User reviews

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

Sohail (Riz Ahmed) and Nasima (Verjinder Virk) are a British born Muslim brother and sister with differing views on Islam and modern Britain. Though he thinks the war in Iraq was unjustified and isn't shy about saying exactly what he thinks about those who hate him and the people he cares about just for the colour of their skin, Sohail also despairs of the misguided teachings of extremist Muslim scholars and, most importantly, feels he owes a huge debt of gratitude to the country that took him in, gave him a home and the best chance of a decent education and the best chances in life. On the other hand, Nasima's earliest memories are 'of them smashing our windows and putting dogshit through our letterbox...I hate this country.' And in her eyes things haven't got much better over the years. This two-part drama thriller follows the different paths these two choose, as Sohail secretly joins MI5 and has to search his conscience when he's asked to spy on his close friends and people he's grown up with. Meanwhile, Nasima's best friend is arrested and held without charge on suspicion of terrorism, but is then released, only to have ridiculous bail conditions imposed on her, learn she won't get fair representation in court and for the stress of it all to drive her to commit suicide. When Nasima's father, a strict Muslim with traditionalist beliefs, learns she's been seeing a black man, he sends her off to Pakistan for an arranged marriage. Instead, she finds herself on a journey to a terrorist training camp...and becoming a suicide bomber.

With a plot taken straight from today's headlines, Britz focuses in on two characters who are so close but so far apart. It's a hot potato story about Muslims in modern Britain and their attitudes and feelings towards UK foreign policy and their own treatment back home.

Sohail is an interesting character, who shows the problems on both sides with heavy-handed authorities who make young Muslims feel alienated but also the backward, fanatical teachings, beliefs and ideals of his own people. Nasima's story, on the other hand, zooms in on all the bad points only from the Muslim point of view, with the right to free speech/protest being chipped away, a lot of heavy-handed new anti-terror laws being introduced which give the feeling of being aimed at Muslims, and the harsh attitude they are met with by the authorities. The police are painted in a bad light in both stories. I'm sure they don't play completely by the book when going after terror suspects, but some of the behaviour they display in this does seem a bit over the top and I'm sure they wouldn't get away with it in real life.

This is an ambitious and highly-charged two-parter but at over two hours each, the narrative flow in both stories gets disjointed and doesn't flow smoothly, making it feel like a bit of a slog to sit through at times. And the ending, when it eventually comes, just doesn't pay off. I couldn't buy Nasima's transformation into a woman who's mind had been completely warped and was capable of mass murder. A lot of bad stuff had happened to her, but it just didn't feel like she'd changed to that extent. Sensationalism is a big part of the problem, here, from the portrayal of the police to Nasima's end decision. Her haunting, impassioned suicide video is a neat end, though, and reminds you of a lot of the good stuff going on here.

This set it's sights very high, and there's a lot to write home about, but some crippling flaws mean it doesn't ascend to the heights it should have. ***

I was greatly impressed with this - it bravely raises issues around racial harmony, integration or persecution that are little examined in contemporary British media.

The plot is suspenseful, if at times a little unbelievable.

The acting is very good, the production and direction artful without overdoing it. Scenes on location overseas very well done.

Overall a very enjoyable, and thought provoking film, which raises difficult political questions for individuals, nations and faiths to think about carefully, but the film reminds us we don't have the luxury of time to ponder these thorny issues, when so many lives hang in the balance day by day.

Well done to all the production staff, and people involved in this project. Goodstuff Channel 4.

I didn't get to see this when it was first shown on t.v so I watched it about a week after on 4OD. It's not the kind of thing I would normally watch but let me tell you, it is so worth watching. Its very hard hitting and intense and makes you think about the issues that are raised in it. The acting is awesome and there is never a dull moment. Its very clever the way they have split it in two and have managed to combine them. When you watch the second one you can almost see what is about to happen but nothing can prepare you for the shock ending. I personally thought that this was so good I have researched it for my media studies coursework. Before I watched this I had no idea how unfair this country has been to British born Muslims and it makes you wonder how people have stood by and let these laws continue. I am white British and from the northeast of England and if it managed to make me stop and think about the issues raised then I think it can do the same for anyone else.

Finished watching Britz and it was excellent on all levels. Another example of Kosminsky portraying multi layers of a complex, deep rooted, fragile sociopolitical issue (as he did so consummately in The Promise). He shows major flaws in opposing cultures but also wills the audience to see things from more than one perspective. By telling the story of cause and effect then revenge, on an individual's level, he portrays the bigger picture brilliantly.

