. In their prime, Jake was the heartthrob, readily accepting roles the music industry presented him, while Vince was the creative spirit, but also the problematic one due to his substance abuse issues. This dynamic continues today. Prior to joining the Black Rabbit, Jake managed a well-known multitalented artist, Wes (Sope Dirisu), who is now a business partner in a restaurant. However, Vince was the visionary who saw potential in a run-down space, but his drinking, drug use, and gambling habits would ultimately prevent him from contributing to its transformation using the equity from their family home.

His brother.

One commonality between the brothers is their poor financial management skills. Despite Jake’s affluent appearance, he struggles to meet payments for the Rabbit’s vendors, leaving him barely able to save enough for a potential venture at the famous Pool Room of the Four Seasons. On the other hand, Vince’s return to New York is met with immediate scrutiny from Junior (Forrest Weber) and Babbitt (Chris Coy), two shady associates who loaned him a significant sum that he failed to repay before leaving for the west. This sets the stage for “Black Rabbit,” a thriller that builds tension through the characters’ urgent quest to gather an enormous sum of money in a brief span of time. Jake risks losing his reputation and business, while Vince faces consequences that extend beyond himself – his creditors are threatening his semi-estranged daughter, Gen (Odessa Young), a tattoo artist.

The plot in “Black Rabbit,” involving quick money, may seem overused or freshly innovative, depending on how well it’s executed. The club-style restaurant setting offers a unique twist for such intrigue, but it seems more reminiscent of pre-pandemic and even pre-Great Recession New York nightlife rather than something that feels authentic today. The series format requires the Friedkens to escape danger only to fall into another predicament repeatedly, which can become monotonous. The pivotal moments of their relationship, revealed at a late stage in the story, suggest a strategic choice to keep those details hidden until the final episodes, rather than being necessary for the narrative flow. A more coherent story could have benefited from these details earlier on.

The significant oversight, however, lies in not developing the characters associated with the Friedkens beyond their roles as helpers or hindrances, motivators or antagonists, or emotional triggers for Jake and Vince. For instance, Jake has an ex-partner, a son, and a captivating relationship with Estelle (Cleopatra Coleman), who designed the restaurant. In comparison, Vince is connected to some dubious associates.

The Rabbit, being its own universe, is inhabited by an aspiring chef (Amaka Okafor) and her devoted sidekick (Robin de Jesus), as well as numerous front-of-house staff members. It’s always a delight to witness Morgan Spector from ‘The Gilded Age’, but his vaguely defined character appears to exist solely for wrapping up unresolved storylines in this production.

The characters in this story lack depth, which can make a plot about a powerful client who preys on young, female servers appear somewhat exploitative. Additionally, the dialogue is quite formulaic, and the only performance comparable to Bateman’s and Law’s is a silent one from Troy Kotsur, who plays Joe – a demanding yet deeply caring deaf crime boss with a long-standing connection to the Friedken family. He won an Oscar for his role in CODA.

The series titled “Black Rabbit” is captivating for several reasons: the direction, with Laura Linney (a colleague of Bateman from Ozark) leading two episodes, demonstrates a stylish touch. The show also boasts a fast-paced narrative that helps to offset some plot repetition. However, the standout feature is the remarkable brother act between Law and Bateman in their roles. Although the technical excellence and adherence to genre norms are commendable, they aren’t enough to transform the show from being simply competent to visionary. In its own right, “Black Rabbit” exhibits professional craftsmanship but doesn’t reach the level of a groundbreaking masterpiece.

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2025-09-08 01:06