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The performances are generally good, and Oldman and Kristin Scott Thomas, as Lamb’s ruthlessly efficient, surreptitiously human boss, are great. And the writing continues to delineate the show’s colorful characters in quietly amusing ways. .... A larger problem, which the current season shares with the previous one, is that the external engines of the season’s story arc feel more forced and outlandish than before.
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Slow Horses continues to be ludicrously implausible, and I wish Lamb and Diana would verbally spar more often (it’s so rare it feels like script rationing), but it’s still got the touch.
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If the show’s third season was unusually obsessed with guns, the violence here erupts with more thought and narrative purpose and it doesn’t overstay its welcome. As a series, “Slow Horses” doesn’t offer tightly plotted, clockwork spy stories; think too deeply about any of the details and the whole thing threatens to fall apart. But on a scene-by-scene basis, the writing is such a delicious combination of wry and tension-filled, and the cumulative effect is wonderfully entertaining.