Like a mix of 24the series, and with Airfor that of happening the thing between inmates, the Spanish fiction of six chapters The longest night has landed with a bang on Netflix thanks to a good hype (which we already know doesn’t always happen) and the unappealable addictive qualities of the series starring Luis Callejo, Alberto Amman and Jose Luis Garcia Perez.
when analyzing The longest night one can fall into certain matters of appreciation. Perhaps the summary of what Xosé Morais and Víctor Sierra, its creators, have really intended, is well represented in the interpretation of Callejo as Simón Lago, a dangerous psychopath who is captured and locked up in Monte Baruca, a psychiatric prison where he will remain an entire night. waiting to take a statement… and that a heavily armed commando assaults to capture the inmate. Callejo has fun playing a mechanical and diabolical being taking tics from Anthony Hopkins and his famous Hannibal… but the result, above all, is close to the no less disturbing Garland Greene by Steve Buscemi in the aforementioned with Air (without this being a discredit).
It all boils down, therefore, to taking seriously but in a certain way everything that happens in an openly implausible series that launches headfirst into the noisy shootouts of the ’90s “actioner” while adding a few notes of picturesque cañí in the portrait of the prisoners, perhaps as an inheritance from Cell 211 (also starring Ammann). Whoever expects, however, a “real” sensitivity in the portrait of mental illness is in the wrong series.
In addition to 24from which Morais and Sierra take the radicality of some plot twists and its compact structure in a “semi-real” time format (not to mention the digital clock spellings in its title) in the mix of this evidently referential series influence , and much, the action movies of the eighties derived from Crystal jungle, with Albert Ammann playing the part of a kind of indecisive John McClane sneaking around the Baruca facilities. The number of tributes to these films does not end there, with the song “Jingle Bell Rock” opening the story as in the first lethal weapon and a Christmas setting that can only be a nod to the fiction written by Shane Black for that well-remembered subgenre.
After this collection of references -we leave for the end, as it is the most important of all, Assault on the 13th district police station, especially in the wonderful “remake” of Jean Francois Richet with Ethan Hawke shot last decade – it is worth mentioning how it really is The longest nightwhich has had no problem climbing to the top of viewing positions on the streaming platform and which could become a reasonable emulator in urban western terms of The Money HeistAt least in our country.
And the result is reasonably fast-paced, despite the typical tolls of a television series, but inevitably sympathetic due to its dramatic brazenness and the admirable firmness and will of its dramatic pulse. As a series B action product, one can only regret the inability of the Spanish industry to have manufactured before, and well, a story like this before the landing of a multinational willing to release products to cholón. But The longest nightdespite a certain lack of visual personality, it’s here, it’s enjoyed, and it doesn’t want to be valued for anything other than what it is: six episodes of addictive skirmishes, amusingly amoral and occasionally reasonably stupid, but really fast-paced and noisy in their display of explosions (of junk cars, that is). Yes).