blogs.indiewire.com – Plenty of us have made bad choices in men, but it would be hard to match Sarah Linden’s. At the end of Season Three of “The Killing” (the statute of limitations has passed, but spoiler alert anyway) she discovered that her boss and sometime lover, Detective Skinner, was worse than your typical skulking-around married guy. He was the “Pied Piper” serial killer, preying on lost young women, the very person Linden and her funky ever-faithful partner Holder had been searching for all season.
Lured to his lake house, Linden was pointing her gun at him when Holder arrived and begged her not ruin her life by killing him. She paused, and ruined her life. Although “The Killing” may never recover from the bad press and viewers’ sense of betrayal after the Season 1 finale didn’t reveal its murderer, the show runners learned something. Season 3 – that was a fantastic.
As Season 4 begins, Linden is in the shower washing off the blood from her own personal killing. And in this intense, electrifying final season, Sarah joins the ranks of Walter White and other murderers we root for. Along with Holder, now implicated in her crime’s cover-up, we witnessed her anguish and shock, her cold-blooded decision. And while viewers might find it hard to blame her, she has multiple reasons to hate herself. The show’s grim, rainy Seattle atmosphere has never reflected the characters’ inner lives more. (Dropped by AMC, “The Killing” was rescued for this last 6-episode season by Netflix, which will make it available for binging on August 1.)
The season also offers a new murder case for Linden and Holder: a couple and two of their three children were shot in their upscale home. Their teenaged son, who survived a gunshot in the attack, is the first of many suspects. When he recovers, he returns to his military school, run by Joan Allen in a role so blatantly stern and sinister you have to guess she’s a red herring.
That plot is a distraction for Linden and Holder, but less diverting for us. The potent draw of Season 4 comes from watching Linden and Holder try to protect their lethal secret, while Holder’s former partner (Gregg Henry) begins to wonder why no one has heard from Skinner. Their relationship becomes a fierce, sometimes antagonistic back-and-forth, with one of them ready to fall apart at any moment. Holder sounds calm when he warns, “Just got to keep our stories straight, Linden,” until it’s her turn to yell at him, “Keep your shit together!”
Mireille Enos falls apart with controlled agony; it’s a terrific performance, portraying a woman who will never be happy again. Holder has more layers than ever this season, which continues his relationship with Caroline, the lawyer who likes his scruffiness and sees through his defensive front. Joel Kinnaman makes it seem effortless, as Holder veers wildly up and down. It helps that he always has the best lines.
“What do you think?” Linden asks after they’ve questioned a creepy, agoraphobic artist.
“Think Boo Radley over there is one sunny day away from cutting his ear off,” says Holder.
There are small touches to notice, good and bad. In Episode 1, watch for a small hospital scene with Patti Smith (yes, the musician-writer), gray hair in a bun, playing a doctor.
But another detail, revealed last season, is as nonsensical as ever. Someone notices that an unusual ring Skinner’s daughter wears looks exactly like the ring in a photograph of one of the Pied Piper’s victims. A similar regifting of a victim’s jewelry by the killer to his daughter features in “The Fall,” suggesting an unsettling but unexplored father-daughter dynamic. In both series, it’s hard to guess who’s more careless, the killers or the series’ writers.
Because Netflix did not send links to the final two episodes, I don’t know the outcome. What’s already clear is that “The Killing” has returned with its strongest, most original season yet. Anything can happen in a series finale. Going to prison would be a high price for Linden to pay for choosing a really bad guy.
NYTimes.com – Blood is everywhere in Season 4 of “The Killing”: flowing off the body of Sarah Linden (Mireille Enos), spackled on the jacket of Stephen Holder (Joel Kinnaman), splattered at the scene of their latest case like a Pollock in red and white. “We just got to keep our stories straight, Linden,” Holder tells his perpetually glowering partner, now in full-on rattled mode. “No one’s going to find out. No one’s got to know what we did.”
What they did — or rather, what she did — is shoot their boss and her lover, Lt. James Skinner, at the end of last season after uncovering his proclivity for serial murder. Now, in the series’s final installment, available Friday for streaming on Netflix, the detectives fumble through their haze of guilt to keep Skinner’s death a secret while investigating the massacre of a wealthy Seattle family at point-blank range. The sole survivor: their black-sheep teenage son, who escaped with a head wound that left him unable to remember what happened. That doctor rendering the diagnosis? None other than the show’s big fan, the rock legend Patti Smith.
