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Critic Reviews
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Perfect is a strong word, but Killing Eve is a series that merits those. ... Everything that worked so well in season one is back in essentially the same form, and it’s working again.
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As directed by Killing Eve vet Damon Thomas, the first two installments instantly demonstrate a command of the show’s suspenseful, cheeky, and deeply feminine tone. That tone, which ping-pongs confidently and slightly subversively between sensibilities, is like nothing else on TV right now.
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As for Killing Eve, though, everything is still going very right.
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The new episodes reverberate with a sense of humor that’s absurd, bleak, and distinctly British.
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How is Season 2? Is it just as good? Why, yes, it is. ... Fennell and company deftly resume the action. ... As it stands, the women are two of the most intriguing TV characters in recent memory, taking us to a place that can feel altogether new.
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Everything that was good about Season 1 is still good in the first two episodes of Season 2, the only ones made available to critics.
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The season-two premiere didn’t do a whole lot for me until I watched the better second episode and saw the first in a new light. It’s a show that is both ingeniously plotted and completely committed to its two leads.
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It still goes down like a particularly glug-glug-glug-able cocktail, as effervescent and fun and thrilling and smart and witty as ever--which is the heaviest half of the equation. Also: It's still as believable and twisty, an emotional entanglement of motives and obsessions and tactical fun that a psychopathic assassin can have with the in-over-her-head agent on her tail.
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The drop-dead-funniest yet most suspensefully unpredictable spy thriller in recent memory. [1-14 Apr 2019, p.13]
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Killing Eve is still a fantastic and well-made show that is not only worth celebrating for any number of its own obvious merits, but worth embracing for taking a familiar set up and crafting it into a series that is also refreshing and new.
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Fennell’s Killing Eve maintains the show’s sardonic tone and biting edge; there’s a hint of hysterical laughter at the edge of every scene.
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Despite the often tense, even grisly moments, the show remains furiously funny — as when Oh as Eve reacts to a robocall from a roofing company or craves a hamburger during a visit to a makeshift morgue. As the object of a growing manhunt, Comer manages to constantly keep viewers off-balance with a performance that is perpetually off-kilter.
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There are awkward jokes, quirky new characters, and even a surprise twist on the formula in Season 2 — Eve and Villanelle’s two-person tête-à-tête is going to get a third caller, unwanted by at least one of the primary parties — but Killing Eve remains very much grounded in its original identity.
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It needs a bit of grit, though there is a new MI6 posh boy to bounce off and she did have that great line about "murder on the dancefloor". Anyway it ended with the best use of a bog brush in drama that I have seen. Bravo.
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The script is still tight and the jokes are still there, as are Villanelle’s accents, outfits and abrupt killings, but without the will-they/won’t-they energy of the initial plot, it is harder to care.
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Killing Eve’s new season is compulsively watchable, the most defiantly rock‘n’roll of television’s crime procedurals. Like its assassin, the show is snarky and bombastic, always drawing blood with a smile. Like its hero, Eve, it’s purposeful and droll, consumed by paranoia and occasionally lacking focus.
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[Phoebe Waller-Bridge's] handpicked replacement, Call the Midwife star Emerald Fennell, doesn’t seem to grok the characters on quite as profound a level. Happily, Fennell does know how to keep episodes fizzy, fast-paced and binge-friendly.
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Because you're never quite sure what she'll do -- and how far she'll go -- the show has a genuine sense of menace, mixed with the disarming humor that comes from Villanelle rolling her eyes and throwing tantrums like a pouty teenager.
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The two episodes made available for review, while not as exciting as the first few episodes of Season 1, detail their recovery and inculcation back into previous modes.
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The start of the second season eventually begins to spin its wheels, lingering a little too long on Villanelle’s weakness while providing various sounding boards for emotions that Oh is perfectly capable of conveying with no more than a furrowed brow.
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There are some wonderful moments. ... But there are worrisome problems. ... One of those awkward TV contrivances clearly, painfully designed to keep a character in one place. It’s a funnier, darker version of Kim Bauer getting caught in a cougar trap on 24--but it’s a cougar trap, nonetheless.
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[There's a] plot twist rooted in circumstance rather than in character. As a storytelling choice, it’s just a little bit clumsy. Eve’s storyline, meanwhile, is moving more slowly than Villanelle’s: There are fewer murders, and more conversations with telemarketers (sounds dull, isn’t). But it carries enormous dramatic potential, because Eve is committing spy-vs-spy adultery. She’s begun to investigate a new female assassin.
Awards & Rankings
User score distribution:
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Positive: 107 out of 127
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Mixed: 7 out of 127
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Negative: 13 out of 127
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Apr 8, 2019
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Apr 7, 2019
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May 29, 2019