'Britz' attempts to look at the psychology of contemporary British Muslims, a worthy subject in the age of suicide bombings. Two siblings feature in this drama, and both are viewed with sympathy: a man who joins the security service, and his sister, who become a terrorist. Unfortunately, episode one, centred on the former, is plain daft. MI5 is presented much as it is in 'Spooks': beautiful people, high tech-gadgetry, and a general air of cool. It didn't convince me one iota as real, and seemed as littered with false detail like a bad sci-fi film: for example, we see implausible network analysis graphics on the screens of the agents, whose sinister form was presumably preferred to taking any real network analysis package and putting a real network through it. It's still amazing to me that in the 21st century, films try to impress by simulating imagined computer technology with mock-ups less impressive than the real thing. This point may sound like a geekish digression, but it illustrates a more fundamental truth: that the world we see is a false one, right down to the old cliché of the supposed desk officer going out to find the terrorists by himself when his bosses won't believe him.

Episode two, his sister's story, isn't as silly, but I didn't find that it completely convinced me that the character, who seems rational and sarcastic, would actually end her own life. The suggestion is made that she acts out of anger rather than religious belief; but I am uncertain whether a sane, intelligent and secular human being can really take a decision to commit suicide; her experiences, although tough, do not justify the extreme nihilism of her position. The aim is undoubtedly to make us understand the mind of a bomber; but while Nasira is understandable , she loses plausibility as a result. Additionally, the drama in both episodes is often heavy-handed, rather clumsily making its points. But 'Britiz' is not rubbish. In places, its an interesting

and thoughtful look at certain aspects of life in Britain and Pakistan that are often unreported. But in its efforts to make a bigger statement about a greater and more terrifying mystery, this ambitious film over-reaches itself.

I watched the entire four hours plus of Britz in one bum-numbing session. It delivers exactly what you expect from a Channel 4 mini-series – hard-hitting, topical, well-made edgy drama. Sadly it is also overwritten, more than a little preachy, and some of the acting is uneven.

Episode one, Sohail's story, plays like an endlessly drawn-out episode of Spooks. It has it's moments, and Riz Ahmed is rather good, but the highlights are few and far between, and an awful lot of scenes feel padded. Part two, Nasima's story, is more compelling and at the same time more predictable. The ending is a long time coming and you may spot it a mile off, yet the motivations and attitudes set up for the character lead one to feel that the outcome doesn't ring true. I won't give away the game, but I didn't entirely buy it.

This is the first of Kosminsky's celebrated contemporary dramas I've seen and while the quality of his writing and the power of the subject matter are enough to maintain interest for much of the story, it's hard not to feel he could have achieved more at half the length.

What the hell were you doing staring in a Television Drama that is so weak in narrative structure that i honestly thought i was watching an episode of East Enders.

What the hell does the director Peter Kosminsky know about being this topic? On reading an article about the director what does he know about British Muslims???

"British Muslims are fantastically angry and disillusioned," he says. "They are infuriated by a foreign policy that appears to be an attack on Muslims worldwide – a new Crusade – and a shockingly large series of security measures which seem to be aimed solely at them."

The man that is saying these words is white, Jewish, privately educated and in his fifties. He is drinking tea at his beautiful cottage in the Wiltshire countryside. Yet he is trying to describe how a young, moderate medical student from Leeds could become so outraged by what is happening around her that she is willing to strap on explosives. This is just so weak, Its an excuse for C4 to pretend that they are covering controversial topics regarding stories about post 911 yet they are still are made by white middle class film-makers? If C4 were insistent in employing a white director why didn't they let Michael Winterbottom make this film He would of clearly done a better job.

The character for Nasima was totally outrageous and unbelievable Yet Kosminsky insists her motives are fact. Kosminsky also states that he knows a lot of people will be angry! You have got that right we are angry because it was such a weak story and by far this is radical drama.

I am also disappointed by Riz Ahmed, your performance was good, but what were you doing working on such a weak premise ,that is only exploiting and sensationalising Radical Islam. A complete farce.

Riz if your reading this i suggest you next time pick your film projects wisely. As there will be a number of British Muslims that will feel that you have let them down

1- 10 a disappointment! I suggest C4 begin to employ the next generation of British Pakistani's & British Muslim writer & directors who would paint a more realistic picture behind a story which needs authentic voices. Not White Middle Class film directors that have just jumped on the bandwagon. Its about time we hear the real voices of British Pakistani Muslims for a change.

Shame on you C4!

This was portentously long and teeth grindingly slow. This is to signify that it wants to be taken VERY seriously and to do so, make you SERIOUSLY suffer. It forced me to watch bits and pieces of Jeremy Paxman just to get to the end, which should define for you what boredom really means.

Apparently the guy who wrote it couldn't find any bomber types to research his story. So he decided to "draw on his own experiences." Must have been his experiences waiting at the bus stop. That is, back in the days before Channel 4 sent a limo to pick him up.

Suffice to say, the best way to cast light on a serious issue in British society is to come up with the most corny Hollywood plot contrivance. Reverse the obvious gender roles (Gosh, how ironic, how cutting edge) and have two members of the same family but on opposite sides end up chasing each other's tails. Brilliant!

No idea what the ending was meant to signify. The ambivalence of the Muslim in British society today? I've no idea. Trouble is, neither did the writer/director if he had been honest with himself in the first place.

I don't know what's more frightening. Islamic terrorism or the money wasted on this project.