Perhaps I should give the Tony Scott-directed Denzel Washington film Man on Fire another look, because after watching Netflix’s adaptation starring Yahya Abdul-Mateen II, a recent Emmy nominee for Wonder Man, I’m reconsidering the entire concept. It’s possible there was something I missed more than 20 years ago when I watched the original film, which at the time didn’t resonate with me. I wasn’t much of a fan despite strong performances from both Denzel Washington and a very young Dakota Fanning.

The Netflix series changes a number of things, mostly so that if they decide to continue Man on Fire beyond a single season, they actually can. The original film doesn’t exactly leave the door wide open for sequels. Then again, these days people seem to find a way to turn just about anything into a franchise. If Denzel Washington were motivated enough, I’m sure somebody could come up with a prequel. But with Tony Scott having passed away, that probably puts a little more of a damper on revisiting that version. Netflix, on the other hand, has clearly built a strong foundation around John Creasy, now played by Yahya Abdul-Mateen II, taking over the role that Denzel Washington made famous. If the series gets renewed, there’s plenty of room for this version of the character to continue.

The basic premise remains familiar. A hardened government operative becomes the only person capable of protecting a young girl after her entire life collapses around her. Not only does he have to keep her alive, but he also has to uncover the people responsible for the violence that shattered her world in the first place. This version introduces us to Poe, the young girl who fills the role Dakota Fanning played in the film. She knows John because he’s a longtime friend and colleague of her father, played by Bobby Cannavale. Within the opening episode her entire life is turned upside down. While trying to sneak back home before her father notices she’s been out, she arrives just in time to witness her house explode, surviving what was clearly meant to wipe out her entire family. Making matters even more complicated, Poe is an American stranded in Brazil, and the only person left she can trust is John, a man who has accumulated a very particular set of skills over a lifetime of dangerous work.

As the season progresses, John is forced to rely on a small circle of allies he believes aren’t connected to the conspiracy trying to eliminate Poe. He becomes both her protector and the only remaining link to the life she had before the explosion. Along the way they recruit several valuable allies, including a woman played by Alice Braga, who is more than capable of taking care of herself. She joins John after he promises to get both her and her daughter safely out of the country. Through her they’re also able to secure help from a neighborhood street gang willing to provide protection for the right price. One of the more interesting storylines involves two members of that gang. One understands he’s trapped in the criminal life while recognizing that the younger one doesn’t really belong there. He quietly tries to find a way to help him escape, perhaps by accepting the same offer John has made to get people out of Brazil once everything is over. Whether John can actually follow through on that promise remains one of the season’s lingering questions.

John eventually attempts to contact people back in the United States, bringing him back into contact with his former handler, played by Scoot McNairy. From the second Scoot appears on screen, though, I never bought him as someone John should trust. Even if I had never seen the original film, I think I would’ve come to the same conclusion. It’s been well over 20 years since I watched Denzel’s version, so there’s no way I remembered every plot point. Instead, it comes down to the way McNairy plays the character. He’s a talented actor, but here he always feels like a little weasel, someone whose betrayal is perpetually right around the corner. I wish the performance had been a little more ambiguous because I never really questioned where things were headed. The larger conspiracy itself is deeply rooted in political corruption while connecting multiple governments and criminal enterprises together, giving the story a much bigger scope than simply protecting one little girl.

Across seven episodes, the expanded format works surprisingly well. What was once a little over a two-hour movie now stretches to roughly six hours, allowing the supporting cast to breathe. Alice Braga’s character becomes far more than just another ally. She develops into an emotional anchor for both John and Poe, understanding what each of them is carrying. At the same time, John remains endlessly resourceful, and in a world where Jack Reacher is heading into a fourth season, I have to believe Man on Fire has similar franchise potential for Netflix. Keeping Poe around long term would probably be difficult, but I’m not convinced she has to remain part of the story. Like Reacher, John Creasy can simply keep finding new people who need his help. The focus is on him, not on forcing an ensemble to follow him from mission to mission when it no longer makes sense.

I’m honestly surprised Netflix hasn’t already renewed this show. It feels like exactly the kind of series a service currently making a third Extraction movie would want to keep around. At the same time, Netflix has developed a reputation for taking too long between seasons while also canceling shows before audiences are ready to say goodbye, creating a growing trust issue with viewers. I’m optimistic because Man on Fire feels incredibly accessible, and Netflix keeps reminding me it’s one of my most-liked shows. But then again, I watched The Burrows get canceled while it was still sitting in the Top 10, so maybe the rules just don’t apply anymore.

There is also an excellent audio description track produced by International Digital Center, written by Stephen Christopher and narrated by Sri Gordon. Stephen Christopher continues to prove why he’s one of the strongest audio description writers working today, while Gordon remains one of my favorite narrators. She brings an inherent humanity to every performance, something that feels increasingly valuable as more productions drift toward text-to-speech narration. Her work here elevates an already engaging series.

I also appreciated the directing talent surrounding the series. Stephen Caple Jr., who stepped in for Ryan Coogler to direct Creed II before later helming Transformers: Rise of the Beasts, directs the premiere and also serves as an executive producer. The finale is directed by Michael Cuesta, whose work includes one of my favorite independent films, L.I.E., as well as Homeland. I don’t usually pay much attention to who’s directing individual episodes of television, but having those two filmmakers bookend the season really works. Caple brings the humanity necessary to make us care about these characters from the beginning, while Cuesta delivers a finale packed with tension and action that pays off everything the season has been building toward.

I really enjoyed Man on Fire. I understand why it wasn’t really part of this year’s Emmy conversation, but for anyone who enjoys shows like Reacher or The Terminal List, this is an easy recommendation while waiting for those next seasons to arrive. Yahya Abdul-Mateen II had the impossible task of stepping into a role so closely associated with Denzel Washington, and somehow he manages not only to live up to those expectations but to create a version of John Creasy that belongs entirely to him. Both performances can now exist side by side without feeling like one is trying to replace the other. That’s something I don’t think Amazon’s Cross has quite managed in comparison to Morgan Freeman’s Alex Cross in Kiss the Girls. Denzel Washington and Morgan Freeman are giants, and living up to either of them is an enormous challenge.

I know Alicia Keys once sang “This Girl Is on Fire,” but this show is on fire because this man is on fire.

Fresh: 7.9/10