To Catch a Killer Review: Woodley & Mendelsohn Stand Out Despite A Weak Script

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To Catch a Killer Review: Woodley & Mendelsohn Stand Out Despite A Weak Script
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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.

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.

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 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.

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