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‘Money Heist’ season 4 review: Addictive thriller on Netflix

money heist season 4 review

Heist movies have bad character. They can be overly complex, repeated in terms of plot and sometimes clichéd. In fact, they’re so ridiculed that shows like Rick and Morty and Community have made whole scenes with the format as a punchline. The heist hasn’t happened much better on TV either – which is why it’s so fresh when a series like Money Heist arrives along. Money Heist Season 4 is official released on Netflix and tops the chart with Number 1 Trending show.

La Casa De Papel (literally ‘The House of Paper’), as it’s understood in its original and more popular Spanish title, follows a gang of strange robbers who occupy and ‘steal’ buildings on the orders of their offensive boss, the Professor (Alvaro Morte). The purpose of this crew’s heists across the four series so great is the government. Clad in red overalls and wearing spooky masks made in the form of surrealist icon Salvador Dali’s face, the cast’s impressive outfit has been followed by protestors in real-life legislative movements too.

Money Heist season 4 review:

Season 4 starts with “The Resistance” (as they call themselves) in greater risk than ever before. One of their own is assumed dead and the heist they began the series before has dropped by the wayside. Things are seeing very sharp indeed – and the darker tone extends throughout the new episodes.

Instead of the philosophy of its previous installments, we watch as the cast deal with emotional trauma, petty infighting and the psychic cost of killing. One of the main gripes telly heads have with the heist class is that it’s all too accurate. Everything is too smooth, too controlled and not much ever goes awry. There’s no sense of danger. At its best, Money Heist makes you understand its high posts are for real, along with every bit of excitement that comes with it.

In the initial heist, Berlin (Pedro Alonso), whose primary character pulled the series collectively with a mix of anti-hero beauty and hints of pure sociopathy, was shot in a storm of bullets at the end of season two. Palermo (Rodrigo de la Serna) took his seat in part three, but at times, in season four he seems like a hollow echo of his predecessor.

Of course, the experience the series is in Spanish suggests little bits of meaning are lost in the version for English-speaking viewers. But this show wouldn’t operate without its continental framework. Take the government houses they own – grand, stately relics of the Franco era. Ghostly warnings of the country’s authoritarian past provide the ideal backdrop for the anarchist grifters’ anti-government movement.

If television shows like Hustle and films like Oceans 11 through 13 were assigned socio-political narratives explaining the merits of individualism and money, you have to admire if they’d have been so successful. But the themes of Money Heist are what retains it fresh and important – and although this summer sometimes feels flawed, and tedium is setting in, none of those obstacles matter.

Money Heist story is as smart as it is constant

In its discussion of the show, University Observer suggested that Money Heist is the “TV story of a page-turner. One episode is never complete,” and they’re right. There’s an undoubted romance element to Money Heist that inspires it with an energized excitement, charging through pictures with a pop-cultural savvy sure to entertain fans of the heist subgenre.