This Apple TV+ thriller might not re-invent the wheel, but it will keep you hooked thanks to an electric central duo.
If you’re in two minds about whether to watch Criminal Record, you may be put off somewhat by the preconception that it’s generic, or just one in a long line of similar series. But, in truth, shows like this don’t come around all that often.
I’m not talking about police or detective dramas, of course they do – they’re two a penny, they’re absolutely everywhere and there’s a lot of them that truly break the mould or earn their position on the slate.
No, I’m talking about dramas which take a simple, seemingly worn-out premise, and elevate it simply by putting two powerhouse performers at its centre, and letting them do their thing.
From the past couple of years, Jimmy McGovern’s prison drama Time comes to mind, as does 2022’s divisive BBC drama Marriage. Now, we can add Criminal Record to that list.
The eight-part police thriller stars Cush Jumbo as idealistic detective June Lenker, who is the early stages of her career – she’s utterly driven to prove herself, to uncover the truth and to deliver meaningful justice.
One day, a message in an emergency services call leads her to believe that Errol Mathis, a man convicted of murdering his partner, Adelaide Burrowes, over a decade prior, is in fact innocent.
Attempting to uncover the truth leads her into the path of Peter Capaldi’s Daniel Hegarty, the well-connected, highly respected detective who led the initial investigation. He’s not one for playing nice and, in the face of a threat to his reputation and legacy, he starts to fight back against Lenker’s enquiries.
Thus begins a game of cat and mouse, as two very different approaches to life and policing come into conflict with one another. But just what are Hegarty’s intentions? Is he right or wrong? Is he simply stubborn, or is he corrupt?
These questions linger over the entire season, as Capaldi expertly treads the line, never quite letting you in on the truth surrounding this complex, morally grey character until the time has come.
It’s a phenomenal performance which keeps you captivated throughout every scenes he’s in. It’s subtle and textured, never leaning too far into the dramatic, and, thankfully, one which is matched by his co-lead, Jumbo.
Jumbo inhabits the role of Lenker, a detective who, despite being the better angel of this duo, is by no means perfect. You may root for her, but she’s equally as complex as Hegarty, even if she is often two steps behind him – the doesn’t patronise the audience, and instead makes clear the obstacles she faces trying to keep up with a seasoned detective with institutional backing.
The scenes between them are enthralling, while there’s just as much intrigue to be found in the scenes of them separately, working against each other, never quite knowing how their dynamic will next develop.
The mystery itself, and the case Lenker finds herself embroiled in are engaging, without being revolutionary or, in all honesty, completely engrossing. This isn’t a whodunnit by any stretch of the imagination, nor is it as gameified – you aren’t really able to play along and piece it together.
However, there are still twists and turns along the way, most relating to Hegarty and how much he knows, or otherwise. It’s a not a series which relies on surprises, but some well-judged cliffhangers will keep you coming back for more, as will the impressive supporting turns from a who’s-who of British acting talent.
Shaun Dooley, Aysha Kala, Tom Moutchi, Stephen Campbell Moore and Zoë Wanamaker are all compelling in their various roles, while Charlie Creed-Miles is suitably repellent as one of Hegarty’s former colleagues Tony Gilfoyle.
Another feather in the show’s cap is its timely examination of issues surrounding modern policing – whether its racial bias, disparity in generational approaches to justice or how police work junctions in a contemporary, polarised environment.
The series doesn’t flinch away from any of these discussions, nor does it from exploring the role of institutional failings in the decision making of individuals. It all feels refreshingly nuanced, and well embedded within the narrative, so as not to appear clunky.
Unlike some shows which strive for ripped-from-the-headlines relevance, this feels earned, not least because the subject matter is depressingly timeless, but also because it examines the topics it does in a complex, nuanced way, while steeping everything in character – it isn’t just paying lip service to social issues for the kudos.
Also, if you’ve ventured into the library on Apple TV+ before, then you’ll know the score by now – the series looks phenomenal, with every penny of the budget up on the screen.
That’s not to say that’s it’s in any way glossy – directors Jim Loach and Shaun James Grant use the visuals to depict all sides of London, exposing the wealth disparity and the reality of the city’s murkier sides in a way that few representations of it do.
Does the plot of Criminal Record re-invent the wheel? No, and it’s not trying to. Instead, it’s a well-paced and satisfying policing story, which is more interested in its character studies and thematic explorations than innovative story beats.
In choosing to focus its attention on its superbly well-drawn characters, rather than any plot machinations, the series made something of a gamble, but one which has more than paid off due to the strength of Capaldi and Jumbo’s performances.
Criminal Record premieres on Apple TV+ on Wednesday 10th January 2024 – sign up to Apple TV+ now. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what’s on.
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