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Criminal profiler and psychologist Dr Helen Hudson becomes entangled in the deadly mind game of a vicious copycat serial killer Peter Foley. Due to the horrific attack Helen suffered in her past as an agoraphobic she is confined to her apartment. The killer uses this against her in his murderous attempts to become a famous serial killer. Detectives M. J Monahan and Reuben Goetz they have the challenge of trying to capture the killer before he kills again and uses his chance to commit another atrocious murder. Written by
Clare Brace <email@example.com>
Harry Connick Jr. was asked by Amiel to come up with a slang term for ladies' panties, which ended up as "squirrel covers," an expression he had heard his brother-in-law use. See more »
When Monahan comes into Helen's apartment with her gun drawn, she sees herself 'live' on the TV screen, while the camcorder is pointed toward her. The Post-It note reads "Press Play". When a camcorder is in "camera mode", pressing Play will do nothing. In order to play a recorded tape, you must first switch the camcorder to the video playback setting. See more »
[Holding a threatening hypodermic]
Now, I'm not going to lie to you. This is going to hurt.
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A masterpiece that takes you inside the mind of a serial killer...
It all starts with Dr. Helen Hudson(Weaver) giving a lecture on serial killers, little knowing that she's about to have an encounter with one. After her lecture is over she visits the restroom, and is attacked by one Daryll Lee Cullum(Connick). Flash forward 13 months. We see Hudson yet again, but this time she's confined to her apartment. You see, she's now an agoraphobic, having retired after that fateful day. At the local police precinct detectives M.J. Monahan(Hunter) and Ruben Goetz(Mulroney) are tracking a killer of their own, played by William McNamara. He appears to be mimicing the MO's of various famous serial killers. Hudson hears about this over the radio and calls the precinct with some information. She speaks to Monahan, who thinks it's a crank call. Monahan and Goetz pay a little visit to Hudson's residence, carrying with them photographs of the recent crime scenes. Hudson determines the killer is indeed copying other serial killers. A while later, an unseen visitor breaks into her apartment, leaving the dress she was wearing the day she was attacked by Cullum neatly spread out on her bed. Her home is no longer safe. Monahan and Goetz have dragged her back into the world she tried to leave behind. Now Hudson must help the detectives catch the copycat before she becomes the next victim.
Realistic in just about every aspect, Copycat is right up there with Silence of the Lambs. Comparisons to Seven are not unwarrented, but the plot here is more believable. A very good cast, with Weaver giving one of the best perfomances of her career. Hunter and Mulroney are also excellent. The film is provided a very tense and terrifying atmosphere, thanks to director Jon Amiel. It doesn't need to wallow in needless violence and gore, because it has what every great Thriller needs: suspense on an epic scale. The violence is kept to a minimum, but what it contains can be a bit unsettling, if for no other reason than because we get to know how the killer thinks. Along the same lines, Weaver's portrayal of an agoraphobic is perfect. You don't have to imagine what Weaver is feeling when she steps out of her apartment, or what the killer is feeling while he murders his victims. You feel every bit of it, which is why this film succeeds so masterfully.
Copycat is that rare film that comes along every other year or so that has the ability to pull you into it. It takes you on a most terrifying journey into the mind of a serial killer and the doctor that understands him. I can't say anything more, except that I love this film. Hitchcock would've been proud.
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