Television shows and films about serial killers have stood the test of time in popular culture. Tapping into the psyches of the different types of murderers seems to intrigue audiences unlike any other genre. In his English language debut, director Damián Szifron takes on this genre with screenwriting partner Jonathan Wakeham. Their script sees Shailene Woodley as a modern-day Clarice Starling whose past both interferes and assists with tracking a disturbed individual. While it doesn’t exactly nail everything it sets out to accomplish, the film contains some great moments that deem it worthy of a singular watch. To Catch a Killer isn’t as strong as its predecessors, but it’s backed by great performances and sequences even when it leans into implausibility.
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Woodley stars as Eleanor, a young police investigator who constantly wrestles with the demons of her past in order to stay focused at work. Tables begin to turn for Eleanor when she is recruited by the FBI’s chief investigator Geoffrey Lammark (Ben Mendelsohn) to help profile and track the work of an unstable serial killer. As the police and FBI launch a nationwide manhunt, the teams are left to second guess the killer’s unprecedented behavior. Given her past and tortured psyche, Eleanor may just be the only person who can understand the mind of the murderer and finally bring him to justice.

Szifron and Wakeham’s script for To Catch a Killer isn’t as strong as one would hope, but there are plenty of elements throughout to deem it worthy of a one-time watch. The film opens with a sensationally creative sequence that captures an intricate killing spree by the film’s star murderer. With 20+ bodies discovered and scattered throughout the city, it’s up to the local police and FBI’s finest to put the pieces together and find justice for the families. In comes Lammark (Mendelsohn) to lead the investigation, which is where the script begins to falter. This is certainly not due to his performance because he is one of the standouts of the film. But the methods in which he takes to uncover the truth seem a little bizarre for an investigator who is supposed to have a longstanding career of solving murder mysteries.

His plan involves Eleanor, a junior police officer with a history of addiction and a failed attempt at joining the FBI. She relies on her instincts and wits to suggest basic next steps, which actually entails eavesdropping on conversations and hanging around where she isn’t supposed to be. A little odd, perhaps, but it’s what gets the story moving. Despite these unrealistic circumstances that make Eleanor and Geoffrey the perfect duo to hunt down the killer, their chemistry works really well, and their dialogue is among some of the highlights in To Catch a Killer. Contrivances aside, another great focal point of the film, surprisingly, is unraveling more background information about these two leads and less on the killer.

Ben Mendelsohn in To Catch a Killer

In spite of these rare great moments that seem to populate the film at sporadic times, other sequences require audiences to attempt to get past their annoyances with the film to remain engaged. For example, nearly halfway through To Catch a Killer, the script resorts to a trope that would only result in eye rolls from its viewers. In an attempt to “trick” audiences, there exists an entire sequence on alt-right hoopla that provides no real commentary nor does it amount to anything meaningful. Instead, it’s just there to exist and frustrate its viewers to no end, while simultaneously adding minutes to an already longer-than-necessary runtime. It’s a questionable sequence that unfortunately results in an uneven viewing experience.

To Catch a Killer isn’t a bad movie by any means. There are some stellar sequences that highlight the excitement that this genre often provides. Yet, these moments are either overshadowed by implausible elements within the script or undermined by sequences that don’t matter for the advancement of the plot. Despite these unfortunate factors, Woodley and Mendelsohn do everything they can to convert the weak story to something worth watching. They make a valiant effort, but along the attempt, too many hurdles stand in the way. Perhaps that’s a testament to what it takes to make this genre of filmmaking work. Reliance on viewers’ intrigue won’t ever be enough.

To Catch a Killer will release in theaters on April 21. The film is 119 minutes and rated for strong language and violent content.