EW.com – As resilient and plucky as the little engine that could (I think I can, I think I can…be a great show one day!), The Killing chugs back for an improbable fourth season, a six-episode Netflix bingeable. In the same way the fitfully riveting rain-soaked policier dug deep into the experience of grief during its first couple of seasons, the new installment wallows in guilt: Soul-mate Seattle detectives Linden (Mireille Enos) and Holder (Joel Kinnaman)—tweaking with shame after slaying a serial killer (Linden’s ex-partner and lover)—slowly unravel in familiar ways as they slowly investigate the murder of a troubled military cadet’s seemingly respectable, secretly skeevy family. Did I mention it’s slow? You get the sense that Linden and Holder could crack the mystery lickety-split if not for the contrived obstacles of amnesia and a hyperprotective military-academy headmistress played by Joan Allen, who does little more than tell the cops that they can’t interview their chief suspect. There’s enough intrigue to pull you through, and the Enos/Kinnaman chemistry is, as always, engrossing. Also: less rain! But the relentless commitment to making Linden and Holder miserable—a shallow approach to quality-drama heaviness—grows tedious. In a rare light moment, Holder says, ”The sun’s out. Got my smokes. There’s a murder case I’m working.” If only it were just that: The Killing shines brightest when its stars aren’t mired in gloom and their characters just do their jobs. B-
Variety.com – Lionsgate will open the thriller “Child 44,” starring Tom Hardy and Noomi Rapace, on April 17 in the U.S.
Joel Kinnaman, Gary Oldman, Jason Clarke and Vincent Cassel also star in the thriller, directed by Daniel Espinosa from a script by Richard Price. Ridley Scott, Michael Schaefer and Greg Shapiro produced.
The story, set in Stalinist Russia, centers on a senior member of the secret police framed by a colleague for treason and exiled to a remote outpost, where he unearths a series of mysterious murders and vows to catch the elusive killer.
“Child 44″ opens against Sony’s “Paul Blart: Mall Cop 2″ and Focus’ sci-fier “Selfless.”
E!Online.com – The Killing is back from the dead and from the looks of the trailer, it’s going to be a wild ride. Linden (Mireille Enos) and Holder (Joel Kinnaman) are both back and E! News can exclusively reveal the two new character posters featuring the moody characters, a lot of rain and blood.
This is the fourth and final (seriously) season of The Killing and it picks up right after the season three finale that aired on AMC. When we pick up with detectives Linden and Holder, they are struggling to mange the fallout from the season three finale and are assigned a new case.
Said case? A murder case involving a whole family. The only survivor, the son Kyle Stansbury (Tyler Ross), was shot in the head during the slaughter. Joan Allen guest stars as Colonel Margaret Rayne, the headmaster of the all-boys military school the victim attends.
Season four of The Killing also stars Gregg Henry, Sterling Beaumon and Levi Meaden.
The final six episodes kick off on Friday, August 1, on Netflix.
TVLine.com – The Killing is finally letting Holder speak his native tongue.
When the ex-AMC drama debuts its fourth and final season on anything-goes Netflix later this summer, Joel Kinnaman’s tortured, streetwise detective will no longer have to watch his language.
“We can curse now,” enthuses series creator Veena Sud of her newfound freedom on Netflix. “All of us were ecstatic because, in this world, someone like Holder would say the F-bomb quite a lot, which he does this season… Joel, especially, was very happy about that.”
Holder’s not the only one who developed a potty mouth over the hiatus. “Even Linden gets an F-Bomb,” Sud confirms of his buttoned-up partner. “It’s very nice to hear that word come from her lips. And this season, in particular, she deserves to drop that F-bomb.”
The other “great joy of Netlix,” Sud shares, “is there are no commercials. In other words, the show’s relatively short six-episode season will actually have a running time closer to eight.
“We have, literally, over 15 [additional] minutes per episode,” she explains. “Each episode is jam-packed with story. It’s unrelenting. We go all the way up to the 55-59 mark in every episode.
“The DNA of the show is the same,” she adds, “but it’s gotten richer and deeper because of not having these restrictions.”
The Killing‘s profanity-laden farewell season drops Aug. 1 on Netflix.
The newest Robocop film retells an old story, and I’m not talking about the 1987 film of the same name.
