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To Catch A Killer 2023 1080p BluRay DDP5.1 X265 10bit-GalaxyRG265[TGx]
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There are honest deals between the public and cinematographers: the audience gets exactly what the promo campaign promises, satisfied filmmakers consider the box office profit — no one remains offended. And we are not even talking about powerful directors who have enough name to promote the project, but about pure genre films (detectives, thrillers, horror or romcoms) who do not try to pretend to be something else. The "misanthrope" in advance seemed to be exactly such a precedent of mutual consent: a mass cold-blooded murder on a festive night, sullen FBI agents who endlessly drink coffee and frown, politicians with imperious ambitions, the triumph of the endless winter gloom. Argentine director Damian Sifron (his "Wild Stories" were welcomed with open arms) collected all the relevant tags of thrillers, mixed the investigation with the sorrow of injustice and invited recognizable artists — Shailene Woodley and Ben Mendelssohn to lead the case. But, having all the trumps in his hands, he did not succeed at all in the main thing — a well-written story.
On New Year's Eve, a lone shooter methodically deals with the celebrants (volleys of fireworks drown out the gunfire): the score goes to dozens, there are fewer clues and clues than victims, and my gut tells me that a relapse is imminent. Baltimore is grieving, the mayor is offering condolences to the families of the victims, and FBI agent Lammark (Mendelsohn) arrives at the police department to catch the killer. Among the local law enforcement officers, the gray—haired detective legend chooses young padawans - the silent and diligent Falco (Woodley) and the confident Mackenzie (Jovan Adepo). Then there are flyers, searches for the murder weapon, guesses, interviews with unreliable witnesses, disputes with superiors and new murders.
It's amazing how differently a set of the same familiar genre signs works: in the case of "Misanthrope", a universal recommendation turns into a procession of unintelligent patterns that are completely devoid of life in the frame. I absolutely do not want to scold a director with an Oscar nomination in his luggage, who for the first time touched the scope of Hollywood production, but I hardly get to praise either. With the diligence of a diligent student, Sifron copies the techniques, intonations and manners of great masters and passes the exam for an existential thriller with texture. Visually, the "Misanthrope" diligently keeps the brand, which is what captivates: cold gloomy corridors, long driveways around the city, sunlight that does not warm, and wrinkles of despair on the faces of detectives. But the scenario-tested tropes turn into a pretentious retelling of paintings that have become classics: Falco's mysterious injury is not catchy, but annoying, Lemark's unshakeable genius is tiring, and the ambiguous motivation of the killer looks either far-fetched or banal. It seems that an alien object has been hidden in a familiar silhouette — like a wolf in sheep's clothing, but exactly the opposite: a stray herbivore lurks behind a predatory grin.
Probably, ambitions and the desire to play on equal terms with the best have failed: instead of a competently conducted investigation, a recruit seeks to accomplish a feat standing on the threshold of the police department. When the belief in intrigue and drama in the soul of the investigators finally fades, "Misanthrope" turns into a cinephile quiz for connoisseurs of the genre: it will not be difficult to identify "Zodiac", "The Dark Knight", "Silence of the Lambs", "Memories of murder", "True Detective" and again "Zodiac". But the set of references does not add up to a pop-cultural code of recognition, but buries the author's voice under an unaffordable slab of imitation
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