Curfew review: Is Mandip Gill and Bobby Brazier’s new crime drama worth watching?

As a long-time gamer of life and a passionate observer of pop culture, I must say that “Curfew” has left an indelible impression on me. This gripping UK crime drama takes the familiar trope of a night out gone wrong and flips it on its head in a way that feels both unsettlingly real and refreshingly bold.

Picture a world flipped, where women roam freely under the cover of night, while men must abide by curfew. This intriguing scenario is at the heart of “Curfew,” the gripping new UK crime series featuring Sarah Parish (“Industry”), Mandip Gill (“Doctor Who”), and Bobby Brazier (“EastEnders”).

The new Paramount+ series opens with an unsettlingly familiar scenario: a group of girls starting to walk home after a night out. Yet this time the streets are deserted apart from the odd female passers-by who wouldn’t be out of place greeting each other with a “Hi Barbie.”

Despite being reassured that this dark walkway is safe, it still takes time for any lingering concerns about safety to vanish, as we are all too familiar with such situations and their possible outcomes.

Instead, people are forced to observe from their windows, as if they’re part of a twisted scene reminiscent of a Red Light District. A girl even taunts her spectators with a playful “smile for us,” thereby underscoring the altered world we’ve now entered. Just in case it wasn’t already clear.

Evening curfew hasn’t suppressed his longing, but when a man descends from his high spot onto the street, his ankle monitor alerts: “Go back home”. A short while later, police show up to apprehend him, as they had been informed by his tracking device about his illegal activities.

At first glance, it might appear that women’s safety concerns have been addressed, but that illusion quickly fades when a woman is brutally murdered despite the strict enforcement of the alleged safe curfew.

Initially arriving is Detective Pamela Green (Sarah Parish), a seasoned law enforcement official, who finds herself teaming up unwillingly with a novice male officer, Eddie (Mitchell Robertson) – an exception among the dwindling number of men still given autonomy.

In Pam’s opinion, such an extreme act of violence, resulting in a woman’s severely injured face, can only be the work of a male perpetrator. This marks the start of an in-depth, politically sensitive analysis focusing on female homicides.

On the opposite end of this situation stands Sarah (Mandip Gill), who tags the anklets of males at the Women’s Safety Center, which serves as the core of a three-year-old monitoring system. In simpler terms, Sarah is responsible for attaching tracking devices to men at the Women’s Safety Center, which forms part of a three-year-old supervision program.

On a daily basis, she consistently labels boys who are ten years old and above, enabling constant monitoring of their activities. This occupation isn’t widely appreciated, leading to additional tension within her already troubled family.

Sarah has a large number of adversaries. Her former spouse is soon to be freed from prison due to breaking curfew, she’s been involved in an illicit relationship with a man who is married, while her daughter Cassie harbors resentment towards her for her perceived support of an oppressive government – which Sarah refers to as being employed by “the forces of fascism.

It’s not unexpected that she encounters verbal protests from the Men’s Liberation Now group, a controversial organization advocating for men’s freedom and the removal of any restrictions, on her commute to work.

Without the constant companionship and regular wine-drinking partner, Sarah’s life wouldn’t hold much color, as Helen (Alexandra Burke) is her closest confidante.

In this particular game I’m playing, there’s an intricately planned surprise early on – one I don’t want to ruin for you. Enjoy the discovery!

Curfew boasts a strong ensemble cast, with a few standout performances.

In the spirit of Gary Oldman’s Jackson Lamb from “Slow Horses,” my detective character, Parish, doesn’t exactly toe the line when it comes to following rules. She often believes she knows more than those above her and carries a heavy burden of misery. A common trope in this genre, Pam, our lead investigator, harbors a profound personal motivation for her relentless pursuit of justice, a driving force that narrows her focus like a tunnel.

This figure additionally utters some of the most debatable statements within the show, such as this: “You understand it’s likely that any deceased woman had a man drenched in blood claiming to love her.” It’s essentially the same message, but presented in a more conversational and easier-to-understand manner.

As a passionate viewer, I must say that “Curfew” isn’t just about understated storytelling. Instead, it’s a powerful call-to-action against the rampant violence against women, demanding serious attention and change. This gripping series unfolds to reveal a female-dominated society, where women’s rights take center stage, creating a utopia that challenges traditional norms.

In this adaptation of Jaycie Cowie’s After Dark, a female director and writer have left a distinct imprint, as the show avoids portraying its female characters as mere “misandrists,” but rather, as individuals who disliked living in constant apprehension.

As the series unfolds, Burke proves to be a valuable addition, taking on her first TV role and becoming increasingly prominent. The dynamic between Parish and Robertson provides some comedic respite during the more serious scenes, while Gill continues to impress as a compelling actor in this crucial yet often unlikeable part.

Is “Curfew” perhaps presenting exaggerated insights and broad conclusions regarding femicide, homicides, and female security? Absolutely. However, it also stirs deep contemplation and delivers some of the most powerful assertions about the rampant issue of violence against women.

Curfew is available now on Paramount +.

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2024-10-10 14:19