Ozark gets out kind of clean in a baffling, sentimental series finale
Laura Linney and Julia Garner make killer final appearances in the Missouri-set thriller's swan song
TV Reviews Ozark
Ozark’s final episodes are baffling. Not because they don’t do exactly the sort of thing Netflix’s ludicrous crime thriller has been doing since 2017, but because they do so with a sentimentality that’s uncharacteristically sappy. For a drama boasting multiple jump-scare executions and the unhinged depths of antagonists like Darlene Snell (rest in peace, queen), serious suspense plays an almost eerie second fiddle to the Byrde family’s season-four swan song. Sure, there’s bloodshed; there’s always bloodshed. But these seven episodes are more about saying goodbye than good riddance–a staggering tonal shift for a show so dark it once threatened to drown a baby.
Still, it’s a surprisingly effective choice for the finale. Although it doesn’t deliver even close to the best thrills Ozark has had overall, season four part two’s rotation of wistful embraces, surprise appearances, and misty-eyed flashbacks delivers an almost Friday Night Lights-esque nostalgia that’ll make you miss these money laundering maniacs when they’re gone…however that happens.
Picking up shortly after Ruth’s (Julia Garner) infamous “If you want to stop me, you’re gonna have to fucking kill me!” tirade, Marty (Jason Bateman) and Wendy (Laura Linney) kick off their final stretch struggling to contain their former protege’s rage. Ruth swears revenge after the murder of her cousin Wyatt (Charlie Tahan) by Javi (Alfonso Herrera), the nephew of Mexican drug cartel leader Omar Navarro (Felix Solis). But of course, Ruth killing Javi equals shitstorm so the Bydres do what they can to protect him from her–and her from herself. Meanwhile, Charlotte (Sofia Hublitz) and Jonah’s (Skylar Gaertner) alliance with Ruth spells trouble since Jonah has been a walking, talking, adolescent curveball since season two and loose lips sink ships.
These seven episodes are more about saying goodbye than good riddance.
On the periphery, FBI Agent Maya Miller (Jessica Frances Dukes) faces the consequences of arresting Navarro–just as private investigator Mel Sattem (Adam Rothenberg) and Wendy’s father Nathan (Richard Thomas) arrive in the Ozarks looking for the “missing” Ben (Tom Pelphrey). But Wendy can’t focus on the potential discovery of her brother’s murder because she’s still in hot water over the cartel’s deal with pharmaceutical CEO Clare Shaw (Katrina Lenk).
Sound like a lot to follow? It is. As in past seasons, the interlocking drama and stakes of these dueling plot lines makes for some decently juicy twists and turns around the Byrde family nexus of chaos and across their sphere of influence. But there’s a sloppiness to these episodes’ overall execution—across editing, cinematography, and, above all else, writing—that substantively undercuts the rest of the series’ more successful tension building.
Plot holes abound as established parts of Ozark’s ecosystem are inexplicably tossed aside for underbaked season-four additions that at best feel out of place and at worst take you out of the story. For example, Kansas City Mafia leader Frank Cosgrove (John Bedford Lloyd) gets little more than a cameo appearance, while a relatively new character plays an entirely unearned role in the last episode that’s pivotal to the point of show-stealing. Even when the most important characters do appear, the energy seems to dip as their motivations grow murkier episode to episode. There’s not a ton to get your heart racing, if only because every narrative move feels forced by the need to make familiar characters interact with each other one last time—even as the central storyline lacks the proper justification to do so.
Still, there’s fun to be had in seeing this cast—especially Linney and Garner—chew through their characters in a shared victory lap. Whether it’s marveling at Marty’s gravity-defying cellphone posture or deciphering cryptic symbols in the intro, season four part two offers plenty of reminders about what made this show work really well for a little while. Ozark might not be getting out clean. But it isn’t overstaying its welcome either.
62 Comments
Come on guys, did you have to post that obvious a spoiler on the front page?
pretty dickish!
There are advantages to the old timey way of putting out episodes once a week. I know some people hate Disney and Paramount for going back to that, but it avoids this kind of thing.
Absolutely. I prefer the weekly format.But AVClub has never done anything this blatantly spoilerish for Netflix shows before on the very day the episodes drop.“Just in case you guys were anticipating Marty possibly having a gruesome death, lets take that away from you on the day of release.”
