Clevercell Very disappointing...

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

deeana-78424 There are many television series that are set in WWII Britain, such as Home Fires for example, and many detective series set in Britain in earlier times, but a series with a detective functioning in Hastings during WWII offers an unusual perspective on television crime drama. Mainly what is unusual for Michael Kitchen as Inspector Foyle is that much of his work is impeded by government red tape, civil service bureaucrats, and a whole host of unpleasant military officers, who oppose him at every turn, and make his life more difficult for him than the Germans. As a counterpoint to Foyle, the war provides him with a driver who is a perpetually cheerful young woman in military uniform who accompanies him almost everywhere, and who develops a relationship to his son. By the end of the series, which lasts for more years than the real war, it is clear that the real bond is between Foyle and his driver, and they have a father-daughter type of connection. The entire series is very evocative and is a platform for many social injustice issues that came up during the war, such as the hatred towards German immigrants that often erupted into violence, the provocation of British Nazi sympathizers, and the presence of American soldiers dating English women. Many of the episodes have domestic violence as an issue that is heightened during the war and a motive for murder. Overall, I watched all of the seasons together and found it a very satisfying series with Kitchen's Foyle as a very sympathetic, clever, moral, paternal person, and I missed him when it ended.

Bert45 I was an early fan of Foyle's War, especially Michael Kitchen's portrayal of the title character, which is a master class in fine nuance and understatement. The way Kitchen can convey a wealth of meaning with the slightest glance or change in tone when speaking is wonderful to watch. It's almost as if he was born to play this character. Also, the whole concept of police work having to continue as normally as possible in a time of war is intriguing. In many ways, the job would have been so much harder with the backdrop of war and the resultant shortage of resources and increase in disruption. It was a fine idea from the start. Having said that, I found as the series went on and I began to review earlier episodes that something about it had begun to irritate me, and I eventually realised that it was the way in which most of the other characters - apart from Foyle's own inner circle - were portrayed as uniformly negative. Granted, this is a crime and murder-mystery series, so Foyle is dealing primarily with criminals and red-herring characters. But sometimes, it seems as though the writer Anthony Horowitz wants us to believe everyone in wartime Britain was either rotten to the core or afflicted with moral cowardice. No doubt not everyone displayed the "bulldog spirit" that got the nation through those difficult years - every country at war has its share of defeatists, shirkers and traitors - but Horowitz seemed unwilling to allow that positive determined quality in any of his "guest" characters, whether major or minor in the story. This is especially true of anyone in a position of authority. Just about every single person that Foyle deals with who holds rank or official status is portrayed in varying degrees as arrogant, callous, treacherous, obstructive or incompetent - sometimes a combination of these. It's as though Horowitz wants us to think that either Britain's entire wartime leadership was working against its own national interests or that there was never a sense of righteousness in the fight against Nazism. Foyle's War sometimes seemed to be against his own government and his own superiors. On the odd occasion this might have been a useful plot device, but was it necessary for it to be such a constant theme? I can't help wondering what the motive was for this, but I do know that over time it began to spoil my enjoyment of the show.

lr109 I must say I think this is one of the best shows ever. To me this ranks right up there with The West Wing. Of course there are a lot of other 'one of the best shows ever's, as well. Game of Thrones, Homeland, Star Trek and then there are all our "personal favorites", how much weight that carries might be questionable. And those series I mentioned above are DEFINITELY NOT included among my "personal favorites" and so on. That last part was "fill", what's the problem with less than 10 lines?Michael Kitchen is mesmerizing. You just get his character. Foyle is respect. He garners it, creates it, and deeply values it. The writing is good, the other actors are basically always great, direction excellent, sets and so on.What is it about the British?

Rytis Kareckas I could only watch half of the first episode. I guess I expected something different, but this is a melodrama in the backdrop of WWII. I'm not interested in melodramas and constant crying. The continuity errors (like the wire that killed Mrs. Beaumont is clearly put at the level of horse's feet but cuts her head off) and the level of implausibility and dumb behavior just for the sake of subsequent plot development like how can a middle-aged detective go behind some sheds to arrest a guy he doesn't know anything about and hope he doesn't outrun him or simply beat him up; or, after his daughter is killed during bombing, a father says "If I could just lay my hands on any ONE German", just to add a possible suspect for the sake of it. And the aunt conveniently gets a heart attack as she is taken to a spy prison. If you expect some clever detective work or many intense war scenes, this is not it. This is a melodrama. With all the corresponding clichés.