Messiah

/refers to Season 1/

British crime series have remained a sign of quality - accrual of Scandinavian ones in this century has not impaired them but diversified their approach. Messiah is a good example how "good old" episode-based crime has obtained "modern" nuances and cinematography, including fast twists and meaningful use of flashbacks.

As usual, performances are good (in fact, I could not Ken Scott starring somewhere), policemen are realistic, no cute faces and fancy clothes/cars, and the severity of crimes depicted here has a sophisticated reference to the past... And I as did not guess the evildoer, did not suspect even, I would easily give 8 points for constant suspense - in spite of the fact I am not very fond of religious fanaticism or crime - and I intend to watch the following seasons as well.

While there are better mystery/detective shows in my opinion, 'Messiah' is incredibly well done and ceaselessly compelling. It is near blameless and definitely should have lasted longer.

It is stylishly and beautifully filmed with a lot of atmosphere, while the locations are also used to great effect. The music is suitably ominous while never being too obvious.

'Messiah' is very intelligently written, it is never stilted or clichéd and constantly keeps the mystery elements alive. The stories are gripping throughout with lots of twists and turns and genuinely surprising solutions. The only motive I didn't completely buy was in the first series, which felt implausible and underdeveloped, it didn't seem like a good enough reason to murder all those people in such a gruesome manner.

That is my only criticism of 'Messiah' really, as well as more could have done with Frances Grey's character as well. There are some clever and very gruesome murders that never are gratuitous (especially in the first series) but are not for weak stomachs, mine is getting stronger but even it was quite disturbed by those in the first two episodes. The characters are interesting, and the series is constantly well directed and ensures that the episodes never feel rushed or plodding.

Ken Stott is exceptional as the main character, and it is some of the best acting he's ever done. He is terrifically supported by Neil Dudgeon (who has never been better), Michelle Forbes, Frances Grey, Edward Woodward and especially a sinister Jamie Draven, in fact everybody is good.

In summary, incredibly compelling. 9/10 Bethany Cox

This is great it has a great plot,a good pace and it makes you want to keep watching right to the end. All through the programme you are always wondering who the killer is and if the killer could be working among the investigation team. For once the acting is good especially by ken stott who is also excellent in the vice but it is shame they only make about one or two messiah thrillers a year.

Episodes 1 and 2 are as good as it gets for a police procedural. Good writing, acting, and production values. Exciting, gripping, and thrilling.

Episode 3, I'm more than two hours into the show and writing this wondering if I will finish it. The acting and production is top quality, but the writing is a bit crap.

Too many implausible story arcs and the errors in procedures made me cringe - a writer should not make such mistakes. Research was substandard.

Also too much psycho babble and unrealistic 'getting in touch with your feelings' scenes that were... Crap!

Enjoy 1&2.

London, summertime, and a serial murderer is at large, killing his victims in brutal ways and leaving a silver spoon in the mouths as his calling card. What links the victims? Detective Superintendent Red Metcalfe (Ken Stott) assembles a top team and attempts to halt the bloodshed as he simultaneously tries to keep the ghosts in his past from submerging his investigation.

Directed by Diarmuid Lawrence and co-adapted to screenplay by Boris Starling (from his own novel) and Lizzie Mickery, Messiah is formed in two parts. Firstly is The First Killings, then The Reckoning. Originally shown over two nights on BBC in 2001, Starling's source proves to be excellently unnerving stuff that translates very well to the screen. The comparisons with David Fincher's Se7en were inevitable, though a touch lazy and unfair given the different worlds they operate in, both cinematically as budgets, and as setting and protagonists portrayals.

Lawrence's film has so much going for it to make it an essential viewing for fans of serial killer based thrillers. It has all the key elements in place. The murders are most distressing, with us often having to witness the aftermath of the crimes and thus having to fill in the blanks (urgh). The mystery element is constantly strong, with the makers slowly dripping in clues as to the killer's motives, and then for the second half it becomes a race against time before the genuinely surprising reveal and denouement. The acting is first rate, with Stott (playing an interesting and unique hero), Jamie Draven and Michelle Forbes particularly impressive in tricky roles.

The investigative group dynamic is a troubled one, which adds spice to the investigation. Metcalfe has a stormy past that keeps rearing its head to affect his detecting, while his marriage to deaf Susan (Forbes) is coming increasingly under pressure, more so the deeper he gets into the case. DI Duncan Warren (Neil Dudgeon) has a gambling problem, at war with his ex-wife and fighting a losing battle to get quality time with his estranged son, and young pups D.S. Clifton (Draven) and D.S. Beauchamp (Frances Grey) have taken an inappropriate liking to each other. Into the mix is the gutter press and Art Malik's Boss Emerson is stomping around like a bear with a sore head.

Messiah is not without faults, one of the decisions taken by the killer just beggars belief, while there is one leap of faith (hrr hrr hrr) required to buy into the meticulous aspect of said killer's ultimate goal. But this is great skin itching stuff, a prestigious production that shows the better side of the BBC as Grand Guignol and British drama fuse together handsomely. 9/10