Kyle Mullin

The actors frequently sound hokey, and much of the dialogue drags as if it were ripped from a textbook, instead of coming from lived in characters.

Thanks to his chemistry with his castmates, and his leaning into a boyish charm that came off as stilted inexperience in prior seasons—along with even better than ever turns from Matten and McClarnon, make season four of Dark Winds a new high watermark for this ever burgeoning crime saga.

Most fans of edgy cartoons, and comedy in general, will love Strip Law’s shameless pursuit of debased jokes, along with its casino-like overstimulation.

This astoundingly moving yet hilarious–at times in the same scene–series depicts the how and why of an American political tragedy.

The Lowdown hits more highs in a moment of screen time than most series do in their comparatively feeble entire run times. Harjo pays homage but also builds on crime tomes from prior generations.

The mystery of the villain this season is intriguing, and culminates in a hugely satisfying twist in later episodes. That being said, some viewers will become impatient with that dynamic and miss the presence of a big baddie like Weaving’s, plotting schemes and chewing up scenery. .... But best of all is the surprisingly effective melancholy giving bite to the dark humored banter between the main Slough House cast.

Too Much feel[s] rife with potential, even though it has yet to cohere into a great sitcom in line with the heights that these individual talents have already achieved elsewhere.

The remaining first half of this ten episode season (I only binged the five so far) are equally strong as the premiere, falling short of only the series’ absolute apex, which is of course Season Two’s famous “Forks” episode.

Old school sleuthing and shootouts to character development and ambitious visuals (especially in upcoming episodes), Season Three of Dark Winds thrillingly defies expectations.

The first two episodes of this season end on cliffhangers that maintain commendable suspense, despite some expository scenes that tumble into proverbial valleys compared to action packed and sharply acted road buddy sequences that are The Old Man’s peaks. Nevertheless, the exquisitely shot Middle East landscapes, Shawkat’s steely portrayal of a character in perilous danger, Bridges’ pitilessly pugnacious fight scenes, and his sparky chemistry with Lithgow make The Old Man a must watch, and prove some elder operatives need not be scurried out to pasture.