source: Hyena

Peter Ferdinando plays Michael, a bent cop trying to partially unbend himself. He's just made a deal with some very naughty Albanian gangsters, only to find they're being investigated by his division and he's being stitched up for a murder he didn't commit. He's up against it: His colleagues are a bunch of racist drunks; his arch-nemesis David (Stephen Graham) has just returned as his senior officer; and a clean-cut cop named Taylor (Richard Dormer) is on a mission to clean up the Met. Meanwhile, Michael takes it upon himself to rescue a trafficked woman named Ariana (Elisa Lasowski), while trying to keep his own girl Lisa (MyAnna Buring) from been chopped into little pieces. Laugh-a-minute stuff, then. The film starts boldly with a heavily stylised raid, followed by a scene in which Michael's crew drink and snort and mouth off about "Pakis". The script is as visceral as the violence; unpretty but pretty authentic. The best of the dialogue – and the most engaging character dynamic – occurs between Michael and David, and the film could have done with more of their tense, skilfully acted showdowns, and slightly fewer scenes of people receiving terrible news by telephone. But that's not to deny the film's grip. There's a genuine sense of danger throughout, and the central theme of cops "crossing a line" is consistently observed throughout – even if Michael's shambolic descent is telegraphed from the start. "This isn't the 80s," one character remarks, although the sophomore feature of writer-director Gerard Johnson owes more than a little to the crime movie giants of that decade. Its yawning cityscapes and blue hues are like Michael Mann on tour in London, while the street level stuff – all shadowed alleys and vice-filled backrooms – are straight from Abel Ferrara. Indeed, Bad Lieutenant comparisons are particularly noticeable. Its more recent influences include Gaspar Noe's stalking camera-work and Nicolas Winding Refn's doom-scored spasms of ultraviolence. If all that appeals then great, but don't go in expecting to see anything new or particularly refined. Hyena is a decent gritty Brit-crime thriller, sophisticated in aesthetic if not in content. It's beautifully shot and lit, and the performances are strong – particularly Ferdinando in the lead, the underused Graham, and Kill List's Neil Maskell. Its preoccupations tap into (and exploit) modern fears of police corruption and immigration effectively. Yet all the way up to its ambiguous (read: mildly unsatisfying) ending it feels more like a set of long-established clichés updated to the twenty-teens than a bold new voice in home-grown gangster film.

Michael Logan is a police detective in London. His area is drugs and this brings him into contact with European drug syndicates. Logan is happy to turn a blind eye to their dealings, for a cut, or confiscate suppliers' merchandise for their own profit. So far he and his equally-crooked police colleagues have done quite well out of this. Then a deal he was planning with a member of a Turkish drug cartel goes sour and the balance of power swings to an Albanian gang, run by two brothers, the Kabashis. Logan quickly aims to provide the Albanians with the same service he provided the Turks, but they aren't easily lead. Meanwhile, he an his colleagues are being investigated by Internal Affairs. Just to make his life more complicated, he has been seconded to a vice task force, run by a former colleague whom he does not get along with. Gritty crime-drama that blurs the lines between good and bad, criminal and cop. Very well done in this respect, as you never know who is on whose side, who's looking out for justice and who's just it for the money. Even figuring out who are allies on the criminal side of things is difficult. All this leads to a wonderfully complex minefield or relationships, loyalties and intentions, and in the middle of it is our main character, Logan. Just a pity about the ending though. The movie was heading for great climax, and maybe even a 9/10, when the director wrecked it with the final scene. Without giving too much away, it was very unsatisfying...

Review: If you're fresh from watching other shoe-string, budget films from auteur-directors such as Loach, Leigh or Meadows, you can may be disappointed by Hyena's lack of depth, knowledge of film-theory, and its inability to push the calibre of actors (such as Stephen Graham) to their potential. Nevertheless, the narrative is gripping and the film quickly drags you to hell with it. Unrecognisable from his Nielson-esque portrayal in 'Tony'; Ferdinando's portrayal of bent-copper Michael is hugely exciting. The actor has a screen-presence that forgives some of the clumsier plot-devices and line-delivery, which often detract from the films strengths. Like Cimino and Cassavetes, the excellent use and direction of non- actors (mainly in the form of the Albanian-mafioso, antagonists), added the extra-dimension which 'Hyena' may have lacked otherwise. Elisa Lasowski's performance is also superb throughout. In terms of content, 'Hyena' should be commended for its unflinching look at the realities of modern London; policing, immigration and human trafficking. Equally in terms of form; for its long-takes, use of improvisation, realism, use of non-actors, powerful narrative and performances. Much like in 'Tony', Johnson's thematic and aesthetic portrayal of big-city isolation, alienation, paranoia and nihilism through a dirty glass is palpable; and should be commended. Both 'Tony' and 'Hyena' should have been given a lot more PR on its release, as well as the praise they deserves for its bravery and unflinching glance at a very modern London.

