It’s all too tempting to lambast Takers as merely a collection of traditional clichés from the heist/cop/buddy genres. Over here is Matt Dillon as Jack Welles, a burned-out LAPD detective with a permanent hangover and a broken marriage – stop me if you’ve heard this one - who can’t cope very well with raising his young daughter. He’s riding around with his eager young partner, Eddie Hatcher (Jay Hernandez), who still seems to have his whole career before him.

It’s all too tempting to lambast Takers as merely a collection of traditional clichés from the heist/cop/buddy genres. Over here is Matt Dillon as Jack Welles, a burned-out LAPD detective with a permanent hangover and a broken marriage – stop me if you’ve heard this one - who can’t cope very well with raising his young daughter. He’s riding around with his eager young partner, Eddie Hatcher (Jay Hernandez), who still seems to have his whole career before him.

Welcome to Charlestown, a Boston neighbourhood of just one square mile that has produced more bank robbers than anywhere else in America. Here crime is a “trade” passed down from father to son, and the height of ambition is to serve your inevitable jail time “like a man”.

Jerry Bruckheimer’s production stable has already given us a lifetime’s supply of law-enforcement stories. The hydra-headed CSI franchise has become more ubiquitous than I Love Lucy in its heyday, while Cold Case and the FBI missing-persons yarns of Without a Trace are probably showing on a set near you whether you’re in Saigon or Santiago. Now here’s Jerry’s latest brainchild, Dark Blue, the saga of a crew of undercover Los Angeles cops led by Lieutenant Carter Shaw (Dylan McDermott).

As there's something of a forest theme this weekend on theartsdesk, with the Royal Opera House's If-A-Tree festival curated by Joanna McGregor with Scanner, and a report from this year's Borneo Rainforest World Music Festival, and here, a diary of an extraordinary trip I took in 2003 to sample the culture and music of the Pygmies deep in the heart of the Central African Republic.

As a journalist with a sense of pride about what we reptiles can achieve, sometimes I shudder at the awfulness of what passes for journalism. The licence fee in theory confers on the BBC some moral purpose higher than that of the base commercial stations, doesn’t it? (Given that it implies Commercial = Bad, Public Service = Good.) So a BBC Three documentary on shoplifting should probably be an example of higher journalism? Maybe something that rams home deeper truths either about the distinction between good and bad, or about disturbed individuals?

Lucy Punch – what a great name for a comedian (or a female boxer). Unfortunately that is the only thing that’s great about Vexed, a new comedy drama written by Howard Overman, creator of Channel 4’s perky ASBO (RIP) superpower fantasy Misfits. His new show is that relative rarity, a comedy cop show, a genre of which Punch has some experience, having had a supporting role in Hot Fuzz, although it’s not in Vexed’s interests to start making such comparisons.

Tired of the slick, pastiche world of the post-Lock, Stock... British crime movie? Then Down Terrace may be the address for you. Director Ben Wheatley’s micro-budget, naturalistic debut details the paranoid decline of a drug-dealing family in the back end of Brighton. They’re the Royle family with access to hand guns - a deadly and funny combination.

There was a risk that this new take on the indestructible sleuth of Baker Street might be smothered at birth by a dust-storm of pre-publicity, with coverage stretching from the tabloids to Andrew Marr (who really seems to believe he's an arts correspondent, and not just Alfred E Neuman's long-lost twin brother).