28 Mar '11

“The Killing is brilliant, the best thing on television for yonks. The Killing isn’t just a thrilling whodunnit, it’s a very human story that never lets you forget there’s a tragic death at its heart. It has some of the most interesting and real characters on television, who develop and react to the drama as it unfolds.”
Sam Wollaston, The Guardian

“The Killing was brilliantly concealed, the real secret of its success could have been spotted by Inspector Clouseau, if not your average British drama commissioner: naturalistic acting matched to a smart but emotionally open screenplay that had time, and then more time, to live and breathe.”
Andrew Billen, The Times

“What’s been best about The Killing is its low sostenuto: not that almost inaudible thrumming on the soundtrack that stealthily ups your pulse rate to the final credits, but its recognition that the inaugurating notes of every murder mystery – loss and sorrow – reverberate on and on.”
Tom Sutcliffe, The Independent

“Every now and then there’s an attempt to do some crowd-pleasing stuff but it always feels just like that. In other words, a deliberate ploy, rather than something natural to the show.”
Matt Baylis, The Express

“Imagine: The Trouble with Tolstoy began where its subject ended – the little Russian railway station that became the focus of extraordinary national attention after Tolstoy was taken ill, and lay dying in the station master’s house. But the first half of Alan Yentob’s biographical film reminded you that it had been a difficult and painful road to veneration.”
Tom Sutcliffe, The Independent