Rozzi1 Michael is corrupt London CID Detective who runs a unit of equally bent Drug Squad officers. He is effectively a 'gangster with a badge', snorting cocaine seized in violent nightclub raids and with a growing underworld racket of his own. Investing a large sum into a prosperous drug smuggling operation, run by some Turkish criminals of whom Michael 'guarantees protection' to, the racket is moved-in on by a group of sadistic Albanian villains who take out Michael's Turkish associates, leaving him high and dry in the process. As Michael craftily uses his police powers to investigate the Albanian gang, he discovers their empire includes Human Trafficking.Michael's professional life becomes more and more complex, as he puts his resources into figuring out how to deal with the Albanians rather than investigating Drugs crimes, and in doing so he comes back into contact with a former adversary Detective Knight, who is officially in charge of the Human Trafficking investigation. Into the mix, Detective Inspector Taylor, an unrelenting officer has been placed by the internal affairs department to investigate Michael's activities for possible corruption. As Michael delves into the world of the Albanian criminals he meets Ariana, a young woman held captive by the gang and he rescues her, hiding her away at his girlfriend's house – an act of morality which ironically leads towards his own downfall."Hyena" is a great piece of cinema, handling the darker side of the London underworld and corrupt police units with a certain artistic style and atmosphere which feels fresh, while retaining an authenticity and grimness needed to keep the balance. It is though a remarkably violent film and certain scenes are too unpleasant to watch, but nevertheless "Hyena" is a tour de force of contemporary British cinema with a flare to offend, a pace to keep you watching, and a story to make you think.

rooee 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.

BasicLogic the funny is that after so many years trying so hard to sit through all the crime genre films out of the British movie industries, none of them ever could hold my focus and most of the time, i just quit after tormenting and torturing myself for about 20 to 30 boring, uninteresting of my life. except kept hearing the modern curse word "Fxxking" this, "Fxxking" that, a word used to be "Bloody" couple of years ago in every British movie, there was nothing coherent enough to be recognized as a 'good' enough movie, albeit 'decent' or even 'great' one.this 'hyena' is no exception at all. what a bore, man. full of unlikable screen personalities, bored to death scenarios and storyline, cardboard acting, non-exit direction, what we got here is nothing but another hyped hollow, snail-crawling crap out of London. the average ratings on IMDb are around 6+_, and on rottentomatoes.com even got a higher 7+ rating average, gee, are we watching the same movie of the same title? i really don't want to write a review of this typical British tasteless wax ball, but i just couldn't help myself, man. watching this movie is like when hiking on the mountain trail, i suddenly overhear a mountain goat 'Meh...meh...' behind some rocks.

Analogue_Anderson The following review is going to be quite negative; something I don't like doing, but in this case it's born out of frustration as the BFI, Film 4 and Tribecca are all behind 'Hyena' and it just makes me scream aloud WHY?! I'm clearly missing something. I know it's a low budget thriller and the fact any film gets made yet alone released is quite an achievement but seriously, why bother if there's nothing original to say or show when you aren't working under the overly regimented eye of a powerhouse studio? Director Gerard Johnson is also the screenwriter and this really needed a second stronger writer to edit it down and polish up some of the horrible or just too 'on-the-nose' dialogue that results in cliché. For a writer/director in his forties the script is very immature and the (visual) direction seems (probably intentionally) shot from the hip as 99% of it is hand-held close up or MCU work with countless shots following behind Gerard Butler lookalike Peter Ferdinando as he walks. Ferdinando here isn't a strong enough an actor to carry this, however his given dialogue could take a lot of the blame although many of his emotion and reaction shots look like the editor has cut in the bad takes. Mentioning the editing, the film has so much padding and could easily be relieved of a good 10 minutes from its over-long 112 minute running time. How many montage-style scenes were there of characters doing things (drinking and drug taking mostly) set to music that didn't really progress the plot? And what was with the male topless food fight? For a 'tough cop' movie there are a number of homo-erotic moments here that feel out of place. MyAnna Buring was there…. to collect a pay-check? Given NOTHING to do. The ending I won't talk about, although it doesn't work in this scenario. But then again I couldn't have cared less about any of the characters outcomes and the cut to black was in fact quite a relief. Sharing many of Ben Wheatley's regular cast members, director Johnson adapts a similar cinema verite-style as seen in 'Kill List' but overall it just feels like lazy filmmaking. As I say, I think I'm missing something. Or is mediocrity the new "it'll do"?