The Killing returned for a fourth and final season on Netflix today with its greatest asset, its creepy-beautiful atmosphere, intact. Adapted from the superior Danish original by Veena Sud, this onetime AMC drama might feel like a classic if you projected it without sound on a large wall on the back room of a nightclub, where the show's voluptuously beautiful shots of misty mountains, rain-slicked streets, and characters traversing endless hallways could merge in the mind with a synthesized backbeat and whatever cocktails the place serves (probably something rain-themed). As is, The Killing has the same problems as always: a gravely solemn, we-are-reinventing-the-genre swagger that doesn't sync up with the stereotype-driven, sub-Special Victims Unit procedural you're actually watching; a fondness for red herrings and mistaken assumptions that make the two lead cops, Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman), look like total dipsticks; pacing and emphasis problems that kill any momentum the show can muster.
This Is an Adult Program
Now with two bonus reunions.