Copycat (1995)
Director: Jon Amiel
Starring: Sigourney Weaver, Holly Hunter, William McNamara, Dermont Mulroney
Primary genre: Psychological
Secondary genre: Thriller
Poor “Copycat”. In 1995, it came out the same time when another serial killer flick smashed the genre rules to pieces in its sensational presentation. David Fincher’s “Seven” made cinematic history due to its bleak and dreadful atmosphere and clever overlay of religious themes. Jon Amiel’s “Copycat” is a different beast altogether though. If Fincher’s output is like the size and majesty of the Australian eagle, “Copycat” is more like a hawk; fast paced and on point with commendable leads, an original story, a killer score and additional psychological insight in the criminological proceedings that other motion pictures of related matter neglect to discuss.
Perhaps the only psychological-crime thriller to have two female leads (at least back then), it was refreshing to see the movie pull away from the “3 days till retirement” veterans and rogue homicidal cops who complain about too much paperwork and not enough action. Featuring witty banter between Sigourney Weaver’s Dr Hudson and Holly Hunter’s detective Monahan was a smart move creating a heart for a story which has quite the graphic body count.
“Did you know, Helen, that more books have been written about Jack the Ripper than Abraham Lincoln?”
Without bearing any misogynist tones, Weaver’s and Hunter’s relationship lay the foundation for more gravitas to the mystery as opposed to the typical sexual glorification that was plaguing the 90s. In a clever twist (and a homage to Hitchcock’s “Vertigo” (1958)), Weaver’s character suffers from agoraphobia after a public murder attempt (there is a creepy audience shot for the ages) confining our lead inside her high-tech (such a 90s word) gorgeous apartment with Andy, her gay friend and her only connection to the world outside. This clever concept is used efficiently by a lengthy script as her flat is both the place where ideas are generated and attacks can occur reassuring the audience that Weaver is never safe, day or night. Meanwhile Hunter is trying to piece the serial killer’s clues sharing solid chemistry with her partner in crime, Dermont Mulroney who is not downplayed as an appealing object for sexual desire.
“Copycat” does distance itself from the mystery of the killer’s identity early on much to the displeasure of genre enthusiasts, yet its prolonged police cat and mouse game is satisfactory enough in its tight pace, surprisingly violent content and lack of goofy mistakes, all of which give it a sinister vibe for the naive and colorful 90s era. Christopher Young’s score elevates suspenseful sequences making the apartment a character of its own, its technological marvels unable to assist someone in need against the brutal will of a serial killer. It’s an intriguing premise under a never stop momentum due to excellent supporting work and Amiel’s hypnotic direction that emphasizes long steady cam shots of clear geographical awareness.
When we reach the end, we feel relieved and cheer on due to an appealing package of an R-rated entertainment that does not insult our intelligence. It might not break the wheel of the serial killer motion pictures but it definitely adds its own spin with enough panache and theatrical gusto.
Anything but a copycat serial killer flick
+Weaver, Hunter are superb
+Good cast
+Interesting concept
+Hypnotic direction
+Young’s eerie score
+Surprisingly brutal
-Identity of killer is not an issue
-A tad lengthy