Category Archives: New Releases

MIDSOMMAR (2019) – CINEMA REVIEW – AMAZING FILMMAKING LET DOWN BY WEAK STORYTELLING!

MIDSOMMAR (2019) – CINEMA REVIEW

Written and directed by: Ari Aster

Produced by: Lars Knudsen, Patrik Andersson

Cast: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Will Poulter etc.

Music: The Haxen Cloak

Cinematography: Pawel Pogorzelski

**MAY CONTAIN SPOILERS**

Midsommar (2019), is ultra-talented filmmaker Ari Aster’s second feature film. His first Hereditary (2018), was two-thirds domestic horror masterpiece and one-third insane, symbolic, nonsensical and demonic denouement. Both films have a lot in common. Both have communes or cults at the centre led by strong matriarchal figures. Both find seemingly innocent characters suffering from grief being lured to a fateful demise. Both have incredibly rich visual systems full of striking imagery, sudden violence and mythological folklore. Both, especially Midsommar (2019), are overlong, pretentious and indulgent B-movie stories masquerading as art.

I have to say, and I am not coming from simply a mainstream perspective, Ari Aster is a film artist. However, unlike many great film artists he has, in my opinion, not managed to marry his vision with coherent and emotionally powerful storytelling. Midsommar, for example, takes an age to kick its narrative into gear and when it finally gets started it drags and drags and drags. How many long, drifting tracking master shots can you abide? How many drawn-out-so-pleased-with-myself takes do you have the patience for? Well, get a strong coffee because when the story cries out for pace, Aster puts the brakes on, marvelling in his own indulgent genius. I might add that a plethora of characters screaming and crying does not make good drama either, unless there is sufficient context.

The narrative is very simple. In a nutshell, it’s Eli Roth’s Hostel (2005) meets British horror classic The Wicker Man (1973). Florence Pugh, Jack Reynor, William Jackson Harper and Will Poulter are college students who take a summer break to experience a communal pageant in rural Sweden. While they are PHD students they are not particularly intelligent given the choices they make later in the film.

Moreover, aside from Pugh’s grief-stricken Dani, the script doesn’t particularly imbue them with much in the way of empathetic characterisation. Indeed, the film relies on Pugh’s dominant performance to create emotion for our protagonists. Aside from providing some comic relief there is no actual point to Will Poulter’s character at all. Lastly, there is some absolutely terrible dialogue throughout this film too.

As the film crawls along slowly, it’s reliant on the music to inform us we’re meant to be scared. Then when the gore does kick in during a particularly shocking ritual, I was almost falling asleep. Don’t get me wrong the production design is flawless with an amazing setting and incredible concepts from Aster. The death and torture scenes are particularly memorable. However, the overall pace and rhythm of the film is so bloody slow I just did not care about anyone by the end.

I don’t mind methodical films establishing dread and psychological fear, but I think Aster has been watching too many Kubrick films. Aster seems to believe slow equals art. What Kubrick did though was usually to have characters that were engaging. They may not have been likeable, but Kubrick’s characters hit you in the heart and mind. Not since The Blair Witch Project (1999) have I wanted such dumb characters (Pugh aside) to die so painfully in a horror film. Likewise, the characters in the Swedish commune are mere ciphers of Aster’s fantasy horror and two-dimensional at best.

Visually stunning Midsommar (2019), will no doubt impress critics and other reviewers. However, at nearly two-and-a-half hours it’s an indulgent-arty-collage-of-film-masquerading-as-therapy. The ending was so loopy that the audience I was with were laughing at how ridiculous it was. Perhaps that was the filmmakers’ aim, but I’m not so sure. Yes, I get that this is meant to be allegorical and symbolic about grief and guilt and religion and a relationship break-up and fate and cultural differences. Furthermore, I get the intellectual depth of the themes on show, but Aster tortures the audience as much as his characters. Mostly, it just doesn’t take so long to tell this kind of derivative narrative, however beautiful and artistic the film is presented.