I actually find it helpful in that if I know the show ends with anything but awful, twisted, and horrible ends for everyone but Ruth, I might not watch it. There should be no sentiment for the finale of this series
Not a bad point, lol. Go AVClub!
Not a Netflix show, but remember when these clowns literally put the plot twist for Mother! in the review headline? Like, THE third-act revelation of the whole movie. Unreal.
Honestly, the general consensus out there seems to be that weekly releases is the way to go.Certainly that’s what the market seems to suggest, given how much Netflix is hemorrhaging money and how literally none of their recent shows have had any pop-cultural staying power.
I can’t be the only one who wondered how long they were going to be committing ungodly amounts of money to original content. The announcements just got more and more ludicrous.
Oh relax, it’s just Ozark. Enjoyable, but spoilers shouldn’t matter
Seriously? The anticipation of what actually happens to the Byrde family isn’t the driving force behind waiting for these episodes?Let me be very clear here: If I needed to click on this article to get spoiled, thats my own fault. But they literally gave up the finale on the landing page for the site.I don’t think its too much to request that you not give up the main characters fate on the day of launch on the front page of your website.
Huh?
I think Ozark is an awful show but it really shouldn’t be a criterium, especially when it’s not an episode review/recap but something for the entire season. Like, this is basic decency, you can run a more in-depth piece even 2 days later and it won’t bother me that much, but this one was day-off.
Really? I thought it was grim fun. I guess it’s like disliking Yellowstone. If you don’t take it on its own terms then I can see how you’d spend a fair bit of time rolling your eyes.
This came up on my Facebook stream. I haven’t even started season 4 yet. I was waiting for the second half to binge the whole thing. Extreme jerk ass move.
Seriously. It was a recommended/trending article on the side, I couldn’t tell what it was till I highlighted over the thumbnail and read the headline. I’m not a crazy, anti-spoiler type person but eh, I’d avoid anything descriptions in my major show series finale review headline..
I too had been bothered by the headline, especially because I had hoped Ruth was just going to kill them all, but now that I’m finished, you should watch it.
The writers already basically spoiled it with the pointless car crash in the beginning of the season. I know the thumbnail scene happens after, but that really killed a lot of tension throughout the show.
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The fuck is wrong with you people?
Headline on Uproxx right now: “Ozark’ Goes Gangster With A Savage, Shattering End To The Series”Hmmmm….
If you didn’t really like the way they ended season 3 (personally thought that Wendy wouldn’t have killed her brother), is there much point to watching season 4 or is the writing as unbelievable?
I had to finish it just because it’s almost impossible for me to just quit something. I need to know what happens. But I didn’t really enjoy any of this and was rolling my eyes constantly. Watching Julia Garner act was pretty much the only part of this season I enjoyed. The rest ranged from ridiculous to annoying.
This is one of the rarer kinda shows. One that peaks in its first season.
Oh, you have to see season four because you won’t believe how unbelievable the writing is, especially part two. Which actually works because it covers how comically bad Bateman’s direction is in the finale.
No – the plot-twisting became even more ridiculous in this season. I still had to watch to see how they ended it, but found the finale very underwhelming and silly.
Change the headline or remove this article! Idiots.
Wow. That’s some stunning presumption, there. I’m not saying the AVC is “right” in providing “spoilers” in their reviews (and headline, evidentlt) but they certainly don’t owe YOU, or any of us, a goddamn thing. Everybody else in this thread is complaining about the thpoilerth but you’re the only one whose demand for satisfaction makes me want the opposite. Check your privilege, and remember that it’s just a TV show.
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But it isn’t overstaying its welcome either.
Eh, disagree. I would have preferred if Netflix cancelled this one after season three. These last episodes were bad.
Change the headline. Why would you do this?
+1 to the complaints about the way AVC seems intent on spoiling content through headlines and imagery that appear on the HP.Anyway, this season was a snooze for me. The plot lines were too numerous and flip-flopping to care about by the end. We’ll just talk our way out of this or otherwise change strategies to fix it again, and again, and again. I thought the foundation and political subplots beyond the initial casino approvals were always weak and the various FBI actions strain credulity even for a show about money laundering and drug cartels in Missouri.
