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Red Riding: In the Year of Our Lord 1974
A rookie journalist looks to solve the increasingly vexing case of a serial killer on the loose.
It's Yorkshire in 1974, and fear, mistrust and institutionalised police corruption are running riot. Rookie journalist Eddie Dunford is determined to search for the truth in an increasingly complex maze of lies and deceit surrounding the police investigation into a series of child abductions. When young Clare Kemplay goes missing, Eddie and his colleague, Barry, persuade their editor to let them investigate links with two similar abductions in the last decade. But after a mutilated body is found on a construction site owned by a local property magnate, Eddie and Barry are drawn into a deadly world of secrecy, intimidation, shocking revelations and police brutality.
The thing with a slow burn thriller is that there has to be a pay off that's worth the wait. The first Red Riding film had me worried more than once, but it delivers what it should do in spades.
Shot with total dedication to recreate the year in its title it looks and feels fantastic, creating a really immersive film. Everything breathes authenticity, which is a key part in the success of this film, as it follows and unfolds an investigation step by step, that needs that injection of reality to make it as gripping as it is.
The plot is paced pretty well, even though the first two acts drag a bit at times. What makes it all…
Well, you can add made-for-television films to the list of superior English entertainment. Red Riding: 1974 has to be not only one of the most stunning made-for-tv movies I've ever seen, but one of the most stunning period. The camera work left me breathless, despite the frustrations I felt with the story (whether intentional or not).
It's fitting that Eddie (Andrew Garfield) has a cigarette in his mouth on the coverart because all he does for the first half of the movie is smoke cigarettes, I understand this is a bit of a slow burn but I think the emphasis on smoking was a bit uncalled for and distracting (especially for an ex-smoker).
Even though my native language is English,…
Andrew Garfield really does go through it in this gruelling and often disturbing corruption drama. I lost count of how many times he gets a kicking in this. A gritty and complex story that starts with the disappearance of a little girl and her subsequent murder,this see's journalist Garfield stumble upon a bigger story. A stand-out cast of British actors that include Sean Bean,Warren Clarke,Rebecca Hall,Eddie Marsan and David Morrissey capture the look and mood of seventies Yorkshire. A drama that you definitely have to concentrate on this is well worth the watch and Garfield especially showed just what a good actor he really is.
I don't know why I waited so long to write this review, but having just seen the second one I decided to write this one as well.
Red Riding 1974 is the first film in a trilogy dealing with different murders in Britain. Each one covers a different year (1874, 1980 and 1983), and each one of them covers a different main character and investigation.
In the first film, 1974, Andre Garfield plays Eddie Dunford, a Yorkshire Post reporter.
Eddie starts to get over his head when he starts investigating a series of murdered or missing young girls.
His investigation leads him to powerful people in the area, to corruption in the police force and even…
Eddie Dunford (played by Andrew Garfield) is a cub reporter on the Yorkshire Post who, whilst following up after the disappearance of young girls discovers serious corruption within the local police force. A dark, frightening story which looked very much like the 1970s and kept me gripped throughout.
Stunning. Just absolutely stunning work.
From the opening, it grabs your attention and never lets go in a grip so powerful you never want to take your eyes away from the screen.
No spoilers here- go in with fresh eyes and come out bleary as you're cloaked in cigarette smoke and 70's dinginess, following Andrew Garfield's newspaper journalist Eddie Dunford trying to investigate two separate stories that inevitably interlink. One, suspected corruption and bribery in the police force and the other the brutal murders of three young girls.
You will share his pain and heartache and frustration; ever willing him on to oust all those involved and bring closure to the grieving. Only expect the wool to be pulled over…
Awash in the smoky amber glow of 1970s Yorkshire, a young reporter (Garfield) ambitiously tries to tie together a string of murders of young girls. What he doesn't realize is that it is pulling him ever-deeper into the noir-ish underground of "The North." Almost no one can be trusted, and those who can are usually in danger. As the layers get deeper and deeper, he gets more determined to bring the whole thing down. But who can he trust?
Garfield brings a naive swagger to the fatalistic Yorkie undergound world, and Rebecca Hall is a stunningly-unreliable femme fatale. It is super-bleak to be sure (and nearly impossible to understand at times, 'cause of the accents), but it's intense and never wimps out.
I see this film has gotten its share of awesome reviews in here...
Personally, I can't see why.
Although it is aesthetically beautiful, and really hits spot on for the time period it depicts, this film really didn't impact me the way I had hoped it would.
Garfield is superb, but the film in general bored me beyond belief! I normally tend to LOVE crime thrillers like this, but here I honestly spent more time figuring out what to eat for dinner, than engaging in the story.
Oh well. Can't be liked by everyone, can it?
But I like Michael Bay's film. What do I know, right...?
A very bad begginning for a much praised trilogy, Andrew Garfield is bad in this, four sex scenes are excessive an unnecessary. Interesting ideas all around but nothing ever really happens other than Garfield shagging and falling in love after three shaggs with a lady lol.
i won't be forgetting agarf's bare ass any time soon
A rather masterful intro to a trilogy of films "about" the later 70's and early 80's serial killer in the Yorkshire area of Britain known as the Yorkshire Ripper. This first film does not necessary contain any of those murders (the victims here are all young schoolgirls who have been beaten and abused in various ways [ick] and then had the wings of swans sewn onto their backs so that they resembled bloodied angels) but it sets up both police and politcal corruption that could be bought with money and local power players.
Andrew Garfield (Never Let Me Go) plays a small-time journalist who begins putting pieces together here and there and suspects that a serial killer could be on…
I think there's so much in these movies they might get better on repeat viewings. But that's a bleak thought to go through this again any time soon. Too bad Garfield wasted time doing the Spider-man movies, he really is fun to watch in something good.
A very BLEAK British Neo-Noir situated in Yorkshire 1974 during the terror of the Yorkshire Ripper. The early seventies are EXCELLENT portrayed through neo-brutalistic architecture and blurry brownishness, mirroring social corruption, camaraderie, obsession, despair, murder, mutilation, fear and hate.
Inventive camera work and colours augments the sense of paranoia and terror. Very realistic and nightmarish!
Musically was an unexpected high point when the main actor played KING CRIMSON's "In the Court of the Crimson King" from 1969, on a vinyl record player of course.
Really looking forward to watch the two other installments in this trilogy made and showed on British television: RED RIDING IN THE YEAR OF THE LORD 1980, and RED RIDING IN THE YEAR OF THE LORD 1983, both from 2009, and all based on novels by David Peace.
Jesus, that was fucked up.
A terrific showcase for Garfield, who delivers his best performance (excepting The Social Network) and now seems wasted on a superhero reboot franchise no one was asking for. Red Riding: 1974 feels a bit conventional and simplistic next to its tonal cousin across the pond, True Detective, but is nevertheless an engaging local conspiracy tale with a deep bench of British talent.
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
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