Name: To Catch a Killer
Genre: Thriller, Crime, Drama
Released: 2023-04-06T00:00:00+00:00
Cast: Shailene Woodley, Ben Mendelsohn, Jovan Adepo, Ralph Ineson, Richard Zeman

The neon glow of Baltimore’s skyline fades to black as To Catch a Killer opens with a massacre on New Year’s Eve. Fireworks explode overhead, their bright flashes mirroring the muzzle fire of a mass shooter. Director Damián Szifron, whose previous work like Wild Tales thrived on dark humor and explosive confrontations, dials back the absurdity here but keeps the tension ratcheted tight. This is his first English-language feature, and while it lacks the linguistic flair of his Argentine films, it compensates with a relentless, grimy atmosphere that clings to the skin like sweat.

Shailene Woodley stars as Eleanor Falco, a Baltimore cop whose reputation for brilliance is overshadowed by her personal instability. She’s recruited by Geoffrey Lammark (Ben Mendelsohn), the FBI’s lead investigator on the case, to help profile the killer. Woodley, often cast in roles that emphasize her wide-eyed idealism (Divergent, Big Little Lies), digs deeper here. Her Falco is a woman teetering on the edge, and Woodley makes every flicker of doubt and surge of determination feel visceral. The scene where she confronts a witness in a dimly lit alleyway—her voice steady but her hands trembling—showcases her ability to convey quiet intensity.

Mendelsohn, meanwhile, is magnetic as Lammark, a man who operates on instinct rather than protocol. His performance is a masterclass in restraint; he rarely raises his voice, yet his presence commands every scene. The dynamic between Woodley and Mendelsohn is the film’s engine, their verbal sparring sessions crackling with unspoken tension. When they argue over the killer’s motives in Lammark’s cluttered office, Szifron frames them in tight close-ups, forcing the audience to read every micro-expression.

The supporting cast, however, is a mixed bag. Jovan Adepo, as MacKenzie, Falco’s partner, delivers a solid but forgettable performance, while Ralph Ineson (Dean Possey) and Jason Cavalier (Marquand) feel underutilized. Their characters exist primarily to move the plot forward rather than add depth to the narrative.

Where To Catch a Killer excels is in its unflinching portrayal of obsession. Both Falco and Lammark are consumed by their pursuit of the killer, blurring the lines between professional duty and personal fixation. Szifron doesn’t shy away from the psychological toll of their investigation, particularly in a harrowing scene where Falco confronts her own demons during a late-night stakeout. The sound design here is exceptional—every creak of the floorboards, every distant siren, amplifies the sense of isolation.

The film’s pacing, however, becomes its Achilles’ heel. The first act is a masterclass in tension-building, but the middle section stumbles into procedural monotony. Szifron spends too much time on FBI meetings and forensic analyses, which, while technically necessary, drag the narrative down. The killer’s identity, when finally revealed, lacks the emotional punch it should have. This isn’t due to predictability—it’s more a failure of character development. The antagonist is a product of circumstance rather than a fully realized individual, making their actions feel detached from the rest of the story.

Szifron’s direction is otherwise commendable. He favors long takes and naturalistic lighting, creating an immersive atmosphere that feels lived-in rather than staged. The cinematography, though uncredited in the dossier, effectively uses shadows and reflections to emphasize the characters’ inner turmoil. A standout sequence involves Falco retracing the killer’s steps through a sprawling apartment complex, the camera lingering on details that hint at deeper meaning.

Thematically, To Catch a Killer explores the cost of justice. Both Falco and Lammark are willing to sacrifice their moral compasses to catch the bad guy, raising questions about how far is too far in the name of law enforcement. Szifron doesn’t offer easy answers, which adds depth to an otherwise straightforward thriller.

Comparisons to films like Zodiac or Se7en are inevitable, but To Catch a Killer lacks the iconic status of those classics. It’s a solid entry in the genre but doesn’t push boundaries in any meaningful way. That said, it’s far from forgettable. Szifron’s unique perspective and Woodley’s standout performance ensure that it holds its own.

The film is best suited for fans of gritty crime dramas who appreciate psychological depth over explosive action. If you’re looking for a fast-paced thriller with a clear-cut villain, this might not be the movie for you. But if you enjoy complex characters and morally ambiguous storytelling, To Catch a Killer delivers.

In conclusion, To Catch a Killer is a compelling but flawed thriller that benefits from strong performances and atmospheric direction. It stumbles in pacing and character development but remains engaging throughout.