Sindre Kaspersen English producer and director Anand Tucker's television film which was written by screenwriter Toni Grisoni, is the third and final part of the Red Riding trilogy which was preceded by "Red Riding 1974" and "Red Riding 1980". It was screened at the Melbourne International Film Festival in 2009, at the 36th Telluride Film Festival in 2009, was shot on location in West Yorkshire and Leeds independent studios in Northern England, UK and is a UK production which was produced by producers Andrew Heaton, Anita Overland and Wendy Brazington. It tells the story about a detective named Maurice Jobson who is named head of investigation after a 10-year-old girl named Hazel Atkins disappears on her way home from school. The local newspaper speculates about a possible link between Hazel Atkins and the three other young girls who went missing in 1969, 1972 and 1974 and this complicates matters for the constabulary who is holding a young man named Michael Myshkin imprisoned. Maurice Jobson's inquiry begins with a woman named Kathryn Taylor who is a medium and at the same time, Michael Myshkin's solicitor John Piggot is instigated by his client's mother who is convinced that her son is innocent and begins his own private investigation. Distinctly and acutely directed by English filmmaker Anand Tucker, this rhythmic and riveting fictional tale which is narrated from multiple viewpoints, draws an incisive portrayal of a detective chief superintendent and his police department's intricate search for a child murderer and a local attorney's struggle to exonerate a young man whom he thinks is wrongfully convicted. While notable for it's naturalistic and gritty milieu depictions, cinematography by cinematographer David Higgs, production design by production designer Alison Dominitz, fine editing by film editor Trevor Waite and use of sound, this character-driven, narrative-driven and brilliantly written neo-noir depicts several dense and interrelated studies of character and contains a great score by Australian composer Barrington Pheloung.This poignantly and forebodingly atmospheric, literary, darkly humorous and multifaceted psychological thriller which is set against the backdrop of a metropolitan county in the United Kingdom in 1983 during a murder investigation, is impelled and reinforced by it's fragmented narrative structure, subtle character development, various characters, interrelated stories and the prominent acting performances by British actors David Morrrissey, Daniel Mays, Mark Addy and Scottish actor and director Peter Mullan from the great ensemble cast. An unsentimental and invariably intriguing mystery from the early 21th century.

samkan Almost literally. In truth there are a few moments featuring outdoor scenes where the sun MIGHT be out amongst clouds, though camera and lighting do their best to avoid such potential charm. And therein are presented the underlying themes of evil, greed, debauchery, misery, hopelessness and...... did I mention....evil.The Red Riding Trilogy is a five hour adventure into a dark world of vile corruption, pedophilia, brutality, fear and futility. It is certainly not without merit. It features police corruption and brutality as well or better than anything I've viewed. (Example: When a mentally deficient character wets his pants upon sight of the cops we understand entirely his reaction.) The lead characters, arguably there are four, are so flawed that they function less as protagonists than as faint glimmers of humanity. Yet they are genuine to a fault. The bleak hopelessness of the British working class is well supported by the lighting, tinting (its neither color nor B&W) and drab settings. There is certainly a story in here somewhere, not so much moved by the characters as by the ugliness of human nature and it's ability to overwhelm the good.Rather than say the RRT would be better pressed into a single feature length film, the true merits of RRT would be better presented as a multi-part, episodic production more slowly introducing and intermingling the various characters. RRT is certainly more about characters and their natures, reactions and failings than anything else! As I mentioned before, only arguably have we four main characters. The story, quite artfully, ebbs and flows re the importance of and emphasis on certain people. A seemingly minor character is a plot devise at one point, only to be more fully drawn much later. An eight or ten part RRT, at an hour a shot, would/could provide something as engaging as ; e.g., a BBC Dicken's production. Imagine a modern day Bleak House adding drugs, sex, gruesome violence and overwhelming fear.The major problem with RRT is that what we ultimately learn to be the great evil has by then become so obscured by characters and emotions that it almost gives new definition to anticlimax. There may -or quite possibly may not - have been sufficient clues, dialog, etc. attending to the "story" to have made its outcome satisfying. Assuming there were enough such tips (this is arguable!) by the end of RRT the viewer is far too exhausted to piece the story together. In a nutshell, the backbone story/plot takes such a distant backseat to the grittiness, characters and tragedies that it will be long forgotten before RRT's fears and tears are still remembered.

Leofwine_draca And finally the loose ends are tied up in the last part of the acclaimed RED RIDING trilogy. This time around, a low-rent lawyer and a cop with a conscience combine forces to expose the child killer who has been eluding police from the very beginning.I'm a sucker for a happy ending and this film gives us one - well, sort of one. I found the story punchier and although events become even darker - and more shocking, if that's even possible - there is hope, finally, in the full-on powerhouse ending.What a coup in casting Mark Addy as the sympathetic lead (he's usually typecast as lovable rolly-polly types since THE FULL MONTY back in the day)! David Morrissey is given a chance to shine, too, putting memories of BASIC INSTINCT 2 into the distant past. The series definitely ends on a high and it's nice to have some closure after everything that happened.

Theo Robertson !!!!!! SLIGHT SPOILERS TO ALL THREE EPISODES !!!!!! RED RIDING is one of these dramas that comes along heavily hyped before the first episode is broadcast . It's an adaptation of a highly regarded series of novels by David Peace spanning two decades and revolving around police corruption in Yorkshire . It's a realistic enough premise , the problem though is this corruption and police brutality is overplayed and while it may be " grim oop north " you get the feeling you're watching something from a parallel universe . A sort of LIFE ON MARS that's literally taking place on a terraformed Martian landscape The first episode features a twisting , turning gritty plot that ends with a bloodbath in a nightclub . Some of the second episode adds new twists to the previous part but mainly concentrates instead on a new police detective taking over the real life Yorkshire Ripper case . The concluding part of the trilogy then totally ignores part two and leads to an unsatisfactory conclusion It seems wrong criticising a production that involves gritty bone crunching adult drama but RED RIDING proves that if the plot doesn't stand up to scrutiny then no amount of superb cinematography , clever casting , intense acting and compelling dialog can save it .The second part is the best example . Paddy Considine plays Peter Hunter , a detective brought in to investigate the Yorkshire Ripper murders only to find a conspiracy against him . This mirrors real life events and the Ripper investigation is something West Yorkshire police should never feel proud of . Hunter is then written out of the story in an absolutely ridiculous left field way that will have you tuning in to the next episode if only to find out how this plot turn is followed up . With hindsight it's very obvious how the event is going to play out - it's not referred to at all. . There's also an aspect to this episode that made my skin crawl and that is it features the real life serial killer Peter Sutcliffe being used for dramatic purposes Episode three is rather slower paced than the first two episodes and there's something irritating and unsatisfactory about it . Leaving aside that none of it ties in with with the totally disposable part two director Anand Tucker throws a spanner in the works by never making it clear that we're seeing flashbacks to 1974 which had me thinking Sean Bean's character had some how become magically resurrected . This certainly down to the fact that the mis en scene never looks like 1983 Add to that plot lines are never satisfactorily tied up and this audience member felt like he wasted his time watching the trilogy Again I have to repeat I'm loathe to criticise someone making adult bleak drama but RED RIDING falls in to exploitation television . We can believe in corrupt cops beating confessions out of innocent men but to see them running around like a third world death squad liquidating opponents and manipulating events to their own ends as seen here jumps the shark so highly that it's in danger of going out of orbit and landing on the Martian stratosphere