There have, of course, been other films on this subject. Notable examples include The Boston Strangler (1968) and The Strangler (1964). It’s hard not to think of Jack the Ripper. I love the film From Hell (2001) about him.
TThere’s the Boston Strangler (1968), but this isn’t a remake. Gerold Frank had written a book with that title. Stéphane Bourgoin had compiled excerpts from the strangler’s confessions. And I suppose the list goes on! Indeed, this story is getting a bit dated, and many artists have drawn inspiration from it.
Directed by Matt Ruskin. Ridley Scott is one of the producers. I had no expectations, and in the end, I had a good time watching this film. Overall, it’s a pleasure to watch.
This film is more than decent. It has a fairly dark and polished atmosphere. Good pacing, interesting dialogue, solid direction, and charismatic actors. It’s always a pleasure to see Chris Cooper or David Dastmalchian again.
Surprising, with a very well-executed narrative and a meticulous recreation of the historical period. The actresses are very convincing. Keira Knightley and Carrie Coon are truly excellent. It avoids over-the-top drama. The tone is just right.
A journalistic thriller led by two women, this film is styled after Zodiac (2007)—without computers or the Internet—featuring a meticulous and gripping on-the-ground investigation backed by a well-crafted screenplay. No over-the-top tension or nonstop action! The direction focuses on psychology and the investigation, set against a sometimes austere atmosphere and cool color palette. Effective and successful.
“No one knows what a woman alone feels”
I found this review very insightful: “Three women are murdered by strangulation. In this era of rampant feminism, it’s only natural that the investigator transforms into a female journalist who exposes men’s lust by extracting information from police officers in a bar. Compared to the previous treatment of this news story, they’ve included the more plausible theory of multiple killers, despite the DNA analysis conducted for the thirteenth and final murder, which supports the usual suspect—but why would he have changed the profile of his victims from elderly women to young ones? The 1968 film also overlooked the work of these two female reporters and instead emphasized that of law enforcement, which contradicts this film. Nevertheless, the immersion in the investigation is less intense than in the 1968 version.”
Confined to the lifestyle section of her newspaper—a role that doesn’t exactly thrill her—Loretta McLaughlin keeps a close eye on current events and is frustrated by her editorial staff’s passivity on certain issues. When she notices commonalities among several murders, it marks the beginning of a multi-year investigation for her. While there have been a few films on the subject, we won’t be discussing Michael Feifer’s version, as Matt Ruskin focuses on the women who brought the case to light—unlike Richard Fleischer’s famous adaptation, which centered on Detective John Bottomly. We follow the work of these journalists, who in a way take the place of the police, and discover the impact of the press on this case, whether positive or negative. This is therefore not a traditional police investigation.
With this take on The Boston Strangler, it is a tedious yet twist-filled journalistic investigation driven by the determination of female reporters. Directed in a classic style, these investigations unfold with interest. Furthermore, Keira Knightley perfectly embodies her character in a difficult era for women in society. This actress had somewhat faded from the spotlight in recent years, but she carries this film quite well on her shoulders.
The film pulls off the feat of skillfully blending a gripping thriller based on a true story with a very contemporary feminist message—but never in a preachy way.
A great way to spend some time in front of the screen!
Spoiler Alert!!!
A lot of people posting negative reviews about this movie really didn’t get it! For your own edification, look up the true story of the Boston Stranglers!
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