‘The Penguin’ review: Colin Farrell and Cristin Milioti deliver the goods in Gotham crime drama

Right from the get-go, The Penguin finds itself in a sticky situation.

The new series from HBO serves as a sequel of sorts to Matt Reeves’s The Batman, but it can’t risk changing the paradigm in Gotham City too much. After all, Reeves has The Batman Part II to prep for, so The Penguin needs to keep the playing field relatively similar to the end of the first movie in order to ensure continuity between the films. That leaves showrunner Lauren LeFranc with a seemingly small amount of wiggle room to work with.

Luckily, LeFranc and The Penguin are able to do quite a lot with that minimal space, conjuring up a grounded (if somewhat derivative) crime drama that examines how Batman villain Oswald “Oz” Cobb (Colin Farrell) became the monster he is today.

What’s The Penguin about?

Cristin Milioti and Colin Farrell in “The Penguin.”
Credit: HBO

The Penguin picks up in the aftermath of The Batman, with Gotham in total disarray following the Riddler’s flooding of the city. Adding to the chaos is the death of mob boss Carmine Falcone. His demise has left a power vacuum in Gotham’s criminal underworld, and Oz, tired of playing second fiddle to wealthy mobsters, plans to fill that vacuum himself.

Of course, that’s easier said than done. Sure, Oz manages to dispatch of Carmine’s son and heir Alberto Falcone (Michael Zegen) fairly quickly. But that only stirs up more trouble with the Falcone family — particularly with Carmine’s dangerous daughter Sofia (Cristin Milioti), a reformed serial killer known as “The Hangman” who’s just been released from Arkham State Hospital.

Colin Farrell goes full Sopranos mode in The Penguin

Colin Farrell in “The Penguin.”
Credit: HBO

As Oz navigates a web of crime and lies — mostly of his own making — on his way to the top, The Penguin pays healthy tribute to the crime dramas that preceded it. Most notable among them is HBO’s own The Sopranos, with Oz taking on the role of a scarred Tony Soprano, complete with some mommy issues of his own. This constant crime pastiche can be both a blessing and a curse. On the one hand, it allows us to get down and dirty for some street-level Gotham action, with production designer Kalina Ivanov reveling in grimy alleyways and hideouts. On the other, it risks sending The Penguin into generic gangster territory.

The Penguin mostly steers clear of any Batman-related fun. (The Caped Crusader himself is absent, although not particularly missed or needed here.) So without even a hint of the more ridiculous elements of earlier iterations of Oz — my kingdom for some kind of umbrella gun! — the series can feel unmoored from its source material. Why does this story have to center on the Penguin? What separates it from other crime dramas before it?

One answer? Farrell’s performance, which soars with the help of some impressive prosthetics that render the Oscar nominee near-unrecognizable. As Oz, Farrell is a snarling force to be reckoned with, all ambitious drive with a hint of fun lurking beneath the surface. Several details from The Penguin help tease out this fun side a little more. Take, for example, his affinity for Dolly Parton, or his diva-esque demands that all cilantro be picked from his food. Nothing quite hits the heights of his meme-worthy, “Holy God, what are you showing me?” from The Batman, but Farrell still makes a meal of Oz’s every reaction.

In theory, these comedic details soften Oz. They’re not the only story elements to do so. Oz often waxes poetic about mobster Rex Calabrese, whom he views as a kind of benevolent overlord in his neighborhood growing up. Rex’s role in the community earned him a parade when he died, and Oz hopes to leave a similar legacy. Look, he’s already caring for his ailing mother Francis (Deirdre O’Connell) and taking teenager Victor (Rhenzy Felix) under his tuxedoed wing. What a nice guy!

But of course, those surface-level observations don’t account for the fact that Oz almost murdered Victor before roping him into his schemes, or that Francis sometimes refers to her own son as a devil. The Penguin takes great pleasure in hinting that Oz might actually have some good in him, only to turn around and remind us how bad he is. That pattern can feel repetitive in the show’s middle stretch, but The Penguin‘s final two episodes deliver some earth-shattering revelations that recontextualize quite a bit of what we’ve seen, deepening Oz beyond just some “bargain basement hustler,” as one character calls him.

Cristin Milioti steals The Penguin as Sofia Falcone

Cristin Milioti and Colin Farrell in “The Penguin.”
Credit: HBO

Speaking of earth-shattering, let’s talk about the character who quickly becomes the star of The Penguin: Sofia Falcone. From the moment she appears behind Oz, it’s clear this mobster heiress is the one to watch. Milioti starts her run on the show playing Sofia as part sinister, part tragic figure who might be more than the villain others label her to be. Yet as the show goes on, she transforms into a more confident threat — and The Penguin is all the better for it.

The Penguin‘s earlier episodes can drag a tad, loaded down with gangster worldbuilding it feels like we’ve seen a thousand times before. But it really kicks it into high gear in its fourth episode, which focuses on how Sofia wound up at Arkham and would be broken by the facility’s cruelty. Milioti is equally vulnerable and ferocious throughout, and when we finally catch up to her in the present day, she all but runs away with the show. It feels like we’ve been treated to a bait and switch: Oz and Farrell are good fun and all, but Sofia is the heart of The Penguin — and the reason I kept tuning back in.

The Penguin premieres Sept. 19 at 9 p.m. ET on HBO and Max.