Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

Robert J. Maxwell Anyone expecting a detailed police procedural might be disappointed. Ian Brady (Harris) and his girl friend, Myra Hindley (Peake), picked up and killed a number of children in the vicinity of Manchester and buried the bodies on the nearby moors. You have never seen such desolate places as the moors -- occasional rocky outcroppings, black and muddy lowlands, and hill after hill of chill windswept grass. The only thing missing is Baskerville Hall. Manchester is a grimy old city of brick, residue of the industrial revolution.The dialect isn't easy to interpret, not for me anyway. "What about her?" becomes "Wha a Bow Wow?" There's not even a helpful glottal stop after "Wha". But the film at least spares us the pleas and screams of the murdered children. These two maniacs taped their killings. The tapes are mentioned in passing but not heard, as if they were just another minor piece of a jigsaw puzzle.And, when you come right down to it, it isn't so much the story of the two murderers, Brady and Hindley, but rather the tale of Hindley's anguished sister Maureen (Froggatt) and her not-too-bright husband David Smith (McNulty). The two killers try to involve David in some scheme to rob a bank and, evidently to show him they mean business, Brady slaughters an innocent captive with an axe, while David gapes.The two Smiths run to the police. Brady blames Smith; Hindley has nothing to say. Some of the bodies are discovered, Brady is sent up for life and so is Hindley. But all of that is almost beside the point, as we watch the Smith family suffer the outrage of the community, spat on, their apartment vandalized. Mostly we follow the entirely innocent Maureen, uncertain about her husband's involvement, grieving over the recent loss of her baby.There are multiple shots of cute newborn babies, inserts of toddlers, weeping of adults, arguments, split-ups, and reconciliations. It begins to resemble the story of Maureen and David, already down on their heels, having their lives irreparably damaged by two interfering nuts.The photography is splendid and the direction competent, except for all those baby shots, which threaten to turn the story into a a family movie of a kid's literal birthday. And the doubts and spats between Maureen and David echo those found on afternoon domestic dramas.But the acting can't be faulted. There's no weakness in the casting either. As Ian Brady, the philosophical brains behind the affair, a devoté of Nietzsche and de Sade, Sean Harris delivers the goods. He's all nose and no chin, and has the personality of a glacier. Peake, as Hindley, wears the tarty make up and peroxided do of the early 1960s. She's actually an attractive woman under all that plaster but has the ability to transform her features into a mask of hatred when the situation demands it.It's a nice job but it's also slow and spends too much time on peripheral figures. The Smiths' problems could have been sketched in less time. What many of us would like to know is what impelled Brady and Hindley to murder young children they'd never met before. We can put ourselves in the place of someone who murders a spouse or a friend. Those victims are people whose opinions we care about. They can hurt us. But serial murders are preposterous. The causes don't lie in Neitzsche or de Sade. Those only serve as justifications for things Brady already wanted to do. But we get no insight into his character, and scant insight into Hindley's.

Mis Behavin I watched this when it came out and found it an amazing piece of work and kudos to Maxine Peake for shedding her comedy typecast and putting in a truly excellent performance. This programme was not graphic, quite the opposite. What the producers did was concentrate on the everyday lives of Brady and Hindley, showing them to be, (Hindley on face value at least), normal people living normal lives. However, what chills you is that whilst they are going about their routine lives, the viewer knows that behind the scenes they are committing the most appallingly wicked crimes. This is highlighted by conversations held throughout the programme such as a discussion about a newspaper article that Maureen Smith had with her sister regarding the disappearance of Lesley-Ann Downey. One of the slightly controversial aspects of this programme, was the decision to include real photographs within the scenery of the actual children who suffered at the hands of this evil pair. However, this was a clever move because it constantly brought home the very real and shocking subject of the programme. In cases as hideous as this we, quite rightly, hear about the suffering of victims relatives, however See No Evil focused primarily on the destruction of the lives of Hindleys sister and brother-in-law, and God were their lives wrecked. Brady and Hindleys wicked cruelty destroyed many lives and I'm glad this programme was shown because it will all make us pray that Hindley will rot in hell and Brady won't be far behind.

myrndra When I saw this television drama advertised I didn't think I'd be watching it; I don't believe in recent (in the last 50 years) true crimes being 'used' as a source of 'entertainment'.I did watch the second half of 'See No Evil', however. I think the cast was uniformly excellent, especially the two actors in the lead roles. It was intelligently written and focused more on how the crimes affected those around the killers than on the heinous nature of their murders.It also brought to light the hard work of some of the police involved in the case as well as the ordinary people who volunteered to search the moors for the victims' bodies with nothing more sophisticated than sticks. At one end of the human spectrum was the bewildering amorality of the murderers; at the other, the generosity of those trying to help with the police searches. When the end credits rolled over silence, I found myself in tears.A brave and sober account of events that no one who was alive and living in Manchester at the time will ever forget.

Trapper_John I was quite young [7 - 9 years of age] when these events took place, and remember the dreadful feelings that were prevalent. Before this drama was screened, I was not sure it would be possible to dramatize such an horrific episode without it coming across in a way that either glossed over or overemphasized many aspects. However, I feel this was a well pitched production. For me it has gone a small way towards dealing with something that has been uncomfortable to think about in recent times, when those involved were for one reason or another in the news. I don't think it would be appropriate for the full details to be made public in a television programme, but hopefully there was enough to be informative yet not too distressing. I hope the families concerned did not find the drama hurtful, and that it didn't reopen deep wounds for them - probably a vain hope, unfortunately.