Sees_Beneath_The_Surface
Joined Aug 2007
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Reviews16
Sees_Beneath_The_Surface's rating
At its core, To Catch a Killer is a streak killer manhunt wrapped in layers of political maneuvering and power plays that, while exaggerated for dramatic effect, feel disturbingly plausible. The film doesn't shy away from depicting how narratives are twisted and sacrifices are made to keep those in charge untouchable, which is exactly what I expected going in.
Shailene Woodley does a fine job as Eleanor, a raw talent spotted by a seasoned investigator who sees past the politics to put her skills to use. But her character-yet another tortured soul who stumbles into heroism due to trauma-feels overused and unimaginative. While she's not entirely "over it," she's coping, and that's her defining arc.
Pacing-wise, the film leans a little too heavily on its political themes. I get why they did it, but it sometimes undercut the suspense. As the killer's profile emerged, I expected more intensity, but perhaps the film's choice to show the collective effort of the investigation over a singular, high-stakes climax was a more realistic approach. The one person that could recall the killer felt a bit like a deus ex machina play, but it worked well enough.
What stood out was how Woodley portrayed Eleanor's coping mechanisms-she wasn't alright, but she was functional. The reveal of the extent of her history was handled well, but I expected more of an emotional reaction from her when her in the context of the scene. It seemed like something she desperately needed to tell someone, but it didn't play that way.
Overall, To Catch a Killer is solid but not exceptional. Story: 6. Atmosphere: 6. Acting: 7. Cast choice: 7. The narrative wasn't remarkable, but Eleanor's internal turmoil carried the film for me. And I appreciated how she ensured Lammark was honored for his work and that his husband wasn't denied his pension due to outdated prejudices-a studio-driven political moment, no doubt, but one that worked.
Not a great movie, but one that lingers because of its themes rather than its execution.
Shailene Woodley does a fine job as Eleanor, a raw talent spotted by a seasoned investigator who sees past the politics to put her skills to use. But her character-yet another tortured soul who stumbles into heroism due to trauma-feels overused and unimaginative. While she's not entirely "over it," she's coping, and that's her defining arc.
Pacing-wise, the film leans a little too heavily on its political themes. I get why they did it, but it sometimes undercut the suspense. As the killer's profile emerged, I expected more intensity, but perhaps the film's choice to show the collective effort of the investigation over a singular, high-stakes climax was a more realistic approach. The one person that could recall the killer felt a bit like a deus ex machina play, but it worked well enough.
What stood out was how Woodley portrayed Eleanor's coping mechanisms-she wasn't alright, but she was functional. The reveal of the extent of her history was handled well, but I expected more of an emotional reaction from her when her in the context of the scene. It seemed like something she desperately needed to tell someone, but it didn't play that way.
Overall, To Catch a Killer is solid but not exceptional. Story: 6. Atmosphere: 6. Acting: 7. Cast choice: 7. The narrative wasn't remarkable, but Eleanor's internal turmoil carried the film for me. And I appreciated how she ensured Lammark was honored for his work and that his husband wasn't denied his pension due to outdated prejudices-a studio-driven political moment, no doubt, but one that worked.
Not a great movie, but one that lingers because of its themes rather than its execution.
European detective dramas have a way of layering their mysteries, not just in terms of plot but in how they weave character depth and setting into something immersive. The Åre Murders is no exception, offering an engaging story wrapped in a snow-covered, ever-present sense of quiet menace.
Hannah Ahlander (Alexandra Rapaport) is the heart of the series, and from the opening moments, it's clear that she's not one to sit back when a child disappears. Her insistence on helping, despite not being officially assigned, earns her a wary partner in Daniel Lindskog (Ardalan Esmaili), whose skepticism shifts over time as he realizes what we already know-Hannah isn't just determined, she's carrying a past that makes this case personal in ways that don't fully surface until midway through the season.
The plot moves at a deliberate but satisfying pace, introducing one crime that inevitably leads to others, each exposing the tangled ways people serve and protect their own interests. There's a realism here, a sense that justice isn't always swift or clean, and that human nature-especially at its worst-tends to repeat itself.
Visually, the setting is a character in its own right. The perpetual winter landscape adds both beauty and isolation, reinforcing the tension while making it clear we no longer belong to the elements like we once did. The production captures this with an authenticity that doesn't feel staged or forced-European spaces have their own feel, and The Åre Murders understands how to make them work.
A recurring thread-intentional or not-is how male perpetrators exploit female victims, often starting with a single crossed boundary before spiraling into something more sinister. The message isn't heavy-handed, but it's there: recognize the warning signs, set firm lines, and don't accept secrecy as a condition. It's a sobering look at how these patterns take hold long before violence becomes visible.
All in all, The Åre Murders tells its story well. The first half lays the foundation, and the second half delivers with the same level of quality. If you enjoy Nordic noir that respects the intelligence of its audience, this one is worth your time.
Hannah Ahlander (Alexandra Rapaport) is the heart of the series, and from the opening moments, it's clear that she's not one to sit back when a child disappears. Her insistence on helping, despite not being officially assigned, earns her a wary partner in Daniel Lindskog (Ardalan Esmaili), whose skepticism shifts over time as he realizes what we already know-Hannah isn't just determined, she's carrying a past that makes this case personal in ways that don't fully surface until midway through the season.
The plot moves at a deliberate but satisfying pace, introducing one crime that inevitably leads to others, each exposing the tangled ways people serve and protect their own interests. There's a realism here, a sense that justice isn't always swift or clean, and that human nature-especially at its worst-tends to repeat itself.
Visually, the setting is a character in its own right. The perpetual winter landscape adds both beauty and isolation, reinforcing the tension while making it clear we no longer belong to the elements like we once did. The production captures this with an authenticity that doesn't feel staged or forced-European spaces have their own feel, and The Åre Murders understands how to make them work.
A recurring thread-intentional or not-is how male perpetrators exploit female victims, often starting with a single crossed boundary before spiraling into something more sinister. The message isn't heavy-handed, but it's there: recognize the warning signs, set firm lines, and don't accept secrecy as a condition. It's a sobering look at how these patterns take hold long before violence becomes visible.
All in all, The Åre Murders tells its story well. The first half lays the foundation, and the second half delivers with the same level of quality. If you enjoy Nordic noir that respects the intelligence of its audience, this one is worth your time.