Mark: 6 out of 11

TOY STORY 4 (2019) – MOVIE REVIEW

TOY STORY 4 (2019) – MOVIE REVIEW

Directed by: Josh Cooley

Produced by: Jonas Rivera, Mark Nielsen

Screenplay by: Stephany Folsom, Andrew Stanton

Story by: John Lasseter, Rashida Jones, Will McCormack, Josh Cooley, Valerie LaPointe, Martin Hynes, Stephany Folsom, Andrew Stanton

Cast: Tom Hanks, Tim Allen, Annie Potts, Tony Hales, Keegan Michael-Key, Jordan Peele, Madeleine McGraw, Christina Hendricks, Keanu Reeves, Joan Cusack, John Ratzenberger, Timothy Dalton etc.

Production company(s): Walt Disney, Pixar Animation

**MAY CONTAIN SPOILERS**

I almost don’t feel qualified any more to review a sequel that was neither expected or necessary. After all, it’s a sequel to a film trilogy which was almost perfect in its’ delivery and execution. But, having paid big bucks for Pixar in 2006, I doubt Toy Story 4 will be the last unnecessary sequel of their products. After all, Disney are in show BUSINESS!!

I also don’t feel qualified as I am so cynical and jaded that the characters of Toy Story do not interest me anymore. In my mind their story is done. Plus, it’s really for kids, isn’t it? However, that isn’t to say that Pixar/Disney have not, once again, created an incredible technical tapestry of some genius. The colour, texture and attention to detail on show are incredible as usual. Similarly, the ultra-talented voice acting of Tom Hanks, Tim Allen, Wallace Shawn, John Ratzenberger, Annie Potts etc. are joined by the brilliant Key and Peele, Christina Hendricks and Tony Hales for the latest release.

Hales offers the voice of potentially one of the worst characters Pixar have ever created: Forky. In fact I think they set out to invent one of the worst characters as a challenge to see if they could make it work. You know what? I think they did make it work. Forky is something the toys’ owner, Bonnie, creates on her first day of kindergarten and with the magic of make-believe he becomes, unknown to her, sentient. We then get the experience of watching a fictitious plastic spork suffering an existential crisis and attempting suicide-by-trash. That’s when good old Woody then tries to teach him his worth.

The sheer goofiness of all this strange plotting works for and against the film. It’s so surreal I thought David Lynch had a hand in the story. Having said that the writer and story credits almost number a football team, so the Frankensteinesque patchwork nature of the screenplay is unsurprisingly. The stitching that holds it all together is Woody’s character. Many of the other toys, including Buzz, are almost sidelined for Woody’s hysterical attempts to control everything around him.

There were a myriad of plots strangling the narrative of Toy Story 4 but the character of Gabby Gabby, voiced by Christina Hendricks was arguably the most interesting. Echoing the villainy and bitterness of Lotso from the previous sequel, her ventriloquist dummy hench-toys were very creepy and her character added a dark heart amidst the kaleidoscope of wondrous colours. I could take or leave Bo Peep’s, Bonnie’s and Forky’s escapades, but Woody’s encounter with Gabby Gabby was my favourite. Oh, not to forget, Keanu Reeves hilarious little cameo as stunt-toy, Duke Caboom.

Overall, Pixar and Disney do this kind of film amazingly well. Once again one marvels at the technical quality of the animation on show. The story, themes and characters, however, felt a bit recycled and if they do more of these films I think they probably need to jump the shark and allow the toys to finally be seen and heard. How many times can the same joke work? I’m not sure. What is certain though, as long as it makes money Disney will have no issues selling it to the kids. I’m just so old and jaded I’m ready for the attic with all the other discarded and tired toys.

Mark: 8 out of 11

BRIGHTBURN (2019) – MOVIE REVIEW

BRIGHTBURN (2019) – MOVIE REVIEW

Directed by: David Yarovesky

Produced by: James Gunn, Kenneth Huang

Written by: Brian Gunn, Mark Gunn

Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones, Meredith Hagner, Gregory Alan Williams etc.

