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Line of Duty (TV)

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  Line of Duty (TV) Review
Tookey's Rating
10 /10
Average Rating
9.75 /10
Martin Compston , Vicky McClure , Adrian Dunbar
Full Cast >

Directed by: David Caffrey, Douglas Mackinnon, Daniel Nettheim, Michael Keillor, John Strickland, Jed Mercurio
Written by: Jed Mercurio Created by Jed Mercurio

Released: 2012
Genre: DRAMA
Origin: UK
Length: 0

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This is less like watching TV, and more like being abducted by it, cuffed, then dragged along.
(Kate Abbott, Guardian, 2017)
Line of Duty (BBC1) came to a nail-bitingly exciting end, or rather to three nail-bitingly exciting ends, two of them unforeseeable by even the most imaginative of viewers.
(John Boland, Irish Independent, 2017)
What separates Line of Duty from its more generic peers is its extraordinary interrogation scenes. Where to begin with these masterpieces of sustained intensity? Perhaps by pointing out that they are some of the most thrilling and audacious pieces of writing and performance that TV currently has to offer. For all of Line of Dutyís tendency to end up with chases, gunshots and general cop-show mayhem, these climaxes somehow feel like a lessening of tension; a dam bursting after an intolerable build-up of pressure. This seasonís centrepiece saw Huntley (Thandie Newton) Ė proving how intellectually nimble someone can be when they have absolutely no scruples Ė savagely turning the tables on a visibly shaken Hastings. Hastingsís descent from bastion of probity into something slightly more ambiguous was another of this seasonís topical touchstones. It fed into 2017ís wider sense of a world stumbling through a hall of mirrors, objective truth always just beyond our grasp. If we canít trust Ted Hastings, what hope is left? So, while the gender of Roz Huntley made season four of Line of Duty timely, maybe in the end, it was just another red herring in a massive, Blue Planet-worthy shoal of them. Who is really pulling the strings? Why was Hastings so uncharacteristically eager to draw a line under a particular aspect of AC-12ís investigation? Jed Mercurio is brilliant at contriving endings that feel satisfyingly conclusive yet pregnant with further possibility. Itís testimony to Line of Dutyís relentless momentum that, even after four gruelling seasons of bafflement and revelation, you canít wait to find out. Even if deep down, you suspect we never will.
(Phil Harrison, Guardian, 2017)
The UK can be split into two camps: those who love Line of Duty and those who are yet to love Line of Duty - there can surely be no middle ground; once you've taken a bite into the BBC crime procedural, it's practically impossible to avoid being consumed by Jed Mercurio's patchwork of well-crafted thrills, engrossing characterisation and stunning reveals you'd be mistaken for assuming no longer appeared on British TV.
(Jacob Stolworthy, Independent, 2017)
And so, the fourth series of Line of Duty has rocketed to its close, in a final episode so tense it encouraged you not just to nibble at your fingernails, but to gnaw your fingers clean off Ė a queasily relevant image, come to think of it.
(Mark Monahan, Daily Telegraph, 2017)
Of series three, I remember saying I hadnít been as involved in a case since doing jury service. This is like being called up again, just one year on. Again Iím pausing, going back, making notes, requesting to look at things again... This time Iíve made my own evidence board, with names and pictures, of Roz and Tim Ifield and Michael Farmer, and Iíve pinned lengths of wool linking them together Ö No, of course I havenít, although thatís not a bad idea. What Iím saying is there is no more involving television; it feels more like living it than just watching it.
(Sam Wollaston, Guardian, 2017)
In the end, Roz Huntley wasnít truly a villain. And neither was ACC Hilton. Neither, even, was Jimmy Lakewell, a character whose photo is begging to grace the nationís dartboards. They were all characters who made the wrong decisions and who paid dearly for them. There but for the grace of God go the rest of us, is Line Of Dutyís chastening lesson. Perhaps, like Steve, weíd have stopped sooner, perhaps not. Nothingís certain.
(Louisa Mellor, Den of Geek, 2017)
Utterly gripping, with the show continuing to capitalise on the 'main character gets killed early' trope they started.
(Sarah Deen, Metro, 2017)
The finale was phenomenally exciting.
(Deborah Ross, Daily Mail, 2017)
How Jed Mercurio turns acronyms into utterly natural TV dialogue, and makes lanyards so damned sexy, are two of the great mysteries of our age.
(Rachel Cooke, New Statesman, 2017)

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