Copycat - A Movie Review

You have to think like a killer to be one step ahead.

Copycat is a 1995 crime thriller. A serial killer is obsessed with copying other killers’ tactics from previous murders. An agoraphobic psychologist and a female detective work together to stop the killer before reaching them.

This is one suspenseful film. I love when movies put me on the edge of my seat. It has an intense plot driven by two talented actresses. There are some elements and characters that don’t make sense, however, the thriller teaches viewers never to give up in times of terror.

Copycat would have a huge black hole without the phenomenal performances conducted by Sigourney Weaver and Holly Hunter. Both actresses taught studious research for authentic deliveries. They bring depth and nuances to their characters, both embodying quiet strength. We need more films portraying female resilience like this film.

Did you know Hunter’s role was originally intended for a male actor? The character transformed when the producers found her. Hunter was exceptional as MJ Monahan. I have seen Hunter in other films, but this is my favorite performance. To help get into her character, Hunter hung out with several homicide detectives.

As for Weaver, she did her research for a reclusive woman who was terrified of leaving her home. Weaver is a strong actress, and her role as Helen is somewhat different. She had to be vulnerable. As Weaver stated, she did a remarkable job conveying a realistic portrayal of agoraphobia. She also spoke with psychologists to get in the right headspace.

Would you ever expect to see Harry Connick Jr. as a serial killer? He spent a lot of time researching documentaries on serial killers. Harry Connick Jr.’s portrayal of the menacing Daryll Lee Cullum, the killer who initially targets Helen, is chilling and memorable. More credits include Dermot Mulroney, William McNamara, and J.E. Freeman.

Jon Amiel ensured that Copycat was authentic, even taking advice from test screenings. That is the most important method to help your movie grow. If filmmakers aren’t doing this right now, they'd better start. Advice from the audience is a valid testament because it exhbits that filmmakers care about who they’re distributing to.

The cinematography by Laszlo Kovacs is sufficient, matching the film’s precarious tone. The best example is the camera creating a dizzying effect when Weaver’s character attempts to leave her home. The fear is so intense that you feel the same anxiety.

Helen’s apartment is a substantial setting. It’s Helen’s safe place, but it represents a dungeon, heightening shadows in confined spaces. The cinematography also uses stark contrasts to highlight the duality of the characters' lives, with bright, sterile crime scenes juxtaposed against the dark, safe spaces of Helen’s home.

Amiel uses solid build-up until the conclusion. The final scene took eight days to film. However, the middle portion is dull. It focuses on the investigation. Researching clues and interviewing significant people is a crucial aspect of police investigation, but do we really need to see everything? We’ve seen investigations play out in most mystery-crime thrillers.

When it was first released Copycat was banned at some theaters due to a reminiscent attack at a local theater. Copycat bears dark themes about a killer’s motives and ongoing nightmares it pinned on a woman’s life.

Copycat deserves more recognition. I am surprised it has garnered more audience. It’s a film that understands the psychological intricacies of its characters and uses these to build a compelling and suspenseful story. Take a look at this underrated thriller. The opening and closing is sure to put you on edge.