In many ways police officer Alex Murphy’s (Joel Kinnaman) story parallels that of Pinocchio, the wooden puppet who wanted to be a real boy. Except that Murphy, whose mind and soul ends up locked up inside a robotic police suit following an almost fatal injury, was once a real police officer and he wishes he still was.
Stuff.co.zn – It’s 2028 and the streets of the world are under threat from terrorists, drug lords, and bent cops. Only Robocop and his robotic companions have what it takes to clean the streets up – Judge Dredd style.
Robocop also borrows from the tin man from The Wizard of Oz who longs for a heart and inspired Star Trek: The Next Generation’s android officer Data who has the same dream if, indeed, android dream of electric sheep.
Anakin Skywalker’s story, from Star Wars, also parallels Murphy’s narrative. Skywalker becomes the more machine than man Darth Vader and uses his cybernetic strength for evil, yet Murphy counterpoints this by using his robo body for good.
But the most obvious story that Robocop draws upon is Mary Shelley’s Frankenstein. In it Dr Frankenstein creates a monster which runs rampant. Murphy, too, is a monster of sorts who is horrified to see all that is left of himself in the mirror after his creator removes all his serviceable robotic parts in a scene which echoes Borg scenes from Star Trek: First Contact.
Robocop, then, can hardly be called an original film and yet there is something compelling about its story. Perhaps it’s the film’s familiarity coupled with one man’s quest to find what it is to be human. The great job the film’s lead does alongside Robocop co-creators played by Gary Oldman and Michael Keaton helps.
Samuel L Jackson also makes an important appearance.
TVGuide.com – Netflix resurrects The Killing for one final six-episode season (its fourth) on Friday Aug. 1 (at 12:01 a.m. Pacific time). But to prep viewers who may have missed the show’s run on AMC — or just need to bone up on the exploits of homicide detectives Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman) — the streaming video service is mounting a campaign this summer for viewers to binge the show’s first three seasons.
TV Guide Magazine spoke with The Killing executive producer Veena Sud about the show’s transition to Netflix, how it will change next season and whether this is truly the end for the drama. Sud and Netflix also unveil a new recap video, summarizing The Killing’s first three seasons, below.
TV Guide Magazine: You survived yet another year! Why is Netflix a good fit for The Killing?
Veena Sud: The Killing is like a great novel that you can’t put down. Netflix is the ideal platform because the viewer can binge watch. You can watch Season 1, episode 1 and go all the way through or watch as much as you want. The Killing in particular has so many details and so many nuances, and we really write towards our audience. By being able to watch episodes 1, 2, 3, 4, 5 at once, audiences enjoy the pleasure of having a huge movie basically that they are sitting down to watch for the evening with friends.
TV Guide Magazine: Did you make the show with an eye toward binging?
Sud: I’m just so excited about being on Netflix. It’s created this new national pastime for many of us, where you get to spend a weekend, an evening or many evenings on a journey with characters in a way that’s very intense, and very participatory. You’re not waiting for a week to find out what happens next. You can just click on “next” and you’re immersed again in the world. For The Killing that’s an ideal place for us to be.
TV Guide Magazine: Has being picked up by Netflix changed the way you write the show? Did you have to alter anything you had planned?
Sud: We haven’t altered anything, but what we’ve been able to add is more time. Each episode of Season 4 is longer without commercial breaks — which, as a storyteller, is such a huge gift. We are able to tell more story. Instead of each episode running 43 minutes, now each episode in Season 4 can run anywhere from 55- 59 minutes. Season 4 is just jam-packed with so much story.
TV Guide Magazine: How else is The Killing different on Netflix?
Sud: We’re allowed to curse, which is perfect for Stephen Holder. Joel Kinnaman was very happy to learn that he could say the “F” bomb. [Laughs]
TV Guide Magazine: What can you tell us about Season 4? What’s your own personal trailer, a preview for fans?
Sud: Season 4 is really the end game for Sarah Linden and Stephen Holder. The way we left off in Season 3 was pretty heart stopping. Stakes were the highest they’ve ever been for both our detectives. So Season 4 is the dilemma as the clock ticks and they’re dealing with another very critical murder investigation. They find themselves caught up in the fallout from the action that they took at the end of Season 3. I’m sorry to be so vague, but I don’t want to spoil the end of Season 3 for those who haven’t scene it.
TV Guide Magazine: What’s been out there is that it has to do with the murder of a rich a family, an investigation at a military academy with a very strong female head mistress. Can you elaborate?
