Review of the Chris Pratt series on Prime Video | ‘The Final List’: Sound, Fury and Tedium

Image from the Prime Video series. / RC

Chris Pratt believes himself to be Rambo in this long intrigue that leads to a tedious series of action that awakens in the most violent scenes, some as spectacular as they are gratuitous.

Borja Crespo

Prime Video’s series of the moment is ‘The Boys’. Its third season is turning out to be a real roller coaster of sensations, sometimes deliciously disgusting. A few chapters from its outcome, ‘The Final List’, the latest serialized bet on the streaming platform owned by Amazon, has been released in parallel, in style. The launch has been covered with abundant promotion, something unusual in the online sales giant’s policy.

Unlike the adaptation of the comic written by Garth Ennis with drawings by Scott Derrickson, the pilot episode, out of a total of eight installments, is signed by an experienced filmmaker, Antoine Fuqua, while Chris Pratt plays the protagonist, a soldier wrapped in a conspiracy that leads to a bloodbath. A popular face and a veteran behind the cameras at the service of a story of intrigue that shines in its action scenes. Lacking in humor, with an ideologically debatable message, the plot stretches excessively to land in a predictable climax. Revenge is a dish best served cold. On this occasion, they have added abundant poison. The trail of corpses left by the Navy SEAL of the US Army to appease his hatred after the murder of his family is quite imaginable. The cruelty and unbridled rage of him pushes him to take out the guts of a hitman with an ax and place the entrails in a scarf. Not even Rambo in his best times.

Chris Pratt:

The role defended by Pratt, a successful actor -there are the figures of ‘Jurassic World: Dominion’- who in real life, apparently, sympathizes with Trump’s postulates, manages to achieve something unusual in audiovisual fiction: to be unfriendly. Empathizing with his deed as a spectator is not difficult, he wants to avenge the bloody death of his wife and daughter, but his methods are uncomfortable, without sarcasm. There is not a hint of sarcasm as in the famous saga played by the fireproof Sylvester Stallone. Here the writers take the massacre very seriously and the tone is too dramatic and solemn. In fact, the protagonist has a brutal arsenal of weapons in his case, he hunts deer with his little girl and puts his goal, his thirst for justice in his own way, before everything else. He doesn’t mind involving people close to him in his fight, endangering friends and colleagues, although some forced sequence tries to alleviate this obvious extreme behavior, typical of a human being willing to do anything to get his way.

Unlike John Rambo, James Reece, the name of the angry soldier, does not like him even though we share his pain as an audience. Some persistent flashbacks that underline his vital anguish do not help, reinforcing the concept of a traditional family with a cloying aesthetic. His brain betrays him at times after being the victim of an explosion during an ambush in which he is the only survivor. Confused memories of the attack and his colleagues killed in combat are mixed with pictures of his idyllic family life.

Protagonists in action in the series ‘The final list’. /

RC

The beginning of the series, signed by Fuqua, stands out at a budget level compared to the rest of the deliveries, except in the final section, where the fireworks are lit without avoiding the wet gunpowder. The director of the first chapter, the roundest narratively – the rhythm suffers spectacularly later – is one of the most interesting filmmakers of current action cinema, with the thriller as its star genre. ‘Training Day’ did not go unnoticed at all and in ‘The Equalizer (El protector)’ he gave it his all. Here he illustrates a conspiracy plot where Pratt seeks to portray the average American with somewhat faked emotionality. The great villain of the depressing plot is a pharmaceutical company, as the times dictate, and anyone who has dared to participate in the plot that drowns the protagonist perishes at his hands, responding to the famous title list, which he crosses out, like Arya Stark mentally in ‘Game of Thrones’, with a vigilante spirit worthy of analysis from a point of view that is not strictly cinematographic. Between migraine and migraine, with her head touched, she feeds the warlike atmosphere that surrounds us with less grace than ‘Top Gun: Maverick’. Pratt is not Stallone, neither is Clint Eastwood.

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