#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Series Online Free – The streets of Baltimore as a microcosm of the US’s war on drugs, and of US urban decay in general. Seen not only through the eyes of a few policemen and drug gang members but also the people who influence and inhabit their world – politicians, the media, drug addicts and everyday citizens. Plot: Told from the points of view of both the Baltimore homicide and narcotics detectives and their targets, the series captures a universe in which the national war on drugs has become a permanent, self-sustaining bureaucracy, and distinctions between good and evil are routinely obliterated.
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The best thing on TV today
Possibly the best thing written for television ever; certainly the best to come out in the last 25 or so years.
“The Wire” escapes the melodramatic pitfalls of shows like “the West Wing,” “Six Feet Under” and even “The Sopranos” (which are all smartly written–or rather have had their moments of greatness).
Here is a show which over the course of 37 hours weaves together scores of very tautly detailed characters. It’s not easy to watch–and its certainly challenging. But it is surely worth it.
The story unfolds in Baltimore and is a study on the effect of institutions on its members: police, politicians, criminals, addicts.
Some may find the show didactic. This is understandable because its creators make heavy usage of allegory (for instance, seasons three’s not-so-subtle criticism of the situation in Iraq).
Didactic or not, the show forces its viewers to think about and hopefully start a larger discussion of the issues it touches upon: the failure of the drug war, the gradual extinction of the American worker and the dangers of a presumptive, preemptive war.
Hats off to creators David Simon and Ed Burns (a retired BPD detective) for creating one of the most interesting, daring shows in the history of television.
Let’s hope HBO renews it for another 26 episodes.
‘How do you get from here to the rest of the world?’ (young drug dealer)
This is a review of all five seasons, a total of 60 episodes. This is not a series for the squeamish, and many sensitive people could not sit through more than five minutes of it. It is ultra-realistic as a study of the struggle between the police and the criminal black drug-dealing underclass in Baltimore, Maryland, USA. About 50% of the dialogue consists of expletives, and barely a sentence is spoken in 60 hours which does not include ‘s t’, ‘f k’, ‘mother f ..g’, ‘d..k’, ‘c..k sucker’, and so on. Few of the characters seem to have any other mode of expression. The impoverishment of language on the police side is, however, slightly compensated by the bizarre patois of the street, which, constructed as it is of strings of offensive expletives, nevertheless contains countless priceless linguistic gems and apothegms, and intriguing twists of language such as ‘True, that’, ‘No man, I be cool’, and colourful characters like Omar who say things like: ‘Omar cool’, always dropping his verbs. All of the acting in this series is outstandingly brilliant, but the two performances which stand out above all the rest are by Andre Royo and Michael Kenneth Williams. Both create characters as fully-rounded and memorable as any found in Charles Dickens. Royo plays the endearing but hopelessly pathetic Bubbles, a street character who is a heroin addict and a police snitch. He often tries to get off drugs (‘I be clean, I be clean’) but continually relapses. He is soft-hearted, always struggling to be a better person and to help some young lad he likes, is frequently beaten up by thugs, never gives up, and finally succeeds in straightening himself out and regaining his self-respect. Williams plays the semi-villain Omar Little. He has a strict code of honour: he only kills and robs drug dealers, ‘an’ don’t never do nuthin against no citizen’. Williams has the most amazingly ink-black skin and unusual face, and for anyone who knows about African tribes, it seems plain that he is descended from the Akan of Ghana, and probably from a line of chiefs. Omar has so many endearing qualities, and considering he only kills drug dealers, that we forgive him everything. We even become fond of his sawn-off shotgun because it inevitably means that some horrible villain is going to get what he deserves. There are so many remarkable characters in the series that it is impossible to do them justice. One can never forget the lesbian policewoman Shakima, played by Sonja Sohn. And Lance Reddick as the police officer Daniels is unforgettable also, as indeed he was to become again in the science fiction series of 88 episodes, FRINGE (2008, see my review). In Season Four, this series shifts heavily into the corrupt city politics of Baltimore, expanding its scope and becoming even more interesting. It then becomes a bit like the Danish series THE KILLING (2007, see my review). Season Two explores the corrupt world of the Baltimore longshoremens’ union and the docks crisis, where the port is becoming defunct and Russian prostitutes are being shipped in in sea containers. It is all very seamy, but alas, all these things are happening, so perhaps we ought to know something about them. It is Seasons Three to Five which really take off. Although not as strongly plot-driven in the detective sense as the first two seasons, and being far more complex and rambling, they weave such a rich and fascinating tapestry of ‘human interest’ that the drama rises to an extremely high level of intensity. Several of the serious rogues in the series are so well portrayed that they become powerful human presences. You might call it the fascination of true evil, like watching cobras in a nest. Proposition Joe, a thoughtful and extremely fat drug lord, has the endearing hobby of tinkering with broken clocks in a small shop. A girl drug dealer who is about to be shot asks, as her last words: ‘How is my hair?’ Stringer Bell, another murderous drug lord, is an earnest student of business studies at a university when he is not organising horrible and ruthless crimes. Avon Barksdale, another ruthless murderer and drug lord, has an abstracted, almost whimsical quality about him. People are murdered suddenly by being shot in the head, throughout the series. You never know who is going to get killed next, from one scene to another. But the gruesomeness is not dwelled upon by the camera, and mostly the victims just fall over. Character after character, all of them slowly built up as interesting, suddenly vanishes from the action. One main character is shot unexpectedly by a ten year-old boy when he stops to buy cigarettes. The main theme of the series seems to be the relentless and unending succession of sudden and unexpected deaths in the jungle of Baltimore’s low-life. In one pathetic scene, a young black boy caught up in drug dealing, asks an older man who is trying to persuade him to give it up and live a clean life somewhere else: ‘How do you get from here to the rest of the world?’ We see that everyone in the series is trapped, whether in the police force, in politics, in local journalism on the failing Baltimore Sun newspaper, or in drug dealing. And worst of all, they are all trapped in Baltimore, which is portrayed as an unremitting hell hole, from which, like a black hole in outer space, nothing, not even a flash of light, can escape. But the series is so vivid, so alive, so brilliantly made, that as viewers we do not mind being trapped in Baltimore, and keep watching episode after episode compulsively. The quality of the acting is incredibly high all round. And several episodes were directed, surprisingly, by Agnieszka Holland, one of the finest feature film directors there is these days.
Original Language en
Original Title The Wire
Total Seasons 5
Released 02 Jun 2002
Release Year 2002–2008
Genre Crime, Drama, Thriller
Writer David Simon
Actors Dominic West, Lance Reddick, Sonja Sohn
Country United States
Awards Nominated for 2 Primetime Emmys. 16 wins & 54 nominations total
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