Sud: Season 4 of the investigation takes place in a wealthy part of Seattle, so we’re changing up the world of the victims. We were in a working class family Seasons 1 and 2. We were on the streets in Season 3, and now, we’re in the echelon of power and wealth in Seattle. There is a mass murder and the detectives are fish-out-of-water kind of navigating their way through the world of Seattle’s rich. There is a link to a boy’s military academy that’s basically a holding cell for rich, wayward boys. The head of this all-boys military academy is played by the fabulous Joan Allen and we get to see two very strong, fierce women — Joan Allen and Mireille Enos — go head-to-head.
TV Guide Magazine: And is this the absolute finale this time, or is there a little opening for more?
Sud: This was the end I’ve wanted to tell from the very beginning. This is how I imagine the story of Sarah Linden would end. The way the season ends, I don’t think that there will be another season. It’s the way I’ve wanted to end the story from the beginning so I’m very grateful to come to this end instead of hanging like we were before.
IndieWire.com – After it was cancelled on AMC, Netflix decided to pick up crime drama “The Killing” for a fourth season to air exclusively on their site. With a little over a month left until it airs, the online streaming site has released a video that recaps seasons one through three.
“The Killing” follows a series of murder investigations led by two detectives, Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman). The first two seasons look at the “Rosie Larsen case,” with the detectives investigating the murder of a young girl. The third season, on the other hand, finds them working on a different case–the search for a runaway girl. Eventually they realize that the case has a lot to do with an old case from Linden’s past.
The first three seasons are available now to stream on Netflix with season four premiering exclusively on the site August 1.
Check out the recap video below.
ContactMusic.com – ‘The Killing’ is back for a fourth season on Netflix on August 1. What should we expect from the final six episodes?
‘The Killing’ just can’t be killed. AMC’s cult crime drama thriller premiered on the network in 2011, but was quickly canceled following its second season. Ultimately, it was revived for a third, but then canceled for a second time in September 2013. Two months after its cancellation, Netflix had announced it would be picking ‘The Killing’ up for a fourth and final season consisting of six episodes, because Netflix always saves the day. Joel Kinnaman, who stars on the show as Stephen Holder, recently spoke with the Los Angeles Times on why the switch to Netflix was a good thing. “The viewership of the show wasn’t as big as AMC might have hoped, but what I think Netflix and everybody realized was that the people that watched it really appreciated it. It meant something to them,” he said.
Because of the show’s dedicated following, online petitions surfaced to bring back the show for season four. One reached over 10,000 signatures. Now with the move to Netflix, how will it affect the show in general? For what it’s worth, the main roles are returning, as well as showrunner Veena Sud, so the main core isn’t going to change. What is going to change, however, may be the overall tone of the show. Now that it’s no longer on a network, ‘The Killing’ can basically do whatever it wants, and it’s planning on taking full advantage of that. “This season Holder gets to talk like Holder should have been talking,” Kinnaman said regarding his character. “We can use whatever words you want to use. There’s no rating. Sometimes you could feel a little held back by those limitations that were set up.”
While reactions were varied about his quote on sites like Reddit, it’s clear that the atmosphere of the show demands a certain type of language. ‘Breaking Bad’ handled it well by simply censoring swears in the network airing and uncensoring them for the DVD, but ‘The Killing’ avoided it all together. Luckily, the “no rating” approach that the show will begin to take will surely come off as natural, mostly because finding a dead body would make anyone mutter out an expletive. With that said, Kinnaman explained not to expect any increase in sexual content, but we can probably assume that an increase in visual violence is a given.
Obviously, sex, swearing, and violence doesn’t make good television (but it doesn’t hurt), so does ‘The Killing’ have something up their sleeves for a big final season? Though fans may be a little bummed that the season is only six episodes long as opposed to the show’s usual thirteen, Kinnaman says that the episode length will increase from 42 minutes to 55 minutes, which gives an extra hour and a half of content across the season. There hasn’t been too much info revealed about the plot, but it allegedly involves Kinnaman’s Holder and Mireille Enos’ Linden investigating a murder at an all boys academy. For anyone still going nuts about last season’s cliffhanger, you can bet that will be touched upon as well. As for the future of ‘The Killing,’ is season four REALLY the end of the series? We’ll believe it when we see it, but for now, we’ll just get ready to binge watch the new episodes when they premiere on Netflix on August 1.