If there was ever any example of the importance of not judging a film by its title, To Catch a Killer is one of the most appropriate candidates. Despite its generic title that seems more like what the writer would use to pitch the project rather than the overall encapsulation of the story, the film is quite exceptional functioning as one of the more critically engaging psychological thrillers of the past few years, which is quite a remarkable achievement considering how we are in an era where more artists are becoming extraordinarily adept at telling stories that are both thorough and thrilling in equal measure. It’s not a surprise that this film was conceived and directed by Damián Szifron, who has established quite an impressive career in his native Argentina, being known for his subversive and challenging films that test the limits of creativity and some deep thematic details that make each one particularly notable (and considering he seems to only direct once every decade, it’s a special event whenever he releases another film), while also being profoundly well-constructed, both conceptually and visually. In his English-language debut, Szifron tells the story of a young beat cop hired to assist the FBI in tracking down a spree killer who has been terrorizing Baltimore, which unearths some deeper secrets lurking beneath the social landscape that our protagonist navigates on a daily basis, assisted by an eccentric Special Agent who takes a particular liking to the protagonist, particularly due to her broad insights that offer an abundance of complex details when they are most required. A dark and cynical psychological drama that never wavers in its undying commitment to exploring certain themes, To Catch a Killer is a fascinating document of the human condition, as seen through two characters who struggle to see the joy in their daily lives, which allows them to make their own observations about the state of the world, and how life is continuously changing, for better and worse.

Considering how far the genre has come, it is increasingly rare to find a detective story that is simple and straightforward, since it almost feels that everything that can be done with the genre has been seen countless times before, and that any attempt to improve on it only entails adding further elements, some of which can be counterintuitive, however creative as they may be. On the surface, To Catch a Killer seems like a relatively by-the-numbers police procedural, especially since it combines different sectors of law enforcement (mainly the police and the FBI), which creates an immediate contrast that is the foundation for the first few moments of tension, as well as playing into the ultimate resolution as one of its key plot components. However, there is nothing quite as surprising as a film that purports to focus on a specific theme, but gradually proves to be about something else entirely, which is what this film does particularly well, especially in those moments that seem a lot less conventional, which is undoubtedly the product of the director being slightly more experimental, both narratively and visually. To Catch a Killer is a detective drama that plays like a horror film – there is a villain who we only see glimpses of for the first two acts, before he is revealed during the climax, by which point we are already intimidated by his presence, long before we had gotten the opportunity to understand him or his actions, which is the central conflict, and the foundation of many of the most fascinating observations made by this film as it pursues a more complex depiction of the criminal mind, as seen through the eyes of two people who work to bring an end to this terrifying crime spree, but find themselves getting caught up in the small details, which eventually reveal more about who they are as people than the individual they are pursuing, which may force this film to deviate from the status quo, but adds layers of complexity to an already meditative and transfixing examination of the human mind, and the corruption that can occur when it suffers some kind of trauma, physical and emotional.

To Catch a Killer is a film that essentially exists on the merits of its performances, since it is such a small, intimate character study, everything that makes it intriguing can be traced back to how these individuals are defined on the page, and the manner in which they are brought to life, which is where many of the film’s greatest strengths reside. Shailene Woodley has been working laboriously for the better part of a decade to find her niche as an actor – she is a very unique talent, with an acting style that doesn’t easily fit into any conventional categories, which can be either exciting or perilous for a young actor, since it can either make them stand out in comparison to their peers, or force them to disappear into the background, especially if they are not deemed traditionally interesting. Woodley has not always made the best choices, nor has she been offered to many strong roles that are worthy of her bespoke gifts – but fortunately, Szifron made the right decision in choosing her to lead the film. At first, it seems like a relatively conventional role – the part of Eleanor Falco is not immediately original or all that exciting, but through Woodley’s spirited performance, she becomes lively and complex, much more than we may initially expect. The same can be said for Ben Mendelsohn’s role of Geoffrey Lammark, who is a similarly archetypal character rendered truly fascinating through the power of his performance – and much like Woodley, Mendelsohn has been typecast, being forced into playing malicious villains (usually representing the bureaucracy), with the occasional more sympathetic character appearing sporadically in between. This film proves the value of avoiding typecasting through choosing actors that are proven to be able to play a particular kind of character, and allowing them to take the roles in new directions, developing them into complex, meaningful individuals. This is career-best work for both actors, who continue to show that with the right material, they are capable of shedding the stereotypes that have seemingly defined them, and capable of going in their own unique direction when it is appropriate.

