Boston Strangler: Knightley shines in flawed crime drama

The opening scene of Boston Strangler (2023) is a jarring one: Keira Knightley’s Loretta McLaughlin, a reporter for the Record American, standing in the dimly lit apartment of a victim, her pen poised over her notepad. The room feels claustrophobic, the air thick with unspoken dread. It’s a moment that should grip you by the throat, but unfortunately, it doesn’t. Directed by Matt Ruskin, this historical crime drama follows McLaughlin and her colleague Jean Cole (Carrie Coon) as they investigate the infamous Boston Strangler case in the early 1960s. The film is based on the true story of Albert DeSalvo (David Dastmalchian), who confessed to the murders of 13 women in Greater Boston, though his guilt remains a subject of debate.

The strongest aspect of Boston Strangler is its commitment to historical accuracy and its exploration of the complex dynamics between the reporters and the police. Knightley and Coon deliver compelling performances, particularly in scenes where their characters clash with law enforcement over jurisdiction and media ethics. Their chemistry is palpable, and their determination to uncover the truth is infectious.

https://www.youtube.com/watch?v=N_yfmHCkSB0com

Knightley’s portrayal of Loretta McLaughlin is a standout element. She brings a fierce intensity to the role, capturing both the tenacity and vulnerability of a journalist navigating a patriarchal landscape. Coon, equally impressive as Jean Cole, provides a steady counterbalance to Knightley’s fiery determination. Their interactions are the heart of the film, driving the narrative forward with genuine emotional weight.

However, the film falters in its execution. The pacing is uneven, with some scenes dragging unnecessarily while others feel rushed. The cutaway scenes depicting the Strangler’s crimes are too clinical, resembling History Channel reenactments rather than the chilling horror they should evoke. These moments lack tension and fail to build the suspense that a thriller of this nature demands.

Ruskin’s direction is competent but uninspired. He relies heavily on dialogue-driven scenes, which, while well-acted, don’t always translate into engaging storytelling. The film also struggles with its tone, oscillating between a gritty crime drama and a more conventional biopic. This inconsistency makes it difficult to find a cohesive narrative voice.

The cinematography is serviceable but unremarkable. The use of lighting and composition doesn’t elevate the material, and some shots feel overly staged. The sound design is equally forgettable, with no standout moments that enhance the viewing experience.

Despite its flaws, Boston Strangler has its merits. The performances by Knightley and Coon are standout elements, and the film’s exploration of media ethics and police jurisdiction adds depth to the story. However, these strengths aren’t enough to overcome the film’s structural and tonal issues.

The film’s themes of media sensationalism and the pursuit of truth are timely and relevant. The portrayal of reporters as both advocates for justice and participants in a system that often prioritizes headlines over facts is nuanced and thought-provoking. However, these themes are not explored deeply enough to leave a lasting impact.

In terms of genre fit, Boston Strangler strives to be a gripping crime thriller but falls short due to its pacing and tonal inconsistencies. It’s a film that will likely appeal more to fans of historical dramas than those seeking edge-of-their-seat suspense. The mystery at the heart of the story—the identity of the Boston Strangler—is intriguing, but the film’s reluctance to fully commit to the horror elements of the case dilutes its impact.

Comparatively, Boston Strangler lacks the visceral tension of films like Zodiac (2007) or the psychological depth of Mindhunter (2017). These films masterfully blend crime investigation with character-driven drama, creating a sense of unease that lingers long after the credits roll. Boston Strangler, on the other hand, feels more like a surface-level retelling of events rather than a deep dive into the minds of those involved.

The supporting cast, including Chris Cooper as Jack Maclaine and Alessandro Nivola as Detective Conley, provides solid performances but doesn’t leave a lasting impression. Their characters serve more as plot devices than fully realized individuals, which is a missed opportunity given the richness of the source material.

One of the film’s most interesting aspects is its portrayal of the media’s role in shaping public perception. The scenes where McLaughlin and Cole navigate the pressures of their editors and the expectations of their readers highlight the ethical dilemmas faced by journalists. However, these moments are too few and far between to form a cohesive narrative thread.

The film’s originality is also a point of contention. While it faithfully adapts the true story of the Boston Strangler, it doesn’t bring anything particularly new to the table. The director’s choice to focus on the reporters rather than the killer himself is an interesting angle, but it’s not executed with enough flair to stand out in a crowded field of crime dramas.

In conclusion, Boston Strangler is a worthy but ultimately forgettable entry in the true crime genre. Its strong performances and relevant themes are overshadowed by its structural and tonal inconsistencies.