Killing Eve

The time they spend together in the same room might be brief in the first three episodes, but there's genuinely nothing more compelling than when Oh and Comer are on-screen together — with tension palpable enough to slice a knife through.

Liberated from the political labyrinth of the mole-infested MI6 and the people working there, Eve tracks down leads on the Twelve through Villanelle’s signature methods of violence, deceit, and stylish disguises. ... Cromer’s performance has emphasized the childlike aspects of Villanelle since her façade of confidence began to crumble last season, and her journey this season presents a darkly humorous take on what faith and forgiveness mean for someone whose brain is hardwired to not feel remorse.

Season 4 has taken several steps back, once again separating Eve and Villanelle and putting them into different stories for the bulk of the first three episodes that were available to screen for critics.

On the whole, this was a fine opening to Killing Eve’s last run, with some new (but admittedly irritatingly convenient) plot points raised and a reliably great performance from Oh, who I would watch reading the dictionary – but it also served as a reminder of the show’s disappointing failure to build on one of the best, most exciting debut seasons of TV in years.

The programme is entertaining, and no viewer will regret spending an hour or two with it. But it’s hard not to expect and want something more from a project with this calibre of performers; it shouldn’t just be “fine”.

Killing Eve throws enough new curveballs to keep the storyline fun in the first few episodes. ... It’s just that after three seasons, even the twists can only feel so fresh. Villanelle, once an agent of chaos, has become predictable in her taste for blood.

While it’s hard to say based on only three episodes that the show is anywhere near back to the heights of the beloved first season of the series, Neal has a steady handle on what works on Killing Eve. ... The show is at its best when it’s as off-kilter as Comer’s performance as Villanelle, and the first three hours capture that tone only sporadically

As it enters its fourth and final season even that usual yearning isn't quite enough to elevate its mission beyond that of a typical conspiracy-driven spy game.

Like a bad romance, “Killing Eve” is keeping its couple apart without logical or emotional justification. In the process, it’s dulled the spark provided by these two excellent actors as well as the tension sustained by their taste for danger.

It’s still recognisably Killing Eve and it’s still kinda cool, but it’s out of new ideas.

Both she [Comer] and Oh are doing their damnedest to save scripts that appear to have a surface-level engagement with the central conflicts of the series.

Dull. Comer, Oh and Shaw did a lot of work perfecting the brilliant surfaces of the characters Waller-Bridge created, but the characters are looking washed-out now, and the performances look correspondingly wan.