As a prison riot erupts into violence, Red comes face to face with the ring leader: the man who once held him hostage and nearly drove him mad. But what they don't know is a killer's amongst them, preying on their weaknesses.
Fitz returns to Manchester after living 10 years in Australia with his wife and youngest son. He is soon drawn into the investigation of a British soldier who may have been traumatized by his years serving in Northern Ireland.
When the team arrive at a van abandoned on landfill sight they soon realise this is a case, the like they have never seen before. The van door is locked, the glass darkened, an angry buzzing inside. Phoebe is in the front seat, wasps crawling in and out of her open mouth: SAVE ME is written in blood on the windscreen. Red's analytical skills are stretched to the limit as he tries to fathom the workings of the mind of a killer determined to create their own Hell here on earth. Written by
DS Vickie Clarke:
A man said he saw a woman in a red coat hurrying away from the flat. His description of the woman was "she was angry".
DI Duncan Warren:
Well that's got to narrow it down. An angry woman
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I have been a fan of the Messiah series since its beginning way back. The first story was a masterclass in the crime genre being influenced by some of the great cinematic thrillers (namely Se7en). The next two were somewhat of a disappointment (although never being THAT bad) as they never quite reached the dizzy heights of the first Messiah. And now we get to Messiah IV: The Harrowing.
This is a return to form for Red and his team. Gone are the sub plots concerning his wife or the rest of the squad (although one of his squad are linked to one of the deaths that kicks off the story). This allows for a tighter story that keeps the Police/Killer relationship central to the narrative.
Without going into detail the killer in this instance is offing people in the manner that sinners are punished in Dante's Inferno. This literary reference lifts this thriller into something out of the ordinary.
Cracking acting from all (especially Ken Stott whom I hope continues to make these ad infinitum) and some great directing ensures an excellent 3 hours worth of television.
My only problem is with the writer who seems to have shamelessly ripped off Matthew Pearl's superb novel 'The Dante Club'. If this is not the case then I would like to be proved wrong.
Above all: a return to form for my favourite BBC drama.
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