In an exciting atmosphere, this movie follows the life story of a group of teenagers, who live in America during the 1970s, when America was the center of crime, bankruptcy, fraud, and havoc, all these factors lead to the industry of music, Hip Hop, and disco.
The Get Down wants to be gritty, but it doesn't quite know how. It's like a glistening manicure with the polish laid over flecks of dirt-under a few clear coats, schmutz is indistinguishable from glitter.
The Get Down is a mess. At times, it's a thrilling mess, at other times a boring one, and there's just barely enough energy in the parts that work to power through the many parts that don't.
[The premiere is] Luhrmann at his most bloated. Once the show moves into subsequent episodes, it maintains Luhrmann's trademark operatic stylizations, but it also factors in our need for a cogent, original narrative.
"The Get Down" boasts plenty of vibrancy. But after three episodes it's still unclear whether this ambitious Netflix series has come up with a narrative that's as galvanic as the art form that inspired it.
The show's second episode offers a stronger, more cohesive hour but it's still not altogether clear how all the characters are connected due to the ramshackle, elliptical nature of the gauzy pilot.
