The episode was very good in all the sense: emotions, surprises, dramatic, funny, consequences. It have all the recipe to make the episode good. I enjoyed how Jamie needed to face reality with his brothers and when he faced Dushane in jail. This was pretty interesting in how Jamie get settle up by Dushane. A very good episode with some nice moments and events. Need to see the season 4. At the end, we have a big surprise about the two people who asked always drugs: they may be not what they seem to be.
5 Reviews
S3: Plenty of slick style, but the depth in characters keeps it well grounded throughout
bob the moo16 August 2020
It has been a few years since I'd watched the previous seasons of Top Boy, but my notes on those seasons reminded me that I was not taken with the hype, and felt it needed more substance to prevent it feeling like a superficial affair. The third season confirms that opinion by doing just that and being much better than the initial two seasons as a result. This season picks up years after the events of the previous, but it is not essential that you have watched those to be able to jump into this one.
In terms of plot, it is not a wholly easy mix of street-level realism, and American-gangster excess. In some ways it feels very British, very gritty, and depressingly realistic; but then in other ways it offers stylised scenes of bloody violence that seem more at home in a Scorsese film than it does on a London estate. Although having said that, I'm very far removed from that world so what I call realistic might be nonsense, and cinematic executions might be the norm around blocks of flats. Regardless, as a piece of television it is pretty terrific, and I was really surprised how strong it was. It treats a lot of its characters as people, and gives them time to be people - even when it essentially is using them as plot devices, it gives them moments and story. The lead characters are good examples of this, and the writers don't let our "heroes" just become stars and all-powerful, even if the overall narrative does need a bit of that.
There is a lot of money in the production, and it looks terrific; use of locations, use of cityscapes, soundtrack, costume etc. Behind this the crafting is equally strong, with the edit in particular bringing out a good sense of pace. Performances do justice to the space and fleshed out characters they are given, and are generally strong. Walters and Kano outshine the cliché one usually assumes of the rapper-turned-actor; although Kano is by far the stronger of the two. Ward is strong opposite them, with plenty of conflict but yet bravado about him. Romulus is cleverly understated, while Jobson makes a big impact with an upcoming character. Many supporting roles (including the two young kids) are good, and although there are 2D clichés and stereotypes, they tend to be effective in the limited role they play, and the show is better for having them driving the narrative.
A strong season and one sure to bring me back to a fourth if it comes. I had come into it not sure what to expect, and not particularly thinking it would do much more than the previous seasons, but the show steps up in almost every way and is engaging and tense in its grittiness and its excess, but yet recognisably human in its characters - from where it takes its strength.
In terms of plot, it is not a wholly easy mix of street-level realism, and American-gangster excess. In some ways it feels very British, very gritty, and depressingly realistic; but then in other ways it offers stylised scenes of bloody violence that seem more at home in a Scorsese film than it does on a London estate. Although having said that, I'm very far removed from that world so what I call realistic might be nonsense, and cinematic executions might be the norm around blocks of flats. Regardless, as a piece of television it is pretty terrific, and I was really surprised how strong it was. It treats a lot of its characters as people, and gives them time to be people - even when it essentially is using them as plot devices, it gives them moments and story. The lead characters are good examples of this, and the writers don't let our "heroes" just become stars and all-powerful, even if the overall narrative does need a bit of that.
There is a lot of money in the production, and it looks terrific; use of locations, use of cityscapes, soundtrack, costume etc. Behind this the crafting is equally strong, with the edit in particular bringing out a good sense of pace. Performances do justice to the space and fleshed out characters they are given, and are generally strong. Walters and Kano outshine the cliché one usually assumes of the rapper-turned-actor; although Kano is by far the stronger of the two. Ward is strong opposite them, with plenty of conflict but yet bravado about him. Romulus is cleverly understated, while Jobson makes a big impact with an upcoming character. Many supporting roles (including the two young kids) are good, and although there are 2D clichés and stereotypes, they tend to be effective in the limited role they play, and the show is better for having them driving the narrative.
A strong season and one sure to bring me back to a fourth if it comes. I had come into it not sure what to expect, and not particularly thinking it would do much more than the previous seasons, but the show steps up in almost every way and is engaging and tense in its grittiness and its excess, but yet recognisably human in its characters - from where it takes its strength.
What an idiotic finale
hjaboa-1942730 May 2020
Warning: Spoilers
Atts incriminates his best friend and ends happily making a cake with his mom
Dushane, not the smartest guy in previous episodes, suddenly outsmarts everyone else.
The police receives an anonymous phone call about two black guys carrying a green backpack that looks like has guns in it, look, x-ray vision is something common in Top Boy.
Could go on, with the nonsense writing but not worth my time.
And I would have got away with it if it weren't for you pesky kids
jobybyrne20 September 2023
Warning: Spoilers
What an atrocious anti-climax. I think the writers needed to come up with an ending so re-used an old script from Scooby-Doo. The Police, who seem to have all been on collective annual leave up till now suddenly show up everywhere all at once and send an armed response unit based on the most vague of tipoffs. "I think there's something in a green bag). The forensic team must have had the day off when they discovered the bag too.
In addition new information is dropped into the story line with absolutely no context what so ever and there hadn't been an unconvincing kidnapping or some random violence for a couple of episodes so they threw those in while the police must have still been on annual leave.
The suppliers have no protection or security what so ever. They must be new to the career, perhaps they on the crime graduate scheme.
There's also the double, triple, quadruple crossing that they think adds depth to the story. (Spoiler - even if you can keep track of it, it doesn't). This is yet another Netflix series that ran out of ideas before it ran out of budget. The visuals are nice with the city in the background but the story has run it's course by now.
In addition new information is dropped into the story line with absolutely no context what so ever and there hadn't been an unconvincing kidnapping or some random violence for a couple of episodes so they threw those in while the police must have still been on annual leave.
The suppliers have no protection or security what so ever. They must be new to the career, perhaps they on the crime graduate scheme.
There's also the double, triple, quadruple crossing that they think adds depth to the story. (Spoiler - even if you can keep track of it, it doesn't). This is yet another Netflix series that ran out of ideas before it ran out of budget. The visuals are nice with the city in the background but the story has run it's course by now.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