**MAY CONTAIN SPOILERS**

What if Superman was evil? As concepts go Brightburn (2019) has a simple but highly impressive one. The trailer too was brilliant and it was only when I saw a few negative reviews did I baulk at going to see the brisk B-movie-super-hero-horror-film. So, does a great pitch, and cool trailer lead to a great movie? In part yes; and in part no!

With the indie-turned-blockbuster director, James Gunn, in the wings producing the film, Brightburn clearly has a pedigree in superhero, comedy and horror film-making. I loved his low budget gem Super (2010) and his work helming the Guardians of the Galaxy films is also impressive. One wonders if Brightburn may have worked better with James Gunn directing but we will never know.

Set, unsurprisingly in Brightburn, Kansas, the story completely steals the Superman origin narrative and twists it in a fun and gory way. Farming couple Tori and Kyle Breyer are desperate for a kid and have failed to conceive naturally. Fortunately, or so it seems at first, a child falls from the skies, and rather than tell the authorities they adopt the kid as their own.

Flash-forward and Brandon is now twelve years old and puberty is fast approaching; cue bodily changes but not the kind his parents were expecting. As Brandon deals with school bullies and his first crush he suddenly begins going into trances and attempting to unlock that red glowy thing in the barn. What could it all mean? Mayhem! Bloody mayhem is what it means!

I really enjoyed Brightburn. It’s script is a bit dumb and some of the character choices are pretty ridiculous, especially when Brandon starts behaving violently at school and around the house. However, I loved the fast-pace, the concept, the dark horror, the red-masked image system, and the gore. Moreover, while many were given away in the trailer, there are some brilliant set-pieces and scares throughout.

Some of the negative reviews I have seen may have come from the wrong angle on Brightburn. Its not really meant to be taken seriously despite the compelling and dramatic performance from Elizabeth Banks. For me it’s to be watched as an imaginative low-budget B-movie feature, somewhat reminiscent of those “kids-go-bad” 1980’s horrors I used to rent from local video store.

There’s an element of depth as it touches on themes relating to puberty, adoption and the trials of parenthood; ultimately though it’s about the rise of an evil anti-hero in a gas mask with glowing red eyes!! In a nutshell, Brightburn is one for B-movie horror fans everywhere and I definitely want them to expand the universe.

Mark: 8 out of 11

THE CINEMA FIX PRESENTS: JUNE MOVIE ROUND-UP INCLUDING – MA (2019); GODZILLA 2 (2019); EXTREMELY WICKED. . . (2019) ETC.

CINEMA FIX PRESENTS: JUNE MOVIE REVIEW ROUND-UP

After the relative cinematic highs of Avengers: Endgame (2019) and John Wick 3 (2019), I’ve been choosing my battles in regard to the big budget blockbuster movies currently released at the cinema. I’m sure they are very good but I have swerved Aladdin (2019) and Rocketman (2019) as they did not appeal to me.

Anyway, I’ve mixed up some of my film viewing choices so far this month with big and lower budget films at the cinema and via online streaming platforms. Here are some mini-reviews with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

MA (2019) – ODEON CINEMA

Like Isabelle Huppert in Greta (2019), another amazing actress takes on the role of a disturbed matriarch figure with terrifying aplomb. Indeed, Octavia Spencer is absolutely brilliant in her role as the seemingly kind but ultimately vicious avenging angel, Sue Ann Ellington A.K.A, ‘Ma.’ The story begins with a casual encounter between some teenagers and Sue Ann. They are after illicit alcohol and somewhere to party. What starts innocently then spirals into a full-on psychological horror movie by the end.

The script slowly builds the tension as Ma’s plan carefully moves from convivial host to the unhinged nutter. I liked that they developed Ma’s character motivation beyond the standard cardboard cut-out pantomime villain. Plus, the levels of gore and suspense were darkly enjoyable. Thematically, the film has some familiar genre tropes such as: the new girl trying to fit in; rebellious teens being taught a lesson; past events creating a vengeful monster; and an element of Munchausen’s by proxy etc. However, these aren’t really developed and are window-dressing to the twisted joy of watching Octavia Spencer go into full “bunny boiler” mode and then some!!

