With its own quirks, complexities and memorable moments, the serial killer themed Red Riding Trilogy should be a cinematic slamdunk. Problem is there is so much slowness, so much nuance and way too much story wise going on (the killer aspect becomes almost an afterthought!) that it just feels like a long ride. Not to mention that fact that the third film in the series is the strongest, but is only fully understandable by watching the first two mediocre outings. (Meaning you gotta sit through the bad to get to the alright!) But since each film – 1974, 1980 and 1983 – has it’s own strengths and weaknesses, let’s take a look at each individually.

Red Riding – 1974
An aspect of the story where an inquisitive reporter decides to explore more about the killer known as the Yorkshire Ripper and gets way more then he bargains for. Problem is here the more is a ton of subplot material about dirty cops and political red tape and not much about the killer or crimes themselves. Andrew Garfield, so brilliant in Boy A, plays the curious journalist with a ton of charisma, but just can’t elevate the bogged down material. Director Julian Jarrold has a not so delicate touch and the film suffers as a result – to much to handle.

Red Riding – 1980
The most curious of the three starts of interestingly enough with a hard-nosed detective (a very solid Paddy Considine!) being assigned to look into the killings and gets results. But with corruption abound and some serious skeletons in his closet, the focused cop finds the task a tad difficult. This one has a terrific premise that gets way too bogged down in the minutia of the hunter instead of the details of the hunted. Helmer James Marsh focuses way too much on an overall conspiracy between underworld figures and not enough on the task at hand – finding the killer should have been key.

Red Riding – 1983
Easily the best of the three not only for style ala Anand Tucker, but also for actually delving into the actual subject – the Yorkshire Ripper. Mark Addy comes in as a lawyer that ends up stumbling on the facts that may lead him to the culprit and David Morrissey finally comes into his own here as a dirty cop with a nagging conscience. Unfortunately this one cannot be wholeheartedly recommended, as there are details from the first two films that are key to full understanding, but it’s a solid effort – 1983 really was a good year.