“The Crow Lady is a really well-made, pacy drama whose general confidence, type and authenticity carry it over the odd clunking line and borderline cringe-making scenes round a affected person with a supposed break up persona. Having seen the three episodes out there for evaluation, it appears poised to take care of its stress whereas additionally giving some sense of the evil males can do and the hope that good individuals can do one thing about it.”
Lucy Mangan, The Guardian

“From its very opening scenes, through which somebody gouges polystyrene with a knife in an try (profitable) to set your enamel on edge, The Crow Lady is a nasty piece of labor. Ten years in the past, that might have been the very best reward. On the peak of Scandi noir fever, nasty was good. We couldn’t get sufficient mutilated our bodies dumped in misty woods on the outskirts of Malmö, or uncrackable instances being cracked by browbeaten feminine detectives with troubled dwelling lives carrying assertion jumpers. However in 2025, when each TV and detective fiction have moved on, The Crow Lady simply feels nasty.”
Benji Wilson, The Telegraph

“Fret not. This gripping story of ugly killings, a paedophile ring and the exploitation of asylum seekers doesn’t kick off with the riffs to ‘Paradise Metropolis’. It as an alternative imports a satisfying Scandi chill to the West Nation, because it juggles a torrid sexual abuse storyline with a flinty efficiency by Eve Myles as a sardonic copper investigating the apparently ritualised deaths of a variety of younger males.”
Ed Energy, The Unbiased

“It’s a feat of unbelievable prioritising that Milly Thomas’s adaption isn’t complicated, regardless of an preliminary onslaught of a number of plots. When the separate threads begin to weave collectively within the remaining half of the sequence, you might be forward of some revelations, relying on how literate you might be within the style, however the author’s command of the story stays spectacular. Cosy crime it isn’t, however there may be gentle and shade due to some clever cinematography by Susanne Salavati.”
Julia Raeside, The i