Mark: 8 out of 11

GODZILLA 2: KING OF THE MONSTERS (2019) – ODEON CINEMA

Despite really enjoying King Kong: Skull Island (2017) I wasn’t bothered about watching this sequel to the recent Godzilla (2014), because Godzilla/Gojira is a fundamentally dull creature. I get that it’s a cultural phenomenon in Japan; one that reflects the horror of nuclear devastation; however, on the big screen it’s usually a lumbering lizard which, while presenting a strong visual image, is essentially all about destruction. The first film I found pretty boring with too little of Godzilla to make it very exciting. Thankfully, the sequel goes monster mad and you get four fantastic beasts for your money.

Thus, for sheer energy and the appearances of Godzilla, Mothra, Rodan and Ghidorah, all battling each other at various times, Michael Dougherty and his production team deserve some credit. However, the mistake they made was trying to give the story an interesting human angle. While the cast, including Kyle Chandler, Vera Farmiga and Millie Bobby Brown, did their best as the dysfunctional nuclear family, they were poorly established, creating an empathy vacuum that just got in the way of the monster stuff. Overall, it’s clumsy B-movie narrative is blown away by the impressive visuals, in a mostly waste-of-budget and ultimately forgettable cinema experience.

Mark: 6 out of 11

EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE (2019) – SKY CINEMA

If you have read or seen anything about the life of infamous serial-killer Ted Bundy, then this psychological drama doesn’t necessarily tell you anything you do not know. Bundy terrorized an abundance of innocent victims across many of the States in America, for much of the 1970s. A conventionally attractive, intelligent and charming manipulator on the outside, he hid a venal desire to attack, assault and murder young women.

Bundy denied these attacks until the very last, as Joe Berlinger’s solid biopic shows Bundy’s actions and character from the perspective of his girlfriend, Elizabeth Kendall (Lily Collins). The film takes a while to kick into gear but when we get to the prison escapes and court cases then the horror of Bundy’s crimes really impacts. Zac Efron is a revelation as Bundy and he owns the screen with a performance of magnetic evil. The final chilling scene where Kendall confronts him through the glass is a particularly memorable exchange.

Mark: 7.5 out of 11

THE PERFECTION (2019) – NETFLIX

This horror film started if off brilliantly. It begins with two talented musicians (Alison Williams and Logan Browning) meeting and taking time out of their schedule to tour rural China. Suddenly, one of them is attacked by a flesh-eating virus and you think so far, so nasty! However, it soon undoes the excellent opening by descending into a non-sensical revenge story full of plot-holes. To be honest the themes exploring: #MeToo and #Time’sUp combined with a critique of toxic-svengali-masculinity were absolutely fascinating. It’s a shame the sub-Cronenberg narrative fell apart by the end, as the gory events unfold with little sense of empathy or logic. Indeed, I’m still baffled what any of it had to do with classical music!!

Mark: 5.5 out of 11

JOHN WICK: CHAPTER 3 – PARABELLUM

JOHN WICK: CHAPTER 3 – PARABELLUM – MOVIE REVIEW

Directed by: Chad Stahelski

Produced by: Basil Iwanyk, Erica Lee

Screenplay by: Derek Kolstad, Shay Hatten, Chris Collins, Marc Abrams

Cast: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Ian McShane, Anjelica Huston etc.

Cinematography: Dan Laustsen

**MAY CONTAIN SPOILERS**

Have you ever thought: what’s the point in carrying on? We know we’re going to die someday so why bother trying to live? Dead French bloke Albert Camus wrote an existential essay called The Myth of Sisyphus and deemed life an exercise in the absurd. He offered mythological character Sisyphus as an example. Sisyphus was condemned to immortality for deceiving the Gods and his penance was to push a massive rock up a hill over and over. Camus wasn’t all doom and gloom, because he opined Sisyphus’s struggle ultimately gave his life meaning.

