After the events that occurred in the first chapter, the second entry sees things take place six years later, but what happened then still seems to be creating a ripple effect now. Detective Peter Hunt is assigned to take charge of a covert investigation inspecting the West Yorkshire police's handling of the Yorkshire ripper case (this is where the writers excellently let the fiction get caught amongst the true facts of this infamous case). However what he uncovers is something much more damaging about one of the Ripper's supposed victims, which leads him down the path of inside corruption and cover-ups. Chapter 1980 is even better and a little more straight-forward and steady in its story-telling, despite some fragmented passages (re-examining past dealings) in a narrative that mainly focuses on the police/and their questionable actions than say the victims/outsiders like in the first film. This gives an angle that those people investigating a truly swimming with sharks, as if their interference is nothing more than a hindrance that they will only find themselves in over their heads amongst unwanted turmoil and their own personal problems will get in their way. Although the victims are still just as important in the scheme of things and uncovering what's really going on. The murky story manages to hold you, as when you think it's going to plan as you go on to connect the dots it piles on the biting twists leading to betrayal and murder. You feel like your peering in, as its serious and blunt trappings just evoke such an authentic feel that this could happen which makes it even more unsettling, although it doesn't quite match the punch of the first film. Still it ends on quite a stomach turning note (not visually speaking, but how it pans out) and final image with the flighty score leaves a haunting mark. In all it's the conniving nature that shocks, even if the violence has a sledgehammer intensity and exposition. However it tends to describe the horrific violence, than let the viewer actually glimpse it. Director James Marsh's streamlined handling is glum and leisured, but slickly sterile as it hypnotically takes you along with its methodical camera-work and expressively tantalizing music score. He paints a shady air, where the strong script delves within the weight-filled characters and interlocking revelations. The performances might come across typically sullen, but still superbly genuine. Paddy Considine's commendably dedicated performance is mesmerizing as he harbours good and bad elements to his weary character Peter Hunt. Everyone seems to be forsaken is some shape. The cast again put in another sensational effort. Maxine Peak stands out and so does the likes of Sean Harris, Tony Pitts, David Morrissey and Warren Clarke.