SPOILERS (at least more specific ones)…Two specific gripes: the car crash was an interesting start to the final season with a horribly lame non-payoff—besides the lack of any material consequences for the plot, that they decided to flip and crush that van so violently and they all walked away completely unscathed is laughable; the final ending shot (no pun intended) was a cliche cop-out that didn’t satisfy anything. I think they left a lot unfinished—we’re either meant to think that everything just goes swimingly with Camile, the FBI, the casino, the foundation et al. or we’re denied the resolution if it doesn’t, which the entire plot of this show to this point would suggest. If they wanted to end with the PI thread, I would’ve liked to have seen it be more clearly the last loose end before a move back to Chicago as Jonah taking whatever action he did wasn’t subversive or shocking. I would’ve even been more satisfied with the car crash intro, which was at least interesting, as the ending if they wanted to leave it open-ended. Julie Garner, as always, and the out of nowhere Illmatic/Killer Mike bits were pretty much all I found interesting of the season. T.R.O.Y. on the way home did bring back “Long Term Parking” vibes for about :10 but that was about all I got out of the finale.
That car crash was symbolic, in that it represented the Byrdes managing to walk away from stuff that would have killed anyone not protected by Plot Armor, as well as how badly the the show ending crashed and burned.
(m0re spoilers follow)
Maybe I’m just trying to justify my following this series to its end, but I kind of like that the ending was at least initially so unsatisfying. A horrible family gets away scot free (except for emotional scars, and yes, the fact that they walked away from that car crash with barely a scratch is ludicrous), and Ruth gets killed and pulled back into the curse of the Langmore name. That’s life.
Also, the last rap interlude coming from Mount Vernon, NY residents (my hometown) is a net plus for me, even if Pete Rock is an antivax dickhead.
I generally just went with the flow and so found it enjoyable, but there were two pieces that rang very hollow:1. That the Byrdes would have that kind of stroke with the FBI and be able to walk in and privately visit with Navarro any time they wanted2. Wendy would be able to get all those donors back on board so quickly, bankrolling their escape from the Ozarks and back to ChicagoWell, and the fact that the show was filmed on a lake (Lanier) where I spent uncounted days as a kid and young adult, and is a gorgeous place with lots of sun and is decidedly NOT overcast and blue all the time.
I also enjoyed it. The episode where Wendy wastes her political ask to buy off the P.I., then loses her kids anyway was incredible. The car crash being pointless is the only thing I’m a little irked by, but I’m honestly glad the Byrds survived. Ultimately this is a show where the bad guys win, and for me, that’s a nice change of pace. TV trying to teach morality and comeuppance while the real world increasingly shows the opposite is true? Yea, how Ozark ends works for me.I also really liked how Ben’s death continued to have consequences, and even though the ‘Langmore ghosts’ weren’t really in keeping with how this show works, I think all Series Finales should be afforded some sentimentality, and I don’t begrudge it. The only thing I raised an eyebrow at was Marty running the cartel in Navaro’s stead. That went smoother than I feel it should have.
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A ludicrious review with a headline spoiler. Nothing would surprise me from AV now after the knives brought to the entertaining The Offer. But to think this tense, twisting, frequently shocking finale — which brings back many characters from other seaons and resovles storylines and relationships — is “baffling” and “sentimental” takes presumptuous, ill-informed criticism of the talented from the un- to new depths.
Every episode consisted of one deus ex machina after another, filled with terrible over-acting, and tried incredibly hard to be a Breaking Bad knock-off.
Headline Spoilers aside, Season 3 was the best for this terribly mid-tier show that for some reason could never afford the money to up its game. The only satisfaction was Marty winning an Emmy over Game of Thrones.
Ruth (the true Queen of the Ozarks) gets done dirty but Wendy walks away clean?
FUCK THAT SHIT
I agree with everyone here who is fucked off by the title of this post. I had to hide it from my RSS feed until I was able to binge the last 1/2 season.Now that it’s done, my immediate opinion was: meh. Thinking more about it, I realised the ending shows that they are sisyphus: forever doomed to almost getting out cleanly (and alive) but never able to achieve it. All of those efforts for nothing.
Oh, sniz, what did the headline say before they changed it (Mark reply when “spoiler” I guess?)
Right? I need to know!
It doesn’t seem like they actually edited the title at all:
https://web.archive.org/web/20220430004605/https://www.avclub.com/ozark-season-4-part-2-review-netflix-1848862221
This review is truly confusing to me. There was nothing baffling or sentimental about the ending?
