With a serial killer claiming victim 13 and rumors of corruption in their force, the West Yorkshire cops are told to cooperate with a team from outside - Peter Hunter and two hand-picked associates. Hunter gets little help but plunges ahead, discovering that one of the 13 victims may have a different killer. This part of the investigation leads to late-night calls, another murder, and bureaucratic moves to push Hunter aside: he may be getting close, not to the serial killer but to bad apples in the force. Christmas approaches. Written by
When Hunter goes to visit Laws the door and windows are clearly made of UPVC which was not available in 1980. See more »
You don't like the police much, do you?
No love lost, no.
So when someone kicks down your front door, kills the dog and rapes the wife, who you gonna call?
Well it certainly wouldn't be the West Yorkshire Police - they'd already *be* in there, wouldn't they!
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English screenwriter and director James Marsh's television film which was written by screenwriter Toni Grisoni, is the second part of the Red Riding trilogy which was preceded by "Red Riding 1974" and succeeded by "Red Riding 1983". It was screened at the Melbourne International Film Festival in 2009 and at the 36th Telluride Film Festival in 2009, was shot on location in West Yorkshire and Leeds independent studios in Northern England and is a British production by Revelation Films which was produced by Andrew Heaton, Anita Overland and Wendy Brazington. It tells the story about assistant chief constable Peter Hunter, a married detective from Manchester who is assigned to a covert home office inquiry by regional chief inspector of Yorkshire Philip Evans and Michael Warren from the home office after a 20-year-old student nurse named Laura Baines is found murdered in a way that has had the media speculate that she might be the 13th victim of the infamous Yorkshire Ripper. Peter handpicks detective chief superintendent John Nolan whom he has worked with on a previous case and detective Helen Marshall as his associates and is happy about having them on his team, but when detective superintendent Bob Craven is sent as a liaison and after a meeting with detective chief superintendent Maurice Jobson who has been given sole responsibility for the hunt of the Yorkshire Ripper, Peter learns that the West Yorkshire constabulary suspects that his reason for being there goes beyond the Yorkshire Ripper case.
Finely and acutely directed by English filmmaker James Marsh, this fast-paced and unsentimental fictional tale which is narrated mostly from the main character's point of view, draws a multifaceted portrayal of a constable's pervasive investigation of a five-year old murder case and his relationship with his female colleague. While notable for it's naturalistic milieu depictions, fine cinematography by cinematographer Igor Martinovic, production design by production designer Tomas Burton, editing by film editor Jinx Godfrey and use of sound, this character-driven, dialog-driven and narrative-driven neo-noir depicts a dense study of character and contains a good score by British musician and composer Dickon Hinchliffe.
This poignantly and forebodingly atmospheric and darkly humorous psychological thriller which is set against the backdrop of West Yorkshire in December 1980 during the investigation of the Yorkshire Ripper murders (1975-1980), is impelled and reinforced by it's fragmented narrative structure, subtle character development, various characters, interrelated stories, multiple viewpoints and the prominent acting performances by British actors Paddy Considine, Sean Harris, Warren Clarke and Maxine Peake from the great ensemble cast. A mindful and constantly engaging mystery.
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