Why am I skirting around such philosophical musings? Well, John Wick is a classic “Sisyphean” character; destined to a repetitive cycle of life and death with very slim reasons for carrying on. In the first film it was revenge. In the second film it was paying back a marker; and then revenge. In the current, and third film of the franchise, it’s because he broke the rules of the assassin’s world and must pay the $14 million price. Plus, more revenge.

Yet, plot and reason are not the main purpose for watching this franchise. I watch it for the non-stop-Asian-infused-rainy-New-York-noir-flavoured-non-stop-balletic-violence-and-stunts. Here the incredible death toll and bloody killing is differentiated somewhat with: animals, vehicles and assorted sharp ojects joining the array of guns and fists used to hurt the two-dimensional bad people sent by the mysterious High Table gangsters. It doesn’t pay to analyse the film with logic, so just enjoy the immaculate: set design, art direction, cinematography, choreography, editing, visuals; and all-encompassing sound and fury.

Keanu Reeves, once again ignores the limits of his emotional range to deliver a formidable physical performance. Just his face, actions and movement alone are enough to convey his desires. Meanwhile, the writers open out John Wick’s back-story; shading in his past relationships and historical beginnings. This allows us to escape New York and venture to the Middle East, for a bit of sun and much needed change of scenery.

The film also welcomes a slew of fine character actors in support roles including: Halle Berry, Jerome Flynn, Asia Kate Dillon and Angelica Huston. They join the ever reliable Ian McShane, Laurence Fishburne and Lance Reddick from the first two chapters. Although, someone may have asked Fishburne to “rain” in his more bombastic moments, it’s still fun to see Neo and Morpheus on screen together. Oh, but the stunt dogs and 1990s B-movie action hero, Mark Dacascos, steal the show in their featured moments.

Overall, while showing signs of formula fatigue, John Wick: Chapter 3, remains a simple but wonderfully entertaining guilty pleasure. The choreography within the fight scenes and car/horse/motorcycle chases just transcend the action genre. Using: humour, pace, shock and sheer kinetic power they consistently startle and astound. Lastly, one could look at Wick’s character in mythical terms, perpetually fighting the Gods and forever pushing the rock up that hill. Indeed, I guess, like Sisyphus, Wick will carry on ad infinitum as long as there is someone to kill; and an audience wanting to watch such exquisite carnage on a big screen.

Mark: 8.5 out of 11

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

Directed by: Anthony Russo & Joe Russo

Produced by: Kevin Feige

Screenplay: Christopher Markus and Stephen McFeely

Based on The Avengers by Stan Lee & Jack Kirby

Starring: Robert Downey Jnr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin and many, many more.

Music by: Alan Silvestri

Cinematography: Trent Opaloch

Edited by: Jeffrey Ford and Matthew Schmidt

Production Company: Marvel Studios

**RELATIVELY SPOILER FREE REVIEW**

So, we are finally here; assembled and ready to experience the last battle in this particular phase of Marvel films. Twenty-two movies released over an eleven year period now culminate in the adroitly named: Avengers: Endgame. While they may have all the money in the multiverse backing their superhero endeavours, Marvel deserve much credit for releasing so many great films within the eleven year cycle. Yes, of course many have followed a tried and tested genre formula, however, their legion of production staff, producers, directors, writers and actors did whatever it took to entertain the public.

This final film was set up perfectly by what preceded. I mean, the dust had not even settled at the end of Infinity War, and I, along with many others, were agog at the crushing defeat suffered by our heroes and Earth, at the click of Thanos’ finger and thumb. Thanos had achieved the impossible and obtained the six soul stones and eradicated fifty per cent of the population. This tragic genocide included many of the Avengers we had grown to root for and Endgame begins where its predecessor finished. Here we find a depleted and dejected Avengers team on Earth and a barely surviving Tony Stark in space facing the abyss. Collectively they are hurting, grieving and feeling vengeful.

