Critical Condition: The Tunnel – Vengeance

The Tunnel – Vengeance | SoHo, 8.30 Tuesday

➢ “The Tunnel is, of course, the Anglo-French reworking of The Bridge, which, along with The Killing, changed the face of detective drama. Clémence Poésy is outstanding as the nerveless Gallic version of The Bridge’s Saga, Stephen Dillane similar as the understated Brit counterpart. The plot, which rattles and shuttles between Brittany and the Kent coast, is complex and sprawling, but in the hands of Finnish director Anders Engström (Wallander, Jordskott, Taboo) kept surprisingly tight and, crucially, lucid, as we explore the darker side (as if there’s any other) of those who seek to profit from the refugee crisis.” — The Guardian.

➢ “When three British children vanished from their Kent home, the cross-channel detective duo teamed up to investigate a link between these seemingly separate incidents. Cue Pied Piper of Hamelin references. It raised interesting questions about the refugee crisis and the value society places on children’s lives. There were echoes of The Bridge, The Missing and Broadchurch. The creepy atmospherics relied too heavily on horror tropes – shower scenes, banging gates, squeaky wheels – while the script crowbarred in Brexit references in a bid to sound timely.” — The Daily Telegraph.

➢ “Season two had to bring in a plane crash, which isn’t strictly speaking something that happens in tunnels, but they got away with it. Season three now has boats and people smuggling. There’s also something weird going on with rats down below, but it does have a slight whiff of ‘Oh God, we’d better do something with the tunnel.’ So far, there is also a very distant Brexit backdrop going on. They could make a bit more of that. Especially as this is probably the last one they’ll get to make before we brick the damn thing up. If you’ve never quite got around to The Tunnel, make this your next detective obsession.” — The Times.

➢ “The Tunnel slightly lost its way in season two. But judging by these first two episodes of this third and final endeavour, it seems back on track with a gripping, complex investigation trawling the underbelly of human trafficking and those who profit from the refugee crisis. Finnish director Anders Engström (Wallander, Jordskott, Taboo) helps capture an authentic Nordic noir atmosphere, with every scene bathed in deep shadows, greys and muted tones.” — The List.