Matt Berry is brilliant as Year Of The Rabbit’s foul-mouthed, booze-soaked inspector
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Matt Berry’s on a roll. After meandering a touch following Toast Of London’s last season, the English comedian made a splash Stateside with turns on FX’s What We Do In The Shadows and Netflix’s Disenchantment. Now his hit Channel 4 crime-comedy Year Of The Rabbit, which features the star as a thuggish, foul-mouthed inspector named Eli Rabbit, premieres on IFC just days after it scored a second season renewal.
A gleeful, deliciously profane riff on U.K. crime series like Ripper Street and The Sweeney, the series follows a trio of outsider enforcers in a loose approximation of London in the 1880s. Plot is relatively threadbare. The series punctuates its crime-of-the-week stories with ongoing narratives about a mysterious secret society and Rabbit’s combative relationship with a vindictive colleague (Paul Kaye, recently of Game Of Thrones). But it’s all in service to the whip-crack banter and character dynamics.
There’s little complexity to Eli Rabbit (Berry) or his new partner, the excitable, naive Wilbur Strauss (Freddie Fox), but rather it is a ready-made comedic pairing that leavens Rabbit’s rough-and-tumble nature with Strauss’ doe-eyed enthusiasm for upholding the law. Rounding out the cast is Mabel (Susan Wokoma), the adopted daughter of the chief inspector who, despite being told a woman will never be a police officer, inserts herself into enough cases that her impact can’t be ignored. It’s a pretty standard setup, but the three have instant, undeniable chemistry, and the series’ six episodes give each a chance to both indulge in and subvert their established archetypes. In the third episode, Strauss’ theatrical, grotesque embrace of his undercover work as a dirt-smeared thug remains one of the Year Of The Rabbit’s purest delights.
It’s Fox’s silly, tongue-forward chortle, not the story itself, that resonates well beyond the episode, and such is Year Of The Rabbit’s appeal. Bits are crammed into every corner of these 23-minute outings, whether it’s in the absurdities peddled by urchin children—twigs in a bun!—or Berry casually comparing his ass in mid-coitus to a “fiddler’s elbow.” Writers Kevin Cecil and Andy Riley, Black Books and Little Britain alums who also won Emmys for their work on HBO’s Veep, maintain such a manic pace that the occasional burst of gruesome violence typically serves to complement the rampant gags, which veer between groan-worthy and bracing. Not all of it feels natural. Although David Dawson makes a feast of his screen time, his oddball turn as a loquacious, dandified version of Joseph Merrick, the Elephant Man, can’t help but feel jarring, even in a world that wears its anachronisms on its sleeve.
But all of it orbits around Berry, an actor whose luscious baritone and intricate wordplay can sometimes mask his talents as a rubber-faced physical marvel. His Rabbit is familiar in his blustery qualities, his blunt-force behaviors and explosions of pent-up emotions. He’s also, however, continually surprising, twisting his mouth around pronunciations and comically superfluous syllables that pop like firecrackers. The Dickensian milieu helps in this regard, as the actor makes magic with the era’s trappings, specifically in his bafflement over the station’s newly installed telephone, or, as he calls it with palpable disgust, “the stick.”
Berry’s lived-in turn helps distract from some of the broader questions one considers post-series: Is Rabbit, for example, actually good at his job? After six episodes, that question remains curiously unclear. For some, that might be a failure of character; for others, yet another nugget of subtle satire. It depends on how funny you find it all. The good news? You’ll probably find it very, very funny.
48 Comments
Breaking News: Matt Berry continues to be as amazing and delightful as ever.
Fire the torpedoes!
Sign me up. Toast of London is Great.
If I didn’t like Toast of London, safe bet this one’s not for me?
It’s good to know what works for you and what doesn’t.
Safe bet the world’s not for you, buddy.
Is that you Clem Fandango?
Jesus, people, I didn’t say it was bad, just not to my taste. I don’t like blue cheese either, so bring it on, haters :p
Yip.
I didn’t like it, either, and I really tried. I like Berry in the right roles (What We Do in the Shadows, IT Crowd, Garth Marenghi’s Dark Place), but I feel like he needs careful direction and the right scene partners because his broad performances need to be correctly balanced.That said, I will definitely check this out because I love Susan Wokoma. Chewing Gum! Crazyhead!
Thanks. What I’m hearing from you and Corvus6 is that Berry’s characters tend to be fairly similar regardless of the ensemble (I’d say the same about Will Farrell), so I’ll probably pass. Good to know!
Not necessarily. I would wonder what you didn’t enjoy about Toast? If it’s Berry’s performance than I would guess not (I haven’t seen this, but Berry usually operates on similar wavelengths no matter the production from what I’ve seen of him).
If it was the writing and plot then it seems these are very different writers.
Ray Bloody Purchase…
God DAMN these electric sex pants!!
Yes, I can hear you, Clem Fandango!
This will fill the What We Do In The Shadows, hole that’s in my heart until the new season of that airs later this year.
April 15 is what I’m hearing…
I watched, I think, the first 3 of these on a recent flight from the UK; thrilled to see it’s available here now.
“You and he were…buddies, weren’t you?”
It’s difficult to explain how a man can put so much humor into the pronunciation of one word.
Matt Berry looks a hell of a lot like Todd Rivers.
“Why won’t she be mine? I wish I was more attractive like Dagless…still, one can only dream…”
“So what happened between you and this Renwick customerrrr?”
“I’ve watched that man make a lot of love”
“That’s the mother, Rick!”
“Hello, I’m Lucien Sanchez. You’re a woman!”
DOCTOR SANCHEZ.
Some day, some smart writer will create a show that is just Matt Berry discussing what his own ass looks like in flagrante delicto. Said show would win all of the awards.
Berry was at his best in Mighty Boosh:
BAT!
AHHHHH! It’s been killing me… He’s the BOSS on the IT Crowd!
There’s somebody at the door. There’s somebody at the door!
Matt Berry takes a little time to get used to…about three minutes and then you’re there. I am torn on whether my favorite thing is watching him do novel things or watching him totally nail old timey jokes and make them funny all over again.
Matt Berry has an album that is basically a soundtrack to a Wicker Man sequel that doesn’t exist:Which I think is cool.The album, not the not existing bit.
Writers Kevin Cecil and Andy Riley, Black Books and Little Britain alums Well, I’m sold.
Writers Kevin Cecil and Andy Riley, Black Books and Little Britain alums Well, I’m sold.
“Damn that sorcerer! 20 gold pieces and I’m wankered on Rohypnol.”
His music is also worth checking out.
Absolutely agree on that and great live too.
Keep an eye out for the cameoing backing musician in the carnival-barker band that Merrick is trying to direct when we first meet him.
aw yees
You had me at Matt Berry.
I will watch ANYTHING with Berry in it. He’s just so fantastic and I wish I could make my voice do what his does.
Yes! I hear you Clem Fandango!
“Brilliant!” “Very, very funny!”
….“B”. Did one person write the review, and another throw the Rating Dart?
Obligatory drop everything and dig up Snuff Box if you haven’t yet post
AD/BC is also definitely worth watching, if you’re deep in the throes of a Berry binge.
The John Merrick character was hilarious.