Latest news with #crime drama
Daily Mail
2 days ago
- Entertainment
- Daily Mail
Future of Line Of Duty is finally CONFIRMED after four years of speculation over whether beloved BBC police drama would return
Line Of Duty is 'definitely coming back' for a seventh season, according to a lead actor in the hit BBC crime drama. Northern Irish actor Adrian Dunbar, who played Superintendent Ted Hastings in the show, confirmed the much-loved series will be returning to UK screens. Fans have been begging for another installment for years, and Adrian has previously hinted at another run, but now he has spoken more definitively. 'Oh, it's definitely coming back,' the 66-year-old told the Sunday Telegraph. 'Some time next year. We're just waiting for the BBC to announce it.' He continued: 'I know Jed [Mercurio] is writing. And Martin and Vicky [Compston and McClure, who play Hastings's anti-corruption colleagues, Steve and Kate] are very keen.' And in a separate interview with The Times, the Enniskillen native said: 'We're really excited about getting our hands on a Line of Duty script, to see what happens to us. 'We've talked to the BBC. It is down to the BBC to make an announcement, but we're keeping our fingers crossed that next year we'll be working on a new series. 'No doubt Jed will think of some interesting twists and turns. We are as much in the dark as you are.' Adrian suggested that viewers were drawn to the series, and to his straight-laced character in particular, owing to a time of political instability during Covid. When the news of Partygate erupted - the political scandal that saw Tories dancing and drinking during a state-imposed lockdown - Adrian believes fans sought solace in Ted Hastings. He told the Belfast Telegraph: 'When the Tories were dancing and having parties, people saw Line of Duty and thought "Surely somewhere there are people who, despite what it might mean to their careers, are willing to do the right thing?" 'I think that's why so many people gravitated towards Ted.' According to The Sun, the cast will start filming the new six-part installment next January when their other commitments have come to a close. A TV insider told the publication: 'This is the news Line of Duty fans have been waiting for since the sixth season left them deflated when it aired back in 2021. 'The BBC almost immediately requested more episodes to continue the story, but the success of the show meant Vicky, Martin and Adrian were instantly snapped up for other projects. Fans have been begging for another installment for years, and Adrian has previously hinted at another run, but now he has spoken more definitively They added: 'But after several meetings with Jed [Mercurio, creator and writer] and the production team, they've finally managed to clear space in their calendars next year to commit to making the show.' The announcement of the seventh season has been long and drawn out in the eyes of fans. In February this year, Christina Chong confirmed she had been asked to return for the next installment. The actress, 41, who played DI Nicky Rogerson in series two and six of the BBC show, revealed during the Hollywood Saturn Awards that she had been asked about her availability for next year. When quizzed at the event about the show's return, Christina confessed: 'So I have been asked about a season, is it seven? Yeah. Potentially Nicola Rogerson will be back for season seven.' The saga of the anti-corruption unit AC-12 came to a gripping conclusion in 2021 with the explosive revelation that the bumbling DCI Ian Buckells (played by Nigel Boyle) was the notorious kingpin H, pulling the strings behind a network of organised crime. Christina's character made her first appearance way back in 2014 during series two. As a key member of the Major Violent Crime unit, Christina's character found herself tangled up in the world of AC-12, becoming a love interest for the dashing DS Steve Arnott and even turning informant for him and the team. Christina's confession comes after show star Martin Compston opened up on the possibility of a new series as he also admitted he'd 'like to pull his waistcoat out again'. The Scottish actor, 40, starred in the BBC police drama which last aired in 2021 after almost a decade on screens - and fans are desperate for another season.
The Review Geek
4 days ago
- Entertainment
- The Review Geek
Smoke Episode 7 Preview: Release Date, Time & Where To Watch
Smoke Smoke is a gritty crime drama set in the rain-soaked forests of the Pacific Northwest. Taron Egerton plays Dave Gudsen, an arson investigator with a haunted past and a flair for storytelling. He's working on a novel, but it's the fires that won't leave him alone. Alongside him though is Michelle Calderone (Jurnee Smollett) who plays a sharp, no-nonsense detective and ex-Marine who doesn't tolerate ego or excuses. Together, they're pulled into a string of escalating fires that point to not just one—but two serial arsonists. As the pair dig deeper, personal baggage starts to surface. If you've been following this one, you may be curious to find out when the next episode is releasing. Well, wonder no more! Here is everything you need to know about Smoke Episode 7, including its release date, time and where you can watch this. Where Can I Watch Smoke? Smoke is available to stream on Apple TV+. This is an exclusive original series, meaning this is the only place you're going to be able to watch this show. However, now that Apple is available as an extension on Amazon Prime Video, you can also get a subscription to Apple TV+ that way too! Smoke Episode 7 Release Date Smoke episode 7 will release on Friday 1st August at approximately 12am (ET/PT) / 5am (GMT). Of course, it's really dependent on how quickly Apple upload new episodes. Expect this to be pretty close to the release time though. Smoke episode 7 is also available with subtitles from release, with the chapters scheduled to clock in at around 53 minutes long. How Many Episodes Will Smoke Have? Season 1 of Smoke is scheduled for 9 episodes, so we've got 2 more episodes to go after this one. Expect the story to continue developing, with plenty of drama still to come! Is There A Trailer For Smoke? There is indeed! You can find a trailer for Smoke Season 1 below: What do you hope to see as the series progresses? What's been your favourite moment of Smoke so far? Let us know in the comments below!
