At a mere four hours, it’s not a huge time commitment, and you’ll feel completely and totally satisfied by the end. It’s a rich, thoughtful story about immigration, as well as a compelling murder mystery and an ensemble character drama all in one.

Collateral doesn't overstay its welcome and doesn't leave much unresolved, which is a relief. Mulligan's character's drive is the drive of the show and despite her pregnancy, Kip never stops to sleep or eat. ... Having Mulligan on the small screen and having her in this sort of role that British television does so well also feels like it's putting something right.

Collateral has as its anchor the familiar benchmarks of a detective drama. In the hands of Mulligan and Nathaniel Martello-White (Kip’s partner Nathan), those bits of under-the-police-tape banter and station debriefings really crackle.

That Collateral--a four-part Netflix drama involving the struggles of migrants seeking asylum, the evils of human trafficking, perfidious intelligence agencies, women’s sexual victimization, drug-dealers and more--succeeds in achieving a certain suspense is no small miracle, given the confusion resulting from its hugely overcrowded script. Overcrowded by causes, that is, as well as characters.

It’s a great cast, and the show has its moments of both wry humor (my new ringtone will be Carey Mulligan asking, as Kip tries to chase down an errant lead, “Where the fuck is Boca Raton?”) and great pathos, and for once you won’t feel like a streaming drama is overstaying is welcome, but Collateral’s reach ultimately exceeds its grasp.

Hare’s arguments, made through the mouthpiece of his characters, are sound--they just don’t make for great entertainment.

So many new shows coming to Netflix and so few that have what this has, great writing to support great acting, direction, cinematography.

This was an excellent British detective series whose lead detective was on target the whole time. I would like to see a second season of this series.

The writing is smarter than the plot, but the plot isn't bad. Yes the deep state is at it again. Gumshoes plod on while the government and it's minions try to throw them off the trail. The witnesses know this and stay mum. There are numerous side stories with little connection back to the main one but are done to perfection by John Simm and Nicola Walker, who I suspect are setting us up for season 2. Mulligan steps away from glam role and does taut and hesitant frosh quite well. The Brits seem to distrust their spy wonks and politicos as much as we do. The weakness comes in the "terrorist" plot and it's shallow view of the issues. All in all quite fascinating and all too quick.

Decent writing with multiple storylines are undercut by implausible police procedures and cliche leftist stereotyping. Would have been better without the political speeches.

An interesting idea that could have been developed in one or two hours with a bunch of main characters, turns into a mess of secondary characters that (what a coincidence¡¡) know each others with the purpose of giving moral speeches about migration, gays, church and even divorce. It is not the worst I have watched but it is a pity to have ruined an original plot for being too pretentious.