In a formulaic continuation of spending entire episodes delving into a specific agent’s irrelevant backstory, Maxine (“Max”), aka “Boxer” is up next, and by extension, her partner Yuri, aka “Robot.” On one hand, a platitude-drenched, cliche-driven slog of a twenty minutes. On the other hand… biker lesbians.
Banana Fish is at its best when I hate it the most. It’s mean, it’s hard to watch, and it’s so cruelly poignant that it transcends its own brutality into art. Even when the plot is at its most far-fetched, the raw emotion is authentic and meaningful.