Khaleej Times
4 days ago
- Entertainment
- Khaleej Times
'Maareesan' movie review: Fahadh Faasil, Vadivelu salvage this slow-burn thriller
Maareesan begins with an intriguing sequence of a rat that's let out of its trap and scurries inside a room — only to find a python. Director Sudheesh Shankar uses this sequence to establish that there are snakes and rats among us, inviting us into a guessing game that keeps us engrossed for the most of its 152-minute run time. And that is no mean feat, despite some stumbles. We're soon introduced to Dhayalan (Fahadh Faasil), a petty crook who's just been released from prison. He is soon back in action, stealing a smartphone from a temple and a bike from a movie-hall without fuss. Dhayalan is also a pragmatist: he beats the retreat when an alert commuter gives him a stern glare. Faasil channelises his characteristic humour, sarcasm and street-smarts that reminds you of his iconic role from the 2017 Malayalam crime drama Thondimuthalum Driksakshiyum. Yet, in your mind, you're harking back to the opening sequence, asking yourself whether he's is the rat or the snake. He enters a house to pilfer its valuables when he comes face to face with Velayudham Pillai (Vadivelu), an Alzheimer's patient. Their opening exchange is one filled with humour, and a deal gets struck out of exasperation, after which the movie kicks into top gear. Hat-tip to V Krishna Moorthy, for dialogues littered with humorous wordplay. Dhayalan and Pillai soon set off on a road-trip across Tamil Nadu. The difference between them couldn't get starker, and that makes for compelling cinema. One's trying to escape his past; the other is losing his future. One bursts out in words, as in a river in full spate; the other's sedate like a still pond. Maareesan 's makers must be congratulated for putting an Alzheimer's patient as the protagonist without the fuss, sympathy and pathos. The condition is explained as not what Suriya suffers in Ghajini (2005) but almost like Sridevi in Moondram Pirai (Sadma). It's a treat to watch one of Tamil cinema's celebrated comedians not get mined for easy gags. 'Life must be pretty easy for you,' Dhayalan says. 'You can commit any crime and not have memories of it.' Pillai's response comes almost as a punch to the gut: 'What's life if there are no memories?' Yuvan Shankar Raja does well to punctuate the scene with silence and no background music. The duo ride past lush, green fields, run into a goat and smooth-talk out of the situation and break out into an impromptu rendition of Aaha inba nilavinile, a song from the 1957 epochal hit Maya Bazar. There are passing meta references to Vadivelu's Madurai origins and Faasil as the master actor. Kalaiselvan Sivaji's cinematography ensures you're looking at a video of Tamil Nadu tourism, highlighting its beauty. It feels like the Kamal Haasan, Madhavan-starrer Anbe Sivam met the Steve Martin drama Planes, Trains and Automobiles. Importantly, Faasil and Vadivelu bring their A-game to the fore and you're left spellbound. Maamannan (2023) had the two in opposing camps, but here they're together. They hit it out of the park with their earthy and authentic portrayals. There's little to dislike. A stage drama that renders Ilayaraja's yesteryear hit Nethu oruthara oruthara paathen dovetails into the narrative seamlessly. Yet, you keep wondering that something's gotta give… and the rat and snake. Something does give, during the interval block, or in the lead-up to the interval, when what seems like a slice-of-life drama enters thriller territory. And that's when Maareesan mis-steps. The second half ditches everything it had built in the first half and goes in for a different tone. You'd be forgiven for rubbing your eyes and wondering if you entered the wrong theatre. It shifts gears, yes, but the shift feels too abrupt. A bulging flashback that could have done with some trimming, police praising vigilantes and a perfunctory twist in the end. If you were wide-eyed with wonder until the interval, you'd turn wide-eyed with disappointment in the second. The routines and formulae that Tamil cinema was beholden to over the decades return with a vengeance. And as a viewer, all you can do is sigh. A twist in the end saves the proceedings a bit, as Faasil and Vadivelu hold it all together. The character Maareesan from the Hindu epic Ramayana is a master of disguise, but in the movie you wish the disguise was limited.
