The Penguin opens with a familiar shot seen numerous times throughout its companion film The Batman. Our main character, Oz Cobb (formerly Oswald Cobblepot), stands in the center of a ring of light in the den of the Iceberg Lounge. Carmine Falcone is dead. Gotham is in shambles. The Penguin, like the aforementioned Batman film, is a showcase of the same masterclass writing, cinematography, acting, and directing that we saw in 2022 with new opportunities to further build on the world and characters.

The main similarities found between the show and movie are in the location; Gotham is as grungy, wet, and rainy as ever. Dark looming shots of the scummy streets instantly make the show stand apart in a claustrophobic and faithful continuation of Greg Frasier’s breathtaking original cinematography.

Despite this, The Penguin does an impeccable job separating itself from the story and themes of the 2022 blockbuster without feeling disconnected. Rather than feeling like just another comic book story, The Penguin feels much more like a spiritual successor to old mob media such as Goodfellas or The Sopranos.

Much of this can be attributed to the Penguin himself, expertly portrayed by an unrecognizable Colin Ferrel. Through a grueling 3 hour makeup process he is able to entirely transform into the crippled, disfigured mob boss. From the added weight of his cumbersome fat suit, to the scars on his face and beak-like nose, when he layers on Oz’s thick NY accent by all accounts he is a different person.

Even among all these glorious pieces of make believe, the crown jewel of this transformation is seen only in one scene; the convincing prosthetic club foot, the reason behind his signature “waddle.” It is all these imperfections and disfigurements that make Oz such a riveting main character. 

In a thrilling opening Cobblepot swiftly establishes his twistedly wholesome ambition of becoming a beloved local figure with an iron fist, akin to characters like Sonny Lospecchio from A Bronx Tale. At the same time the show sets the stakes and pushes the plot into motion with a sudden murder followed by the introduction of young stuttering street criminal Victor Aguilar. 

It is through Victor that we are able to truly see the complexity of these characters. Oswalds ability to talk and lie his way out of any situation makes him the perfect gangster despite his near complete lack of athleticism, which perfectly parallels Victor’s youth and vigor and complete lack of “smooth talking.” The two complete each other in an exciting way with great potential for a riveting and complex mentorship to grow as the story progresses.

The risks of the Penguins’ dangerous game are further heightened with the introduction of Sophia Falcone, a dangerous new player on the chessboard grid made up of Gotham streets. Falcone, portrayed chillingly by Cristin Milioti, is a deranged and dangerous threat to Oz.

freshly “rehabilitated” in the infamous Arkham Asylum, Sophia’s presence threatens to collide with Oz’s show defining actions made in its opening moments.

The Penguin shows promise as a unique entry in the all too disappointing DC universe, continuing to raise the already impressive standard set by Matt Reeves. A refreshingly dark and fast paced pilot sparks hope for the future of DC and all of comic book media as a whole. If you’re a fan of Mob movies (new and old alike), comic books, or prestige television I highly recommend you give The Penguin a shot.

Available for streaming on MAX.