Baffling parts off the top of my head just in the final episode: the family walked away from that car crash unscathed. Plus the investigator confronted them about the jar for some reason and the son apparently killing him? Not to mention the Ruth BS. Pretty much everything involving the mom and her dad.
Sentimental parts: Ruth hanging out with her dead family in a scene that went on way too long.
I guess I got the theme of Ozark completely wrong this whole time. I thought it was about the futility of trying to outrun your sins, and the twisted ethics required to justify committing greater and greater evils in order to save ‘the family’ aka the greater good ends justify the means, etc. The kids dying while Wendy and Marty survived in ruins would have been appropriate for that kind of show.It seems now that the writers were more interested in commenting on the idea that the wealthy privileged ‘overclass’ can do anything they want and thrive while the ‘underclass’ strivers were utterly destroyed for their ambitions.
I complete agree with your take. Great summary of this show!
Esquire had a similar take. The moral of the story is that people don’t change, and, in a contest of good vs. evil, evil is by far the safer bet.People who were rooting for the Byrdes to redeem themselves (or to get their comeuppance) completely missed the point of the show.
People who were rooting for the Byrdes to redeem themselves (or to get their comeuppance) completely missed the point of the show.Yeah, Marty was never (or at least we never see him as) innocent in this whole criminal enterprise. It wasn’t like in Breaking Bad where the protagonist is slowly drawn into the dark. From the very first scene of the first season of Ozark, Marty is a money launderer, and we watch him get better and better at that (but not better as a person – he’s pretty much never that…)
In one of the final episodes Marty declares “I’m not a catholic” and yes, if ever a show had a man is predestined to be ‘unable to do any good and inclined to all evil’ ethos, its Ozark. I was almost surprised they didn’t play 16 Horsepower over the closing titles.
The question was just whether they were going to make it through or not. Wendy’s line “what if it’s too much to bear” in the finale summed it up nicely. There’s going to be collateral damage, so if they end up safely back in Chicago can they go on living as if they didn’t contribute to it?
Spoilers…I mean the final scene says that part entirely out loud. Even when it looks like the Byrdes may finally be pinched Wendy maintains that confidence and is immediately proven right.But in general I thought this episode stripped the nature of all of the characters’ relationships down to their bare essence. In places where there was true sentimentality (e.g. Ruth and the Byrde kids) then behaviors felt rational. When it was pure survival, or recognizing wheels were in motion that could not be stopped, it was unapologetically harsh without being deliberately cruel. People recognized when they were beaten and saved themselves rather than burning things down.As for the “essentially new character” I felt like that was a symbol of how deep the cartel was as an organization. They weren’t up against the Snells or even the KC mob. There was always going to be a next man (?) up.
Ruth probably went to her grave believing that Wendy had sold her out, even though she didn’t. I find that kinda sad.
She kind of did. Wendy’ didn’t supply the name, but didn’t intervene either (granted I understand why not).
When Ruth asks Camilla how she found out, she says “Clare Shaw told me.” Camilla has no reason to lie, so why would Ruth think Wendy was the one who sold her out?
Spoilers ahead. What rang hollow for me was how Wendy went from being an off the rails, this is happening my way or fuck off, crazy person, to being a loving, sentimental mom over the course of two episodes. I can’t buy that spending a night or two in the mental institution would have caused that dramatic a character shift for her. The final scene was a bit of a cop out. I can only assume things fall apart for the Byrds. I don’t see how the FBI would continue with the plan work with the cartel after what went down…not to mention they basically lost their ability to launder with Ruth’s death. I wonder if her surviving cousin would inherit her fortune.
Glad to see SOMEONE else mention Three. That poor kid.
I just finished and, while I enjoyed the ride, I ultimately felt underwhelmed by the finale. The Byrds, for all their amoral bullshit, get away with everything right down to Wendy having her own brother killed. I couldn’t tell if this was supposed to be commentary on the class system in the U.S. or just someone’s wet dream about how to become rich and powerful.And RUTH. Fucking Ruth Langmore. I did not like her ending or the fact that we never see the Byrds react to her death and maybe, I dunno, take a little responsibility for pulling her into all this? She was the best character on the show and she deserved better. But maybe that’s the point.
Liked the “Angels from Montgomery” scene. Reminded me of the ending of Places in the Heart.