36 (2004)

36 (2004)

aka: The 36 / 36 Quai des Orfèvres

Dir. Olivier Marchal

Two of France's finest male actors go head to head in a gritty, violent police thriller based partly on Dir. Marchal's time in the police force.

Detective Léo Vrinks (Daniel Auteuil), a man with many friends and solid bonds, is head of the BRI, a team who look out for each other and cover each other's backs when needed.

In contrast, detective Denis Klein (Gérard Depardieu), head of the BRB, is a man with no true friends, having alienated everyone who ever got close to him, and doing a good job of preventing anyone new from trying the same.

While both men hold the same rank within the same organisation, they're in different departments. And while one follows the law when it suits him, the other makes his own law.

A series of violent armoured car heists put the duo in an awkward position, requiring some tough decision making. The two men each want to be first to solve the case, but for different reasons.

Tactical Unit: The TV Movies (2008-09)

Tactical Unit: The TV Movies (2008-09)

Dirs. Various (see below)

Note: Five TV Movies that followed Johnnie To's PTU (2003). You don't need to have seen PTU in order to follow the story of each TU movie, but it might be helpful and it's such a good film that I feel compelled to encourage a viewing, anyhow.

Tactical Unit TV Movies in the order released:

01. In Tactical Unit: The Code (2008), directed by Wing-Cheong Law, three members of the PTU are captured on CCTV while beating up a civilian (i.e., crook), but the picture is grainy and their faces aren't clear. While an internal division that deals with corrupt cops tries to uncover the truth, the guilty trio hunt for the one man who can identify them: the man that they left bleeding in an alley. Ultimately, it's a race against time for both parties.

Eastern Promises (2007)

Eastern Promises (2007)

Dir. David Cronenberg

Ordinarily, I prefer it when an actor is of the same nationality as the character they're playing onscreen; e.g., if a protagonist is supposed to be Scottish, then hire an actual Scot. It's especially beneficial in biopics, or when the character isn't a native English speaker in an English language setting.

Casting someone who understands on a fundamental level the culture that they're portraying allows an actor to tap into the unconscious influence that thinking in one's native language brings. If successful, it can permeate the performance and even accentuate or enrich any traits, nuances, etc, that can be consciously observed in specific nationalities. It's basic common sense.

But sometimes an actor can be so good in a role that such concerns are almost forgotten about when viewing. Viggo as a fictional Russian mobster in Cronenberg's Eastern Promises is on that list. It's his second collaboration with the director and it tops their first in every way.

Prey: Series Two (2015)

Prey: Series Two (2015)

Dir. Lewis Arnold | 3 episodes, approx 45 mins each.

Like Series 1 it begins in the thick of it and then skips back (eighteen hours this time) to show how the 'prey' got to be in their current situation. Most of the characters are new, as is the story, so you don't need to have seen the previous miniseries beforehand.

There's some minor continuity, but it's with one cast member only. Not having seen the previous episodes won't have any major impact on your viewing.

Alas, the person in question is DS Susan Reinhart (Rosie Cavaliero), the officer in charge of both cases and who was, for me, the weakest aspect of both. 

Everyone has their strengths — she'd maybe be well-cast as a scullery maid in a BBC period drama — but she's not convincing as a leader and driving force.

The duo she's chasing fare much better. David Murdoch and Jules Hope, played by Philip Glenister and MyAnna Buring, respectively, are on the run together but they aren't friends.

Prey: Series One (2014)

Prey: Series One (2014)

Dir. Nick Murphy | 3 episodes, approx 47 mins each.

It kicks off with an overturned police vehicle on a public road and a subsequent prisoner escape, but that event isn't the start of the story. After the damage is assessed there, it jumps back three days to the life of DC Marcus Farrow (John Simm) of the Manchester Metropolitan Police, characterising him through his job, his friendships, and his relationship with his ex-wife and their two young children.

Of the three things mentioned, the most notable for the viewer seems to be the job, specifically regarding the discovery of a body on the moors. But things thereafter don't go the way that most investigative TV procedural dramas usually do, it takes a left turn into a man-on-the-run conspiracy thriller. The body is important, but the main drive of the series is that of an innocent man (the 'prey' of the title) trying desperately to find the real killer so he can clear his name - all the while unsure of who he can trust.

Life on Mars: The Complete Collection (2006–07)

Life on Mars: The Complete Collection (2006–07)

Dirs: Various | Seasons: 2 (16 episodes, approx 60 mins each)

While it does fit comfortably into the wider science fiction genre, Life on Mars isn't set on the red planet. It's set in Manchester, North West England in the years 2006 and 1973.

Present in both times is DCI Sam Tyler (John Simm). Sam gets injured in the line of duty, knocked unconscious while chasing a suspect in 2006, he wakes up in 1973, discombobulated and dressed in period clothes, but with his instincts intact - he's still a detective.

There's a level of ambiguity, so we're never really sure if Sam has jumped back in time thirty-three years or if his consciousness is inventing the scenario, perhaps as a means to work though some personal issues or trauma while his real self lies unconscious in 2006.

Infernal Affairs Trilogy (2002-03)

Infernal Affairs (2002)

Dirs. Andrew Lau / Alan Mak

An excellent Hong Kong crime thriller in which a dedicated police officer (Tony Leung Chiu-wai) risks life and limb to go deep undercover in Triad society.

Similarly, a member of the Triad group (Andy Lau) enrols in the HK police service.

Both men eventually become aware of the other's existence, but neither one knows what his counterpart actually looks like.

The nerve-racking race for one mole to expose the other first is often tense as hell, as if walking a knife edge, with a feeling that even during quiet times there may be someone watching, waiting for the mole to slip up and expose himself.

CSI: Crime Scene Investigation: Grave Danger (2005)

CSI: Grave Danger (2005)

Dir. Quentin Tarantino | Season 05, Episodes 24 + 25

I don't usually watch Crime Scene Investigation, it's not the kind of police/crime drama that I enjoy, but I made an exception for the Grave Danger episodes because they were directed by Quentin Tarantino. I'm not a QT fan-boy, either, but I was curious to see if he could make me care about a show that I otherwise disliked.

The short answer is no, he didn't, but it was okay overall and the level of bullshit coincidences and deux ex machinas wasn't as overblown as I feared it would be – that is, once it was explained to me by an actual CSI fan that one of the characters had a specialised interest in something that was instrumental in the team solving the case.

I don't know if the regular characters were respected and/or faithful to how they usually are in the standard weekly episodes, but anyone familiar with the director's work will be able to spot his trademarks, such as the overly-staged scenes, the round the table dialogue, and people toying with guns while chatting; there's even a victim in the trunk of a car and a sly QT nod to other filmmakers (including Eli Roth and Lucio Fulchi, although classifying Roth as such is a kindness at best, a misnomer at worst).

The Quentin Tarantino Collection (2011)

The Quentin Tarantino Collection (2011)

Number of discs: 6  |  Running Time: 625 minutes (combined)

I may get around to rewatching (or in some cases watching for the first time) QT's later films, or I may not, but until then have this, a collection of five features put out by Lions Gate Home Entertainment housed in a cheapo, flimsy cardboard box.

That's the actual box art on the right, with QT looking moody. Perhaps someone accused him of mass plagiarism prior to the photo being taken?

Every time I see it I wonder if it was a conscious decision not to have the cover art for the films in the order they were released or did someone screw up?

Of that order, the first two I'm very pleased to own, and if they weren't included I'd have bought them separately. The next one I'm mostly indifferent to. The final two I don't care for at all, even though I'm a fan of many of the things that inspired them.

Stieg Larsson’s Millennium Trilogy: Films (2009)

The Extended Editions (2009)

The standard theatrical versions of the trilogy that were first released into the English and American markets were really good, but the eventual release of the extended Swedish language editions in a single box set (DVD or Blu-ray) made my day. It brought with it an additional 120 minutes of footage, two whole hours of extra story! That's 120 minutes in total, not 120 minutes each.

Each film was split into two parts lasting approximately 90 minutes each, enabling them to more easily fit into a TV schedule.

I'd have preferred the split be a simple fade-to-black intermission, but the separation isn't really that much of a problem and I admit that I made use of it each time to get a refill.