Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

SpunkySelfTwitter It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

monesque Yawn, a period piece and a serial killer. Yet, this enchanting miniseries takes that simple concept, freshens it up and makes it all special. The acting is great, the pacing and the writing are excellent, and the plot (where these things most often fail) works, too. There is also a touch of social commentary, which is well taken and happily more obvious from circumstances than preachy speeches. This clever program is one of the best things of its type that I have seen in a long, long while. Don't miss it.

Zoe Forest Nothing much to get excited about, nor to retain my interest. Sure, they are clever but it is just another pseudo-crime 'drama'. And we know that they are going to succeed. The intervening process could be better done? The acting is good, as is production and directing. But it is the writing that lets the concept down. The idea of flashbacks to the real Bletchley story is clever.I would be more interested in more about the Bletchley days. There would have been plenty of weird events and happenings then, in spite of war-time secrecy and the prevailing attitudes. Replacing clever guys with clever girls is not really enough.

Ian Ker Interesting concept, but facile execution.Like Foyles War, this can't get its transport history right. A routemaster bus features from both outside and inside at various times - but this program is supposed to be set in 1952 and the Routemaster wasn't introduced in London until 1956. Susan's husband's car is a 1954 Morris Oxford.Sorry if this sounds pedantic, but it does rather destroy any sense of historical context.I'd also like to know where, in the days before the internet, the intrepid ladies managed to get hold, so easily, of so much information on trains, work rosters and the like. It's as though the writer/director think that the only difference between the internet age and the 1950s is that information was only available in hard copy in the 1950s. Information in the 1950s was very much harder to come by, especially as it even predates the photocopier.Continuity is very poor, especially given low level of lighting for many scenes. The viewer has no time to process the end of the previous scene before the next is upon us - often involving the same character arriving in a different location.

ceri-edwards2 A group of women who worked at Bletchley during the war return to their undervalued prewar existences until one of them happens upon a line of enquiry regarding a spate of murders of young women. She finds old colleagues from the Bletchley years and they form the eponymous circle to crack the code of the killings. Not believed and told to back down by all men in their lives and the authorities they fight alone to attempt to solve some pretty gruesome murders. The writing is excellent and the portrayals by. Each of the four women leads is rounded, true and touching in their different ways. The only thing I would change is the over egged references to the murder being solved as a code: it was as if the writers felt it was a bit of a stretch and so had to 'explain' it all the time and thus made this one aspect a little clumsy and difficult to sustain suspension of disbelief. A good look at the roles and struggles of women of the period but based on the murder mystery pace and style it is not preachy but accessible and exciting.There have been plenty of hinted at back story lines and there is lots of room for growth and new story lines in a second series - she says with fingers crossed and a begging nod to The makers/funders