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Critic Reviews
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I'm reluctant to lose my heart again, much less encourage anyone to follow me down what could be a dead end. And yet I'm intrigued.
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It's too soon to say if the show will again employ a bounty of red herrings, but the show's penchant for plot holes persists.
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That initial heat from Season 1 has been lowered to room temperature. Kinnaman continues to give The Killing a pulse. But he can’t do it alone, and at this point merits a new, more vital vehicle in which he can really gun his engines.
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As was the case with the first two seasons of The Killing, this new one takes its sweet, sweet time getting going, and as it slowly gains momentum, it carries itself as if it's the greatest series in the history of American television, single-handedly reinventing the police procedural for the 21st century.
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The creators take a fresh start, but cling to the sepulchral atmospherics that too often take the place of narrative. The series is still suspenseful, but the dread that once again follows Sarah through damp forests, deserted tenements and shadowy, rain-washed streets diminishes with overuse.
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While it’s great fun to have Holder back--you could make a TV show out of him just walking and talking and it would be fantastic, because Kinnaman is so compelling--the Seattle street urchins at the core of the murder mystery are almost unbearable to watch. The acting, writing and scenarios for the latter are all mediocre.
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Beyond the central duo’s initially sparsely connected threads and the splendid addition of Peter Sarsgaard as Ray Seward, a hollow-eyed Death Row inmate, much of the narrative meanders--so slow, bleak and dreary, it’s difficult to muster much interest as to when (inevitably) it’s all going to begin to intersect.
Awards & Rankings
User score distribution:
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Positive: 130 out of 149
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Mixed: 9 out of 149
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Negative: 10 out of 149
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Jun 2, 2013
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Jul 11, 2013
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Jun 17, 2013