In ‘Black Rabbit,’ Jason Bateman and Jude Law are brothers on the brink of disaster

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I wouldn’t presume to give career advice, but I’m really happy to hear Jason Bateman, after four intense seasons on “Ozark,” is returning to comedy. (Even if it’s a dark comedy!) He’s currently working on a new series for HBO called “DTF St. Louis,” created by the writer of “Patriot,” Steve Conrad, though we won’t see it until next year. Hopefully, it’ll be worth the wait!

The new eight-part series “Black Rabbit” starts on Thursday and stars Jason Bateman and Jude Law as brothers Vince and Jake Friedkin. Years ago, they were in a rock band together called the Black Rabbits, which had some success – enough for Vince to be occasionally recognized, though people often forget his or the band’s name. More recently, the brothers co-owned a restaurant in downtown Manhattan, also called Black Rabbit, though Vince’s current involvement is unclear; he used to manage the bar upstairs. Despite Vince’s tendency to make sarcastic jokes even in tense moments, the show isn’t a comedy.

The show feels similar to “The Bear” in its comedic style and features a talented young chef, Roxie (Amaka Okafor), who’s gaining attention – the New York Times is reviewing it, and New York magazine is featuring her on its cover. The restaurant is clearly popular and bustling, with a lively (and loud) kitchen, but the focus isn’t really on the food itself. Jake is more interested in expanding the business, hoping to secure a lease for the Pool Room at the famous Four Seasons Hotel. He wants Roxie to be the chef and Estelle (Cleopatra Coleman), who is dating his friend Wes (Ṣọpẹ́ Dìrísù) – a now-famous musician and co-owner of the Black Rabbit, who is also quite possessive – to design the space. The show hints at a connection between Vince and Estelle through the way it’s filmed, but the actors don’t have much on-screen chemistry, making it feel forced rather than genuine. Still, this potential relationship is presented as significant to the plot.

Vince is now living in the West, sporting a look reminiscent of a mature Dennis Wilson and trying to make money selling antique coins. He’s robbed while in his car and, in the ensuing chaos, accidentally runs over one of the robbers-not once, but twice. Strangely, this incident doesn’t seem to deeply affect him, nor does it play a significant role in the larger story, beyond forcing him to return to New York City. He’s already deeply in debt-owing $140,000 from gambling-and when he’s not facing immediate danger, he maintains a surprisingly cheerful disposition.

Jake’s ex-wife, Val, is financially secure and generally pleasant, and his son, Hunter, is taking dance classes. They have a good relationship, although Jake struggles with the typical challenge of balancing work and family life – but he handles it better than most. Vince’s daughter, Gen, a tattoo artist, isn’t thrilled about his return. Their well-being becomes central to the story, pitting Vince and eventually Jake against Joe Mancuso, a complex mobster played by Troy Kotsur (known from “CODA”), and his son, Junior, a clumsy and ineffective wannabe tough guy, along with Junior’s somewhat sympathetic but ultimately hapless bodyguard, Babbitt. These characters all share a past connection – Mancuso was close to the brothers’ family back in their Coney Island days – but ultimately, business takes priority.

Similar to many current streaming dramas, “Black Rabbit” starts with a glimpse of a dramatic future event – a robbery and shooting at a party – before going back to the beginning of the story. This immediately signals that while the initial episodes will focus on setup, things will eventually become intense. And they do, involving serious issues like sexual assault, murder, and corporate mismanagement.

Jake is pursuing his dream of opening a pool hall, but he and his brother are both struggling financially. Their conflicting needs lead to a series of failed plans, causing their relationship to swing wildly between fights and fond memories. While the arguments become repetitive and frustrating, the shared memories offer some heartwarming moments. Although the show hints at a past event that sheds light on one brother’s behavior, it’s hard to become truly invested in their fate, mainly worrying about the collateral damage – especially for those working at the Black Rabbit – when their schemes inevitably fall apart.

While a wide range of supporting characters appear, the story ultimately focuses on the relationship between the two brothers. Jason Bateman, who also directed several episodes, manages to make his frustrating character, Vince, appealing thanks to his natural charm. He’s a talented actor, and his likability shines through. Chris Law, playing the stressed and energetic Jake, doesn’t quite create the same connection, and it’s hard to picture him successfully launching a sophisticated restaurant like the stylish Black Rabbit – which was Vince’s idea. Perhaps that disconnect is intentional, highlighting the brothers’ differing personalities and the complexities of their bond, and the fact that Jake deeply cares for his brother.

The story’s outcome feels predictable, and by the time it arrives, it lacks impact. A closing montage, surprisingly upbeat and styled after the beginning of Woody Allen’s “Manhattan” with the song “I’ll Take Manhattan,” seems designed simply to leave the audience feeling slightly better than they might have. (And a nod to Katz’s Delicatessen, too!) So, a thank you, perhaps?

Meanwhile — “DTF St. Louis!” See you next year! Knock wood.

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2025-09-17 21:31