Best movie of this year hands down!

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The film may be flawed, but its message is not.

This show is very good and so well done. Only thing I don't like is the constant F bombs. No need and brings the show down a few points.

For four seasons Suspects was a unique British criminal drama at It's best. No more. Instead it joins the contemporary blur by changing that unique concept to become just one more show… The major changes:1 why waste time on having to come up with a new case for every episode When you can run with the same one for seasons without end?2 Why keep the audience guessing in a new take on "whodunit" when you can reveal everything from the beginning, "Colombo-style" and skip the suspense!3 Why have criminals & police as distinct entities when everybody can be just as corrupt?To add insult to injury James Murray is cast as the new DCI, an "actor" that's as versatile as a cardboard figure.I don't know why Fay Ripley chose to leave this show but I have a good idea… I'm leaving too...

I absolutely love this show.The only thing I don't like, is the fact that Channel 5 mess around with the episodes and when they are shown. They commissioned 10 episodes for season 1, so they should have shown them in the order they were made. The 7 other episodes should have made up season 2.I did however like the change to 2-part stories. Would be better if they did them here and there in the series.Roll on more episodes!Any idea when season 4 is being shown?I can't wait much longer!

Makes a nice change from the formulaic US-style crime dramas with their monologues and maverick cops, pieces to camera and complete absence of false starts, hesitations and incompletions. The performances (I wanted to say 'scripts', but that doesn't really apply here in the usual sense) are well-judged to contain just enough of the jargon and officialese that marks the dialogue out as belonging to the context of police work and makes it feel believable, but not so laden with it that the actors fall into that pat delivery where emotion has to be overplayed to break through the sheen. Having a degree of improvisation seems to free the performers up to be both emotive and small-scale; understated and authentic. (Full disclosure: I do fancy Damien Molony)