DCI Gene Hunt is back, but he's no longer the self-styled "Sheriff of Manchester." Flanked by his faithful sidekicks, Ray Carling and Chris Skelton, and drawn by the action and intrigue of ... See full summary »
A shrewd FBI agent with a lost past who arrives in the small town of Haven, Maine, to solve the murder of a local ex-con only to discover that the curious enclave is a longtime refuge for ... See full summary »
Dr. Cal Lightman teaches a course in body language and makes an honest fortune exploiting it. He's employed by various public authorities in various investigations, doing more when the ... See full summary »
Due to a political conspiracy an innocent man is sent to death row and his only hope is his brother who makes it his mission to deliberately get himself sent to the same prison in order to break the both of them out from the inside out.
The show follows a crime, usually adapted from current headlines, from two separate vantage points. The first half of the show concentrates on the investigation of the crime by the police, the second half follows the prosecution of the crime in court.
Jesse L. Martin,
The story of an inner-city Los Angeles police precinct where some of the cops aren't above breaking the rules or working against their associates to both keep the streets safe and their ... See full summary »
DCI Gene Hunt is back, but he's no longer the self-styled "Sheriff of Manchester." Flanked by his faithful sidekicks, Ray Carling and Chris Skelton, and drawn by the action and intrigue of the London Met, Gene's turned his attentions to taking on the "southern nancy" criminal scum. However, Gene did not expect to be thrown together with a sexy, intelligent DI Alex Drake. Single mother to daughter Molly, Alex has rapidly risen through the ranks of the Met and, in the modern world of 2008, skillfully uses psychological profiling to capture suspects. When Alex and her daughter are kidnapped, she makes a daring attempt at escape, resulting in a horrific incident. Alex suddenly finds herself in 1981, interacting with familiar characters, not just from her own lifetime, but also from the detailed reports logged by none other than Sam Tyler, which Alex previously spent months poring over. Alex is ripped from her current world of sexual equality and respect in 2008, and finds herself opposite... Written by
The typeface used in the end credits are from a Commodore PET computer, which is also the same computer that is on DCI Hunt's desk. See more »
The Audi Quattro used by Gene Hunt was not available for sale in the UK in 1981. He would have had to order it from continental Europe, thus it would probably be left-hand drive. This is acknowledged to in the extras, which speculate that Hunt could have gotten the car as "a dodgy import." See more »
perfect introduction to a totally different series
I find it amazing how Matthew Graham and Ashley Pharoah have managed to pull off this series. After so much scrutiny from the public before it's release, it was sure to have cringworthy moments and scenes that cloned Life on Mars. But instead they adapt characteristics and settings to that of the early 80's (which after all is why we watch the show), with great ease and you really do get the idea that time has carried on in the years between the two series, rather than it just being a clone of the previous.
The main differences are of course in the settings, the town and decade, but also in the character progression of Gene, Ray and Chris and the introduction of Alex Drake, the tormented but very different and witty, sophisticated main character. Keeley Hawes creates a sarcastic reaction to Alex's new surroundings which is almost a refreshing change from the intense nature of Sam Tyler. Once again, Phillip Glenister begins the series with a bang: "Tonight, my friend, your diary entry will read, 'Took a prozzie hostage and was shot by three armed bast***s." Welcome back everyone.
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