To Catch a Killer: Review - A Hidden Gem

To Catch a Killer (2023)

This movie dropped on Netflix the other week and was met with little fanfare and were it not for my endless scrolling of Netflix's ash heap of trash I may not have noticed it, but I am glad that I did. In his first english language film Damian Szifron has shown himself to be a director worth following for his incredible ability to capture realistic action sequences which are balanced with gripping dramatic moments. This film seems to have been given little attention for the simple reason that the plot, which focuses on the hunt for a mass murderer, has been rebuked and looked down upon based on claims that it is a retread of other works, which I cannot disagree with more. Have there been crime thrillers before focused on the hunt for a serial killer, of course. But that is not reason enough to entirely dismiss this film, at least in my opinion. The opening minutes of the movie alone are enough to draw the viewer in with its unique and vivid way of depicting violence which begins with a shooting reminiscent of the tragic 2017 Las Vegas Strip Shooting where a gunman is seen preying on those below him on buildings and on the ground. The sequence is unique to the point that it does not seem to be a simple recreation but it also draws just enough from real world events to be able to feel grounded in modernity which I think allowed the director to tell his own story while preying on those real world fears we all have.

Szifron does a great job of ensuring the movie always feels grounded while at the same time working to build a sense of paranoia in the viewer that the killer could be waiting behind any corner just waiting to pounce. This growing tension along with shocking bursts of naturalistic violence and powerful lead performances combine to make this one of the better films of 2023. One such sequence in the movie that showcases what I stated above occurs within the first ten minutes when we are first introduced to Shailene Woodley's character who is a beat cop responding to the aforementioned mass shooting event. While at an apartment ensuring the safety of the occupants inside she and a fellow officer observe some lasers directed toward the origin of the gunfire all of which is captured in stunning cinematography as shown in the above image on the right. Not long after the pair approach the window, which the audience is thus focused on as they try to see into the room across the street where the shooter could be, the apartment erupts in a ball of fire following a loud explosion. These unexpected twists combined with the drama and suspense of the police investigation keep the audience guessing and thus engaged in the movie they are watching. I am reminded of the style of Mike Flanagan in his hit Netflix series The Haunting of Hill House where he often utilized jump scares in between important conversations the characters were having such that the viewer was not expecting these abrupt tonal changes based on the important dialogue the persons on screen were having. Engrossing the viewer in a way where they let their guard down and become emersed in the scene just to have the rug pulled out from under them is brilliant misdirection which I thought Szifron masterfully utilized in this film. No scene in The Haunting of Hill House better exemplifies the style I am referening than the one below which I must warn made me audibly scream at the top of my lungs in terror the first time I saw it.

Moving beyond the incredible direction of Damian Szifron the film also boats one of the better ensemble casts including the already mentioned Shailene Woodley along with Ben Mendelsohn, Javan Adepo, Ralph Inenson, and many others. What worked so well in this film was that all of the actors, even those who play minor roles including those that are interviewed by the police to the department heads in law enforcement, all felt believable and authentic which again added to the realism of this film. I am so glad to see that Mendelsohn got a leading role here, he was phenomenal in the Netflix series Bloodline, and I have been waiting for him to get more opprunities in leading roles where he can shine once more. Here he plays a law enforcement official tasked with leading the investigation aimed at finding and charging whomever is responsible for the recent string of violence. Along the way he runs into Woodley's character whom he briefly questions about the investigation and is surprised to learn of her great insights into the case. Again, is this the most unique setup, no, but the acting here is so great and the direction so masterful that you really do not care that it has done before. If one were to criticize every film for being a retread of something that had been done before no one would ever have a nice thing to say about any modern theatrical release. Most every plot has been done to some extent and in some variation before, what is important is taking these molds and manipulating them in a way that makes them your own and thus utilizing these foundations to tell an interesting story worthy of standing on its own two feet which I believe this film did, and did well.

