Ridley review: An undercooked script, lackluster performance and no little donkeys

Ridley UTV, Sunday, 8 p.m.

Take a shot
BBC One, Sunday/Monday, 9pm

Suspect
UTV, Monday, 9pm

A murder in Dublin
Virgin Media One, Monday, 9pm

“Jean,” Adrian Dunbar said. That’s the first word Quest Line star speaks in his latest primetime crime drama. Hearing the sound of those first few letters, millions of viewers were no doubt bracing themselves for a distinctive cry of terror: “Jesus, Mary and Saint Joseph and the little donkey.”

Alas, it never came, because this is not Quest Line, and Dunbar isn’t Ted Hastings, although he’s still a cop because everyone on TV these days is a cop. That’s the law.

Dunbar was replaced by former DI Alex Ridley, now retired from the force following the deaths of his wife and daughter in a house fire. A somber man, his emotional depth is conveyed by the fact that, when alone, he plays melancholy jazz. On vinyl, naturally.

The jazz-loving detective is undoubtedly one of the biggest clichés in crime fiction. It’s admirable that the producers Ridley did not hesitate to go there.

Before long, Ridley was back in the game, as his former patron (do FallBronagh Waugh) seeks his advice on the murder of a not-so-famous shepherd farmer who may be linked to the unsolved kidnapping of a three-year-old girl decades ago – a school Match, needless to say, because these are also the rules, still haunting Dunbar.

If this all sounds very formulaic, that’s because it is. The investigation goes on as much as you’d expect, the script isn’t well cooked, and Dunbar seems to be calling in his performance.

What makes it all more disappointing is that the solution to the mystery, as it turns out, is actually quite satisfying. Generally in crime dramas there is a compelling staging but the explanation rarely matches the promise. Here, the setup couldn’t be more fun, but the ending feels right, which doesn’t mean the makers pulled quickly to tie all the ends loose.

However, it still doesn’t justify the investment of time to get there.

Video of the day

Take a shot at least try to do something more modern, acting as a way in which the rise of the surveillance state can be exploited by evil forces to cover up the real crime.

The second season begins six months after the previous one ended, with detective Rachel Carey (played by Holliday Grainger) now embedded in the sinister Correction Unit, which captures true-to-life footage of events. to get the result that its owner wants.

For the benefit of society, of course. Except when, well, it isn’t.

Sunday’s first episode opens with the murder of a Chinese dissident, whose assassin mysteriously managed to remove himself from all surveillance footage. This comes just as a British government minister is about to decide whether to award a contract on a facial recognition system to a Chinese company with ties to the regime in Beijing.

The plot is often confusing, but that doesn’t matter, because it carries you with you as it rises, with occasional tense moments and some great twists and turns. The speed never increases, leaving no time to think: Hey, wait a minute, can that really happen?

The atmosphere of paranoia created is reminiscent of the best conspiracy thrillers of the 1970s, such as Three Days of the Condor.

The basic message remains the same: Trust no one. Even, perhaps especially when they are supposed to be on your side.

Close

Aidan Turner in ‘The Suspect’

The biggest surprise of the week is definitely Suspect. The trailers can make viewers expect another overwhelming story about an ordinary man caught up in a Kafkaesque nightmare as he is inexplicably accused of a crime he committed. I did not commit and must fight to clear my name. So far, very meh.

On the contrary, it’s a clever, mischievous psychological thriller, in which Ireland’s own Aidan Turner’s behavior as therapist Joe O’Loughlin is so questionable and strange that you can’t help but wondering if he really killed the young woman whose body was found. with 21 seemingly self-inflicted stab wounds in a shallow grave. He certainly knew the dead woman. She once accused him of sexual assault. He did not share this with the police.

O’Loughlin certainly won’t be guilty (my money is his wife’s money, probably in conversation with his friend the doctor), but there’s clearly a lot of gloom about the past. and this man’s psyche needs to be discovered before the truth is revealed.

Whether it maintains the tension for five episodes – these dramas often end midway through – but it’s a strong, delicately scripted start.

Virgin Media One has produced many sensational, good documentaries in recent years. So sad, A murder in Dublin not one of them.

Subtitle Lie: Murder in the suburbs, it looks at the brutal murder of Rachel O’Reilly by her husband, Joe in 2004. The emotional Rachel family talks as usual about what happened; but there’s something cold and strangely unexplainable about the show, a feeling that becomes more understandable when the credits are rolled out and it’s revealed it’s a British production, originally made for Channel 5 in the UK.

That gap is most discordant when the English narrator pronounces “gardaí” throughout as “gard-eye”.

That the executive producer behind A murder in Dublin formerly known for shows like Celebrities hunting ghosts only exacerbated a funny feeling that the story was being taken advantage of.

One can understand why Virgin Media bought the show to show in Ireland, but the money would certainly have been better spent using original content from Irish filmmakers, who understood the nuances of the outrage well. remains in the memory.

https://www.independent.ie/entertainment/television/tv-reviews/ridley-reviewan-undercooked-script-lacklustre-performance-and-no-wee-donkeys-41956419.html Ridley review: An undercooked script, lackluster performance and no little donkeys

Fry Electronics Team

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