A SHOT IN THE DARK

The new cop se­ries Dark Blue isn’t quite moody enough for Guy Davis.

Geelong Advertiser - TV Guide - - FEATURE -

How­ever, de­spite some en­gag­ing per­for­mances and in­trigu­ing sto­ry­lines, the sub­stance can’t keep pace with the style, leav­ing this moody, brood­ing drama feel­ing a lit­tle run-of-the-mill.

It’s a bit of a shame, ac­tu­ally, be­cause I’m a fan of its lead­ing man, Dylan McDer­mott, mak­ing a re­turn to the small screen here af­ter his long run on The Prac­tice.

He’s a dab hand at por­tray­ing earnest good guys with a some­what ragged edge and shady moral code, and he pulls off the soul­fully di­shev­elled look with panache.

So his Dark Blue role as Carter Shaw, the head of an LAPD un­der­cover unit so top se­cret most of his fel­low of­fi­cers don’t even know it ex­ists, fits him like an all-black wardrobe and avi­a­tor shades. ( Yes, that’s Shaw’s out­fit of choice.)

A wid­ower with no life out­side his job, Shaw’s the kind of guy who looks at the city streets and mut­ters “ I see ev­ery­thing that needs to be fixed” – he’s a spir­i­tual cousin to other Bruck­heimer badasses such as CSI: Mi­ami’s Ho­ra­tio Caine ( David Caruso) or With­out a Trace’s Jack Malone ( An­thony LaPaglia).

But fix­ing the streets is too big a task for one man, so Shaw needs peo­ple just as driven – and prob­a­bly just as dam­aged – as he is.

Ty Cur­tis ( Omari Hard­wick) seems the most bal­anced of the team, al­though the na­ture of his work is driv­ing a wedge be­tween him­self and his wife.

Dean Bendis ( Lo­gan Mar­shall-Green) im­merses him­self so deeply in his deep­cover op­er­a­tions in crim­i­nal or­gan­i­sa­tions that his col­leagues won­der whether he’s on the verge of swap­ping sides.

And then there’s new re­cruit Jaimie Allen ( Nicki Ay­cox), whose his­tory is a mys­tery.

This rene­gade team, en­forc­ing the law by stretch­ing its bound­aries to the limit, face off against the worst of the worst – arms deal­ers, drug barons, ter­ror­ists – and the phys­i­cal dan­ger they face is noth­ing com­pared to the sub­scrip­tion-chan­nel se­ries such as The Wire or The Shield.

There are some re­ally in­ter­est­ing dra­matic pos­si­bil­i­ties in the high-stakes arena of un­der­cover work, but in the end Dark Blue only inches its toe over the line. If it were to com­mit it­self a bit more ( and given that it’s been given the go-ahead for a sec­ond sea­son, it still might), it could truly be some­thing to be reck­oned with.

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