Review: If you're fresh from watching other shoe-string, budget films from auteur-directors such as Loach, Leigh or Meadows, you can may be disappointed by Hyena's lack of depth, knowledge of film-theory, and its inability to push the calibre of actors (such as Stephen Graham) to their potential. Nevertheless, the narrative is gripping and the film quickly drags you to hell with it.

Unrecognisable from his Nielson-esque portrayal in 'Tony'; Ferdinando's portrayal of bent-copper Michael is hugely exciting. The actor has a screen-presence that forgives some of the clumsier plot-devices and line-delivery, which often detract from the films strengths. Like Cimino and Cassavetes, the excellent use and direction of non- actors (mainly in the form of the Albanian-mafioso, antagonists), added the extra-dimension which 'Hyena' may have lacked otherwise. Elisa Lasowski's performance is also superb throughout.

In terms of content, 'Hyena' should be commended for its unflinching look at the realities of modern London; policing, immigration and human trafficking. Equally in terms of form; for its long-takes, use of improvisation, realism, use of non-actors, powerful narrative and performances. Much like in 'Tony', Johnson's thematic and aesthetic portrayal of big-city isolation, alienation, paranoia and nihilism through a dirty glass is palpable; and should be commended.

Both 'Tony' and 'Hyena' should have been given a lot more PR on its release, as well as the praise they deserves for its bravery and unflinching glance at a very modern London.

On the one hand, I could watch this for 10 hours straight or more if it was a series rather than a movie. It's very enthralling, good acting & good cinematography.. very raw and real. Good, subtle soundtrack that kicks up during tense moments.

But the ending.... wow, the ending. P*ssed. Me. Off.

Great directing and everything, so much to the point that I was fully invested in the outcome of the three main characters at the end (as well as the two bad guys!), but was left knowing nothing! What, did they not know how to end the script? It's gonna haunt me, not knowing what took place in the minutes following the last scene.

This is my first review, forgive me for my simple terminology. But surely some of you know what I mean, talk about "blue balls"!! I'd say I want my time back for watching it, but I thoroughly enjoyed it right up until the end! Very watchable. Potential. But a tease that will leave you feeling utterly cheated and unsatisfied. I look forward to more films by whomever directed this.

A corrupt cop Michael leads a team who tackle drug trafficking in London. But they act more like a gang of criminals themselves. Michael habitually cuts deals with the dealers but the arrival of two violent Albanian criminals, who not only traffic drugs but young women as well, presents him with a moral dilemma; while at the same time his team's corruption is threatened with exposure by an old colleague from his past who is assigned to work alongside them.

The hyena of the title is of course the bad cop Michael played by Peter Ferdinando. He is a pretty unglamourized central character. I was brought to mind of the film Pusher, particularly the remake set in London. Both films have protagonists who are engulfed in immorality and who are set on a downward spiral, while both also have scarily authentic ethnic gangsters from the south eastern Mediterranean providing the main threat of brutality. But maybe it's this very familiarity that is the problem, in that it seems like we have been here before with British crime flicks. What does stand out somewhat are the occasional moments of extreme grimness. On a few occasions we are presented with pretty visceral violence or the results of it, while there is also the repulsive sight of an overweight man having sex with a comatose girl to contend with. These horrible moments do hit home though and ensure this is a film that doesn't pull its punches. It's a film that is stylised at times, such as the opening assault of the neon lit club, and with an effective moody soundtrack from, of all people, The The. But it certainly isn't over-stylised which is something many other recent examples in the crime genre are, this ensures it has a grittier aesthetic overall which fits in with the story. On the whole though, there's nothing really new here though so in the final analysis it's a solid film as opposed to a very good one.