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Critic Reviews
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With so much serial killer programming on TV, like "Hannibal" and "The Following," Those Who Kill could carve out its own little place. But it's going to take some work. On the bright side, the show has Sevigny, who is the clear standout on the series.
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The drama really piles it on: Catherine's only hobbies seem to be cutting herself on her tummy and hips with a razor and collecting paintings of famous serial killers' childhood homes. Midway through, the pilot improves considerably--and gets even stranger.
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Laughably unoriginal, the greatest novelty of creator Glen Morgan's series is that his predictably troubled detective is a woman rather than the usual thirtysomething white dude with three-day stubble and a morning hankering for bourbon.
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As a psychological thriller, it's not terrible--certainly better than Fox's dreadful monotonous "The Following"--but Those Who Kill suffers from character/relationship incoherence.
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The show piles on plot and cliché. You know too much already. And yet, watching her, you realize you can never know enough.
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The premiere is as by-the-numbers as it gets in the already bloated genre of moody procedural, enlivened only by a viciously scary killer and, of course, Sevigny, who roils in significant silence even when she is forced to reveal that her character is a cutter.
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The world has so many series about dark humans doing dark things that it becomes all the more difficult to stand out, and Those Who Kill is so generic it doesn’t even seem interested in trying.
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Although Sevigny brings some of her flair for playing stubbornly outré characters to this role, Those Who Kill fails to distinguish itself from “Hannibal,” “The Following” and so much else in TV’s corpse-strewn imagination.
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The pilot of Those Who Kill features the kind of cinematic production values that we've come to expect from cable and the two leads are undeniably engaging, but the writing here is paper-thin, the kind of scripted crime drama that we've seen too many times for it to feel fresh again.
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Sevigny works hard at being complex, haunted, etc. while the show around her collapses into a voyeuristic mess with a denouement that makes one wonder how Catherine Jensen could possibly remain on the force beyond the opening episode.
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It’s histrionic and preposterous without being entertaining, and those qualities infect all the performances.
Awards & Rankings
User score distribution:
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Positive: 28 out of 38
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Mixed: 3 out of 38
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Negative: 7 out of 38
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Mar 3, 2014
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Mar 9, 2014
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May 1, 2014