Directed by Gerard Johnson
Good policing doesn't necessarily mean doing everything by the book. But as the business of crime in London turns to favour the Albanians and Turks, how does a "good" policeman survive?
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★★★★ review by F3lixL3g1ons on Letterboxd
A rotten bunch of drug-squad officers in a downward spiral: Running out of cash, running out of guardians, running out of options! Vaguely reminiscent of Pusher and 'Footsoldier, the ending appears to be frustrating initially, yet the more you think about it, the more it makes sense — kinda sorta maybe.
Straight outta London. A crash course on corruption as a way of life. A Faustian lesson beyond good and evil. Lovely!
★★★★ review by Waldo on Letterboxd
From the director of the disturbing slasher Tony comes this crooked cops tale from the UK. A special drug unit specialized on drug rips get too close and over their heads with the scumbags their supposed to be taking down. "This is a new kind of criminal " they say. A brutal look at the European drug scene in the English underworld. Great directing and a pulsating score that puts you right into the action. Ferdinando (Tony himself!"), Maskell, Graham and Buring are some of the familiar faces here giving great performances. Sleazy, dark, bloody. Just a beautiful thing.
★★★½ review by Ryan on Letterboxd
"Hmm... I wonder if this filmmaker was inspired by Pusher" - me, a few times watching Hyena
*goes through act three*
"There's no way 95% of this film wasn't inspired by Pusher and the other 5% Pusher II and III." - me, watching the ending and figuring out how it was going to end
Hope to follow this with a slightly longer, better review.
★★★★★ review by Noel Mellor on Letterboxd
Incredibly stylish and violent British crime and corruption drama that's an unexpected gem well worth your time. It will divide people for sure, or at least where it ends up will, but you must give this a go. Excellent performances, brilliant score from The The. Watch it on UK Netflix immediately.
★★★★★ review by Matt Thomas on Letterboxd
Brutal, unflinching, raw and uncompromising. After Tony and now this, we have proof that Britain at last has a real writer/director/actor partnership to be taken seriously. Similaries to Winding Refn (use of light and music especially) will hopefully help these small films find a wider audience. Never for one second does the camera hide anything. Not for the faint hearted.
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