It isn’t coincidental that To Catch a Killer has strong characters and a story that tests the boundaries of the genre that it supposedly follows, but deviates from in particular moments, becoming something else entirely, which is a great surprise for those expecting a more conventional crime thriller. All of these elements play into the idea that this film is less about the act of mass murder as it is about the psychology behind what causes someone to engage in these heinous acts, with the moments of quiet introspection being what keeps the film so engaging and compelling. There is a deeper meaning that drives this film and helps make it so enticing, especially in how it promises a particular subject, but starts to focus on other ideas, which eventually take over and become the basis for many of its most compelling moments. The central conceit of the film is that the only person who can help apprehend a cynical, self-loathing maniac is someone who has experienced those same sensations, but emerged into a more positive state of mind, rather than surrendering to those intrusive thoughts. Much like the film that inspired its title, To Catch a Thief, the idea of having someone with experience chasing after an individual demonstrating those same traits is a good way to ensure that we are always enthralled by the narrative, which is a lot savvier about certain issues than we may initially think – there is a reason this film was originally written and directed under the title Misanthrope, a much more simple but evocative encapsulation of what this film represents. There’s a complexity that drives this film, which is all about exploring the darker side of humanity – and unfortunately, the concept of spree killers and active shooters is not as abstract an idea as we may want to believe, and this film reflects the terrifying state of the world, showing a detailed and deeply unsettling account of modern life. Perhaps it may be slightly excessive, but there is a gravitas to To Catch a Killer that continuously makes it deeply effective and unquestionably terrifying in ways that we may not always be prepared to experience.

A film that intentionally goes in pursuit of some deeper, more unsettling meaning while still playing by the overall rules of the genre in which it exists, To Catch a Killer is a fascinating project, and one that proves the mettle of everyone involved. It can sometimes veer towards being slightly tenuous in terms of the plot and dialogue (which is likely the product of this being Szifron’s English-language debut, so there was always going to be a barrier with the spoken language), and there are a few moments where the film could have ended, only to add more plot onto an already overstuffed narrative that could have been trimmed in several places. However, for what it is worth, this film is still an incredibly fascinating subversion of the crime thriller genre – shifting our attention away from the crime itself, as well as the killer (who we don’t know much about until the very end, but even then it is all kept quite sparing and limited, intentionally so), which adds an element of human complexity to the narrative, which is already in active pursuit of something much deeper and more profound. Intricately-woven and beautifully made (the cinematography by Javier Juliá is absolutely gorgeous, with the manner in which he captures the bleakness of this story being incredibly profound), and features two extremely strong performances by Woodley and Mendelsohn, who are both exceptional. To Catch a Killer may initially feel like any other crime procedural, but it certainly earns its place amongst some of the better in recent years – the tone is jagged and bizarre, the characters are eccentric to the point of being almost unsettling, and the plot itself has moments of abstraction that stretch the limits of plausibility. However, this all serves a much broader purpose, and watching this story transpire is a thrilling experience, since we rarely know in which direction it is heading, which adds an element of surprise to a film that keeps us on the edge of our seats, terrifying and provoking thought, which is usually only possible when it comes to this kind of ambitious, well-constructed psychological thriller, which blurs the boundaries between genres and challenges conventions in ways that would always be worth our time, regardless of the specific story being told.