The sombre and angry tone to the opening of the film was something I was drawn to. Emotionally it made sense to, within the first hour, colour the film with a slower, mournful pace and darker mood. This is encapsulated in the character of Hawkeye, who is using his special set of skills for destructive and nihilistic purposes. Similarly, Thor is twisted into a self-pitying anti-god; and this plays out with both surprise and humour. Of course, the remaining Avengers are not going to lie down for three hours in a reflective study of sorrow. Because, they want their friends and the population of Earth back; and they will do whatever it takes to achieve this goal.

The middle part of the film is where the narrative really gathers pace. Once Stark, Bruce Banner and Scott Lang/Ant Man discover a means with which to somehow alter the tragic events, we are thrown into many imaginative and entertaining set-pieces. I was so pleased Paul Rudd was back as Ant-Man in a key role. He is such a likeable and funny actor who always brings sharp comedy timing and warmth to his roles. Further, like Lang, Karen Gillen as Nebula, while seemingly a secondary character, plays an important role in Endgame. In more ways than one Nebula becomes a vital cog in the intricate and multi-stranded plotting.

The various Avengers including the aforementioned and: Black Widow, Captain America, War Machine and Rocket etc. all splinter to different places in order to achieve their mission. Here the film really finds a perfect pace and stride, delivering a series of brilliant action scenes. Indeed, Endgame is full of brilliant cross-cutting call-backs to the previous Marvel films; presenting a multitude of ‘Easter Egg’ or inter-textual moments.

Safe to say the action unfurls rapidly but the writers also have the confidence to slow the pace and allow several key emotional moments for certain characters. But, mostly there is action and fighting and humour and just so many memorable moments of a light and dark tone. My personal favourite was during Captain America’s mission; this plot strand just sang and hit so many high notes.

I am striving hard to avoid spoilers here, so all I can add is that the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion. I just loved the direction they took it in regard to the temporal, spatial and universal narrative choices. They assembled, pushed and pulled the formula in certain ways which surprised and kept the characters vibrant and fresh. The tonal balance was positive and only ever slightly threatened to slip into parody; mostly with Chris Hemsworth’s depressed rendition of Thor. My only gripe was I felt Brie Larson’s effervescent Captain Marvel was sadly under-used.

Unsurprisingly, the final gigantic battle sequences were expected but still delivered on a massive scale. Thanos is, and was, a mighty enemy and the last war against him and his hordes were full of epic surprise, pulsating action and heartfelt emotion. Undeniably, it was a most spectacular and moving climax. Thus, overall, I am actually shocked at how much I enjoyed a bunch of superheroes made of computer pixels larking about on a big screen. Maybe, however, given the time, money and energy spent over the last eleven years by the filmmakers and audience alike, it was, like Thanos, inevitable!

Mark: 9.5 out of 11

IN PRAISE OF BBC’S LINE OF DUTY + SEASON 5 – TV REVIEW

BBC’S LINE OF DUTY & SEASON 5 REVIEW

Created and Written by Jed Mercurio

Directors (Season 5): John Strickland and Sue Tully

Cast (Season 5): Taj Atwal, Martin Compston, Adrian Dunbar, Stephen Graham, Anna Maxwell Martin, Vicky McClure, Rochenda Sandall, Polly Walker etc.

I was slightly late to the Line of Duty corrupt police drama party. Thankfully, I caught up with it by watching the first four seasons on Netflix. The fifth season has just completed a run over the last six weeks on BBC1 and thoroughly thrilling it was too. Creator and writer Mercurio is a bulletproof show-runner; a genre writer with a proven hit rate whose work almost always brings commercial, critical and audience success.

Having achieved early TV writing acclaim with dark medical comedy, Cardiac Arrest (1994-1996), Mercurio’s subsequent drama Bodies (2004 – 2005) was another critical hit. Latterly, Bodyguard (2018) and Line of Duty (2012 – present) have also proved highly successful. Undeniably, Line of Duty is a massive hit for the BBC. It has received awards and nominations from: the Royal TV Society, the Writers’ Guild and BAFTA. Moreover, it was also voted in the top BBC shows of all time. Therefore, after the success of Season 4 on BBC1, Season 5 was awaited with great anticipation.