The comradery that builds between Ben and Shailene's characters is the heartbeat that made this movie work. Seeing her journey from being a standoffish police officer to one fully involved in the investigation and whom Ben comes to trust but not to the point of being free from criticizing her when she acts in ways which he does not appreciate was a deeply rewarding and entertaining experience. Their friendship in this film felt believable and helped to keep me engaged in the story as I wanted to know where these two nuanced characters would end up not to mention my anticpation for finding out who and where the killer was. Woodley's character had an interesting backstory wherein she harboured suicidal ideations and a substance abuse problem which had gotten her shunned at work but which Ben never judges her for and who instead used it as a reason to support her climb in the department. Mendelsohn's character's sexuality was also an interesting twist on the genre in that this man in charge of leading the investigation into this mass murderer had a husband. Not that this is some new phenomenon but the historic masculine ideals of what a detective in this sort of film looks like was subverted in a way which I found impactful and a joy to watch. To add to this subversive plot decision Woodley initially takes Mendelsohn's interest in her as a romantic advance which she questions and which he responds to by inviting her over to dinner where she meets his husband thus disarming her accusations in an almost comedic fashion.

Now I may begin to spoil the movie from here on out so to end things for those not wishing to have the plot given away all I can say is to watch this movie, it is well worth your time and if this is a genre you enjoy this is a worthy addition to it which I am sure you will enjoy.

In terms of the investigation at the centre of the film the director continued to balance drama and action brilliantly. For instance, there is a moment where law enforcement believes that a white supremacist movement may be responsible for the wave of violence sweeping across the city. This is followed by an intense standoff in a grocery store where Woodley and company slowly and covertly usher patrons out of a small drug store while supposed militia members congregate inside near the freezer aisle at the back of the store. Woodley begins to struggle when trying to convince an older shopper to leave the store which alerts the group's suspicions and instigates a shocking outburst of violence in the store where there is a brutal exchange of gunfire. Again this sequence shows what I have already stated above in that the tension built when we see the undercover officers trying to rush people without tipping off the suspected militia men heightened the intensity of this scene such that by the time guns were drawn the audience was already on the edge of their seat and were not simply waiting for an action scene to commence as they were already invested in the moment and their pulses elevated.

Where the movie really became something special and worthy of praise though is in the climax of the film where Ben and Woodley's characters get a lead about where the killer might be and rush to the address. Once there they begin interviewing the mother of the man they suspect is the mass killer which is interrupted when Mendelsohn's character is abruptly shot through the window in a terrifying display of brutality. Not long after, Woodley is confronted by the killer who holds her at gunpoint. While this scene could have simply been used to create suspense out of the fear of Woodley's character being hurt or killed Szifron does something different and allows Woodley to discuss with the killer, played brilliantly by the incomparable Ralph Ineson, the nature of his crimes and what had motivated them. Ineson shows an incredible vulnerability here in trying to discern what has led him to this place and him doing the things that he has done all the while not falling for the police tactics Woodley tries to employ against him such as her assurances of fair treatment and the promise of a future after the unforiveable crimes he has committed. Seeing the pair discuss the merits of living in a society they both despise to varying degrees was gripping in that both of these characters had been pushed to the edge and fallen over but in different ways with Ineson enacting violence on the world while Woodley did it to herself. This was an incredible conversation between two very talented actors in a gripping film that deserves much higher praise which I fear it will never get since it has been so passed over. One last note on this incredible sequence, I really appreciate the way in which Damian Szifron and/or cinematographer Javier Julia captured their conversation (shown below) in that Ineson is shown in a much darker corner of the room trapped between one window and a fire raging beside him, reflecting his deteriorating mental state as the manhunt closes in around him, while Woodley is captured on the brighter side of the room with bright windows surrounding and directly behind her with no fire burning near reflecting her freedom and ability to overcome her mental health struggles.

This is one of the best films of the year and it deserves a much wider audience. I hope that my review aids in the effort to get this film seen by more people after it had received such a limited theatrical release while also possessing one of the more bland tiles and least inspiring posters to draw in viewers. Behind all of that though is an incredible film from a talented director who used his filmmaking prowess to bring to life a unique and interesting story filled with dynamic characters played perfectly by a stacked cast.

Here is the trailer for To Catch a Killer: