TO CATCH A KILLER: A Crime Thriller Not To Be Missed

The crime thriller has been around for centuries. Literature, theater, film, television – every form of art has leaned into the cat and mouse chase of intrigue and danger of an unknown killer behind a horrific crime. Where many pulsate with intensity, others faulter. For Damián Szifron‘s To Catch a Killer, audiences will find themselves holding their breath and learning the true nature of what it takes to catch an unseen predator in the dark of night.

And while To Catch a Killer may have its bumps along the way, its hypnotic story is meet with a mesmerizing cast, refusing to let go of its grip on the audience and committed to telling every avenue its story has to offer. Yet it elevates on the generic crime thriller, not only focused on finding the killer but aware of the sacrifices and political chess moves required to realize success. At its core it is about the investigation, detectives and killer, but it is also about a system that both perpetuates and stunts the mission. Broadening the scope of narrative perspective, To Catch a Killer becomes so much more than its central premise.

Killer Opening

With the ongoing mass shootings within the United States, there is a unique intensity that swells within To Catch a Killer. What starts off as a celebratory evening to ring in the New Year turns deadly. Engrossing, the opening sequence of To Catch a Killer is irresistible. From the moment it starts, it is as engaging as it is horrific, quickly building the intensity that will inevitably grip the audience. When the first gunshot is seen, rather than heard as a colorful array of fireworks ignites, the scene is shocking, you as a viewer questioning if you saw the action on screen correctly. Each sequence after follows the same construction, yet with each brutal and precise kill, the reality of the attack and the graphic nature become more and more apparent.

Much of the intensity it draws is from this confusion and rapid movement from location to location where the killings are happening. It almost feels as though you are there, working through your understanding of what you are seeing as much as the characters on screen. This feeling is further compounded by the Carter Burwell‘s score. Initially upbeat and celebratory, it disintegrates into ominous tension, solemnly moving the drama along. Gripping both audience and Officer Eleanor Falco (Shailene Woodley), grounds them in the almost incomprehensible brutality of the night.

To Catch a Killer is able to maintain this intensity, pushing its audience’s commitment as the dust begins to settle and the investigation begins. It starts as chaos, an explosion in the presumed apartment the shooter attacked from causing panic and fear, first responders rushing to aid those in the building while others race to in their attempt to catch the killer. It gives viewers a quick snapshot into Eleanor, her weary demeanor snapped sharply into focus within the chaos that surrounds her. There is a determination and a facilitation of all her energy that bursts to the surface, pushing her mind to capture any speck of evidence in the madness, while also pushing her body beyond its limits. To Catch a Killer is as effective in its opening as it is in its character introduction. Eleanor is given a lived in feel, brought to life brilliantly by Woodley, early on that the film is able to push against and expand upon.

Bring on the Politics

As the madness begins to settle, the tropes of the detective crime story begin to surface, the film leaning into the rallying of fellow officers, a wayward officer’s hidden brilliance sniffed out by the lead FBI on the case Geoffrey Lammark (Ben Mendelsohn) and the struggle for evidence consuming for all involved. Yet, what truly stands out is the film’s inclusion of the politics of an investigation. This is not two or three detectives doing all they can to solve crime with flashlights down dark alleyways. Rather, a series of moves that satisfy the insatiable need of those in power to end a crisis against those who are willing to do whatever it takes to find the truth.

For Eleanor, she is defiant in her attempt to play the game. This introduced early on as she races into the building, following the firefighters to see for herself the destruction but also to preserve evidence. She defies her role and her superiors expectation in a crisis to make sure as much of the truth can be harnessed. There is a sense of self destruction as well, which gives Eleanor an added layer of depth in her defiance and her unwillingness to play by the rules of those in power. The film is careful not to give all of Eleanor away in the opening scene allowing her to slowly be revealed to the audience, as well as give her character room to grow and expand throughout the entirety of the film.

Where Eleanor captures the defiance, Geoffrey delivers the complaint. There is a deep understanding of what needs to be done politically, the individuals and demands that need to be balanced in order to literally to catch a killer. There is a knowledge that underlines his investigation, every decision he makes for the ultimate goal of finding the truth, yet too often hindered by those who think they know more and who have bigger goals in mind. For Geoffrey, his valiant persuit for the truth is all to often stunted by those around him, his careful navigation of criminology and politics both a saving grace and a detriment to his cause.

To Catch a Killer balances these two well, delivering to audiences a solid dynamic. To Catch a Killer also benefits from this perspective, especially as reality hammers fiction. The film finds strength in the inclusion of the behind the scene politics that could literally make or break an investigation – and the consequences of both defying and playing along.

Behind the Scenes

To Catch a Killer boasts standouts in Shailene Woodley and Ben Mendelsohn, both disappearing into the intricacies of their characters. Woodley shines as fractured Officer Eleanor. There are moments throughout the film where her Eleanor will cut through you. Where she has turned out incredible performances in the past, this ranks as one of her best thus far. She is met by the equal force of Mendelsohn, his FBI detective commanding and precise. Turning out one of his best performances as well, Mendelsohn and Woodley standout not just as individuals, but as a pair. A mentor and apprentice relationship developing as the film progresses, each of the intricacies of their characters united and working to elevate the film’s intensity.

And intensity the film has. Yet, at times, To Catch a Killer is met with some pacing issues, occasionally slowing down when it needs to pick it up, while at others, moving all too quickly. This falls to the editing, many times a blink and you will miss it a moment of missed opportunity to further invest audiences in lead characters it has worked so hard to build and integrate into the narrative. Where this critique weaves in and out, the film begins to feel its almost two-hour run time towards its conclusion, feeling as though it looses the strength of its overall pace and intensity. And while it manages to retrieve most of it for its final moments, To Catch a Killer will feel to many as though it putters out in its final moments. It is a quiet resolution that while impactful, does not meet the energy that has brought it there, risking many to feel as though the film just falls off in its final moments.

Conclusion:

There are a lot of influences that run through the entirety of To Catch a Killer and its character depictions, including Silence of the Lambs, The Bone Collector and even a beautiful, dramatic shot early on that will have viewers calling back to Vertigo. Yet, as much as these influences run through the core of the film, To Catch a Killer becomes a crime thriller all its own. And while the ending might not land for all, the overall delivery of the film is intense, engaging, and unforgettable.

To Catch a Killer was released in the US on April 21, 2023.

Watch To Catch a Killer