SBS Australia
7 days ago
- Entertainment
- SBS Australia
Past and present crimes unfold in scorching drama 'The Embers'
Despite the name – which might suggest a slowly unfolding drama about events after the heat is over, after the big action is done – The Embers starts with a rapidly escalating scene in a hospital that will have you sitting bolt upright, shocked, pulse racing. It's not surprising then, to see Stéphane Demoustier ( L'Opera , The Girl with a Bracelet ), director of the first four episodes of this eight-part French series (Farid Bentoumi directs the final four), describe it as 'an utterly scorching thriller'. In 1995, Lidia Achour (Mouna Soualem, The Night of the 12 , You Resemble Me ), a young member of an anti-terrorism squad, is sent to the town of Péranne after the brutal murder of an imam. Also on the case is local gendarme Jean Benefro (Olivier Rabourdin, Taken , Benedetta ), a man scarred by his memories of the Algerian War. Almost 30 years later, Achour is drawn back to Péranne after another shocking murder there, and the disappearance of her former partner – now a suspect in the investigation led by Adrien Caron (Denis Eyriey, Sambre:Anatomy of a Crime ), the town's newly-appointed police lieutenant. Lidia (Mouna Soualem) returns to Péranne. Credit: Ulrich Lebeuf / Mintee Studio / CANAL+ Shocking murders aren't unusual in a crime drama. Nor is The Embers' dual timeline. But the setting is less common. It's neither a big-city police beat nor a chilly Noirish village. Instead, it's a fictional town on the edge of the French Riviera – a deliberate choice by the creative team. 'For this portrait of current-day France, we focused on a region that is seldom featured in fiction but is nonetheless omnipresent in our post-industrial societies. It is a France of roads and roundabouts, where industrial zones bleed into business districts, into rows of detached housing, and on and on in a stark yet grandiose sprawl. This is what gave rise to Péranne, our fictional town located somewhere in the Marseille suburbs, but far from the rocky creeks of the calanques or the city's disadvantaged northern projects,' says Thibault Vanhulle, series co-creator and co-writer, along with Thomas Bedegain. Demoustier describes the setting as 'a territory of trouble and passion alike … Choosing this territory as a living, evocative, deeply complex backdrop has been our way to provide space for stories that have been unfairly overlooked and listen to voices that are too often unheard.' Jean (Olivier Rabourdin). Credit: Ulrich Lebeuf / Mintee Studio / CANAL+ The Embers is in many ways about how we carry the scars of our past. Benefro is haunted by his memories of war. Achour has regrets about the events of 1995. Caron is a man of deep integrity but burdened by awful experiences. Marwan Oufella (Idir Azougli) lost his mother in an arson attack as a young boy and was raised by a racist, violent criminal. Years later, his paths cross with Caron and Achour in Péranne. Mehdi Meraouiis (Kamel Mahjoubi) is man trying to rebuild his life, but he, too, is caught up in current-day series of murders. The series also asks, does the passage of time fulfil hopes or dash them? The team wanted 'to spark a dialog between two eras,' says Vanhulle. 'Back in 1995, France's multiculturalism was described as black-blanc-beur ('Black-White-Arab'), a pun on the colors of the national flag. The Soviet Union had recently collapsed, and it was said that we were witnessing the end of history; that digital technology would replace our perishing industries; that the riches of globalisation would be distributed equally; that we would become interconnected, global citizens of a multiethnic, multicultural society; that permanent world peace was on the horizon. Perhaps it was the promises of this era that we wanted to weigh up against our current reality. What exactly happened over those three decades? "This is what inspired the French title of our series: Cimetière Indien ('Indian Cemetery'), based on the way Native American burial grounds were expropriated and desecrated in the quest to build the North America of today. 'The Indian cemetery is history repressed. It is the ghosts that we thought had long been banished for good. But ghosts cannot die; they just keep haunting us. Sometimes they resurface, ready to settle their score with the living.' This article includes edited extracts of material supplied by Mintee Productions / CANAL+. The Embers is streaming at SBS On Demand.
The Guardian
22-07-2025
- Entertainment
- The Guardian
Reputation review – front and swagger in brawling portrait of British male rage
Squint and you can picture the two leads of this film playing the Gallagher brothers circa the big Oasis bust-up of 2009 – all front and swagger, eyebrows set into aggrieved furrows. Instead, in this small-time British crime drama, James Nelson-Joyce and Kyle Rowe play old mates dealing drugs in the fictional northern town where they grew up. It's a brawling tale about a man who feels trapped by toxic masculinity, though in the end the film too backs itself into a bit of a dead end of macho violence. Nelson-Joyce is Wes, who has been questioning his life and choices since his best mate Tommy (Rowe) went to prison. Wes and his girlfriend Zoe (Olivia Frances Brown) have just had a baby, and there's even talk of a job. Then Tommy is released, a repugnant bully unwilling to let Wes go. Rowe's ferocious performance feels horribly real, like an angry dysregulated little boy with a need to break anything he can't have. Tommy's rage gives the film some nauseating moments; perhaps even harder to stomach is the casual misogyny in Wes's circle. Reputation is a grim portrait of male rage, though it doesn't seem particularly interested in the reasons behind it. There is a real sense of place though, in rows of narrow terraced houses backing on to wide open expanses of countryside. And for a film put together on what looks like a minuscule budget, it gets a considerable amount done. There's a promising plotline about one of Wes and Tommy's customers, the mother of a murdered 10-year-old boy, as well as little flickers here and there of another life open to Wes. But in the end it all builds to a big grandiose violent ending, which is a bit of a shame. ● Reputation is on digital platforms from 28 July.