Feel as though your recent bout of cop flicks haven't been hitting the mark when it comes to the gritty, grimy and downright dark factors? Then Gerard Johnson's Hyena is just the film your looking for! As degenerate and devoid of lightness as your likely to want to get, Hyena is very much so a British crime film painted in the same brush as those dimly lit genre specialties like the U.K's very own The Long Good Friday and in some ways grungy classics like The French Connection and while Johnson's film sadly never eventuates into a film of special power Hyena is a never the less engaging watch, even though its often far too dark for its own good. Centring around drug squad cop Michael who operates under a special set of ethics alongside his team of crack snorting and extortion loving partners of the badge, Hyena starts off in the shadows and while briefly flirts in tiny moments with entering the smallest areas of light retreats as the runtime wears on into the underworlds of London and its criminal underbelly and with its unflinching depiction of violence and a particularly vulgar assault that is likely to offend many that lay witness to it, Hyena is a film not made for everybody and makes no apologies in being so. After only one previous film in the form of the equally small scale Tony, director Johnson should be commended for sticking to his guns and draws out great performances from his leading man Peter Ferdinando as the somehow likable Michael and also the brilliant yet underused Stephan Graham as task force boss David Knight, with Graham once more showcasing just why his one of the industry's most reliable actors with his rare ability to go between charming and dangerous at the drop of a hat. Despite Johnson's and his main casts efforts however Hyena never fully gets going in a narrative sense and with a culmination that seems far too weak for what's come before, Hyena is likely to leave many a viewer cold in both an attachment and engagement sense. Commendable with its depiction of a seedy London cityscape and with a noteworthy score from Johnson's brother Matt and some nice central performances from Ferdinando and Graham, Hyena is good quality material that could've been something special had it struck the right narrative balance in amongst all its limb chopping's, swear words and dirty back alleys of a city that hides a dark yet violently alive world. 3 angry Albanians out of 5

I'm guessing the low 6.2 overall rating for this film is due to the amount of 'unnecessary' violence that turned some people off, but if you're looking for an invigorating and hard-punching British gang/police flick, look no further... it's a very enjoyable film. The main issue is the film's degree of realism and would this plausibly happen in real life? The answer is yes, it's very plausible in an exaggerated sort of way, with only a few plot holes to keep the pace moving. I'm also guessing that the stereotypical Albanian hit-man and his bad-fitting track suit combination could make a few people reel away from this film - it adds nothing new, but if you like violent British films like 'Starred Up' or 'This Is England', you're equally going to like this. It's seedy, mildly depressing, bleak, hopeless, very violent, graphic... extremely hard-hitting - what's not to like about this film if you enjoy the genre? A heads-up if you've been put off by the negative reviews. Recommended.

This movie is about corrupt Cops in London.Movie was really good however the ending was a big let down

"Hyena" is a punishingly bleak, violent trudge through a London underworld of sex traffickers, drug dealers, rapists, gangsters, and police who are indiscernible from them. It's the kind of thing that makes you feel dirty. It reminded me a little of that Aussie flick, "Snowtown", except that had a reason for existing, other than just the dubious pleasure of wallowing in the mire. Its protagonist is a crooked cop who cooperates, a little too helpfully, with gangsters involved in the traffic of sex slaves from the Balkans. At some point he may decide to redeem himself - or does he? It could be that that's just a cliché for movies like this, so we expect it, a la "Bad Lieutenant". He does try to help one of the sex slaves escape, but for the rest of the movie he is really just acting in his own interest. The movie doesn't bring you close enough to the character to make him interesting like in that movie, though, or other gritty character studies like "Pusher", or of course, the daddy of them all, "Taxi Driver". He's just another scum bag. If there is goodness in him, that makes him worse than the others. They don't know any better. The movie is continually violent and shocking, with dismemberments, decapitated heads, graphic rapes. It doesn't feel realistic or necessary. This movie is like a deliberately sick carnival ride going from one grotesque exhibition to the next. When it's over, the challenge is answered and you can get on with your day. It might shock you while it's happening but you won't be thinking about it for long afterwards.

Great performances but the terrible ending, the director tried to be over smart and too creative than what he is by messing up the ending so bad that the audience feels the whole movie to be a total waste of time.

Detective Sargeant Michael Logan is a corrupt cop and finds himself getting involved in a turf war between Albanians and Turks on the seedy streets of London's underworld And that's really it as far as plot goes but regardless of this I was dying to see HYENA since I'm a massive fan of Johnson . Not Gerard Johnson the director but Matt Johnson the composer here once known and revered as The The who made some of the greatest , innovative and diverse music of the 1980s . This innovation meant he wasn't the most popular or best selling artist in an era dominated by manufactured plastic pop by the hit factory of Stock , Aitken and Waterman and by the early 1990s The The were releasing fewer stuff that was increasingly under promoted and Matt and his collective haven't released any material via mainstream means since Naked Self in 2000 . In other words if you want to hear any new material you'll have to go out of your way . The good old days of popping in to Woolworths to buy a new release are long gone . You can download stuff via ITunes and Amazon but the material would have to be available in the first place !!!!! SUGGESTIVE SPOILERS !!!!! On the surface HYENA isn't all that different from another recent watch FILTH which has the same premise of corrupt cup finding redemption of sorts but that film suffered badly by being sourced from Irvine Welsh and when you've seen one Welsh film adaptation you've probably seen them all . HYENA is different and a rather difficult watch in some parts with rather disturbing parts such as a rape scene which doesn't leave much to the viewer's imagination . Gritty doesn't really do it justice . Gerard Johnson obviously doesn't have a big budget to play with but he does show imagination such as a police raid at the start of the film being directed in an extremely trippy manner . Since it's a character driven story revolving around a corrupt cop it's important that you cast correctly and Peter Ferdinando is very good as Logan and deserves to be better known . He is ably supported by the "usual suspects" of actors you'd expect to see in an independent low budget British movie but that said I've watched a lot of low budget indies where the cast are uniformly dreadful and one wonders why Johnson gets it right here when so many others have been getting it patently wrong ? Nice , moody soundtrack from Matt Johnson too that compliments the visuals and gives some of us hope that his career hasn't come to an abrupt jarring end like the ending of HYENA which is rather frustrating