THE LANGUAGE OF LINE OF DUTY

If you haven’t seen Line of Duty then it is highly recommended as quality genre storytelling. Over five seasons it has received much media attention and a strong fan following. It’s also fun looking out for the tropes, genre expections and language built into the classic cop drama. So, a game of Line of Duty bingo would certainly include:

  • AC12’s lead characters: DS Steve Arnott, DI Kate Fleming and Superintendent Ted Hastings will be committed to nicking bent coppers.
  • Massive and unexpected plot twists.
  • Untimely deaths of major characters.
  • Police Officers being bigger criminals than actual crooks.
  • The main antagonist will likely be revealed early on to the audience like an episode of Columbo.
  • Brilliantly written and lengthy police interview scenes often dominate whole episodes.
  • The main antagonist can at any time be superseded by a bigger antagonist like an episode of ‘24‘.
  • Main antagonists will be played by well known actors such as: Lennie James, Keeley Hawes, Daniel Mays and Thandie Newton.
  • Minor sub-plots will often blow up into being the main plot.
  • Red herrings galore with misdirection and cliff-hanger writing tricks becoming legion.
  • Line of Duty language and catchphrases have become culturally familiar including: “Fella”; “Mother of God”; “Bent Coppers”; and my favourite: “DCI. . . has the right to be questioned by an officer at least one rank senior.”
  • Fantastic hard-boiled one-liners and dialogue that Raymond Chandler would be proud of.

I could go on but I can highly recommend all five seasons of the show. While it exists within the police drama genre the lead characters are well written. Not simply basic binary heroes, they are complicated humans, yet highly determined and professional. The plots are serpentine and often become very complex, threatening to swallow their own tail at times. Nonetheless, if Alfred Hitchcock created a long running crime drama then Line of Duty would be it.

LINE OF DUTY – SEASON 5 REVIEW (WITH MINOR SPOILERS)

Season 5 began with an all action and breathless opening couple of episodes. Yet, by the end it transformed into a claustrophobic, theatrical and tense police interview showdown. While Season 4 found Thandie Newton desperately trying to evade capture using her intelligence and guile, Season 5 was more explosive. Opening with a pulsating robbery, with an OCG (Organised Crime Group), raiding a police vehicle convoy carrying confiscated drugs and weapons; AC12 were soon hunting armed robbers and investigating the death of several Police Officers.

The head of the crime gang is, or so we think, John Clayton. He is portrayed by fine character actor, Stephen Graham. It soon turns out Clayton is not what he seems and is playing a very dangerous game as an undercover cop. But, is Clayton still undercover or has he gone rogue? Clayton’s gang are not to be crossed and their boss is an anonymous high-ranking corrupt Police Officer referred to only as ‘H’. They communicate via computer text software, thus creating a fog of invisibility and suspicion.

As the various plot strands ravel and unravel further robberies and murders occur, with Mercurio creating a series of tense stand-offs and action set-pieces. The stakes get higher and higher until our very own Ted Hastings becomes number one suspect in the chase for ‘H’. Adrian Dunbar as Hastings is especially brilliant in this season. His character finds his whole life and history turned upside down and in freefall. I mean, could this beloved character be the arch-nemesis? The conflict created by Mercurio is totally absorbing until the very final reveal.

Overall, one could argue that Season 5 goes too far to attempt to out do the previous seasons. However, I loved both the complexity and familiarity of what I was watching. The action, suspense, twists, doubt, shocks and ‘whodunit’ plot were played to perfection. We also got a bit of characterisation amidst the heavy plotting as we found out about: Hastings’ history in Northern Ireland; Fleming’s family issues; and the impact of Arnott’s spinal injury (from a violent attack in Season 4). We also got some new characters such as the formidable DCS Carmichael featuring a stand-out performance from Anna Maxwell Martin.

Ultimately, this is a cops and robbers show which plays the numbers very well. Furthermore, like a game of bingo you never know the order the numbers will come out, who’ll win or lose and whether the game is, in fact, rigged so no one really profits in the end.

Mark: 9 out of 11