Copycat: A Vida Imita a Morte

I'm 48 and often miss the careful production and story/character development of 80s/90s films, elements that are so often missing in many of today's movies, particularly crime-suspense dramas. COPYCAT (1995) is well-produced and gripping, with some interesting quirks of character. Sigourney Weaver gives a nice performance here, but Holly Hunter really defines the show as uncoppish cop M.J. Monahan. Many people will not like her performance for the very reasons that I do like it--Imagine Sarah Palin in the role of a homicide detective, and you'll see what I mean. Harry Connick, JR, is also memorable in his bad-guy role here.

COPYCAT has an interesting premise, but, as horrible as the following may sound, it would have been nice if they'd taken it a bit further, having the killer imitate a few others before the big come-uppance. A little more on Peter Foley, who/why he is, and what motivates him would also have helped. COPYCAT is quite watchable if you're a fan of this genre, but the whole storyline is kind of TV-Land same ol', predictable, and nothing terribly original despite the winning premise.

Psychologist Helen Hudson (Sigourney Weaver) is giving a guest lecture on serial killers. Daryll Lee Cullum (Harry Connick, Jr.) surprises her in the bathroom and kills her police protection. Thirteen months later, she has become agoraphobic haunted by the experience. There is a serial killer is on the loose in San Francisco and she figures out his m.o. of copying other famous serial killers. M.J. Monahan (Holly Hunter) and Reuben Goetz (Dermot Mulroney) are the investigative officers and they recruit her to help.

Sure, it's the same old serial killer movie. It does add a couple of interesting wrinkles and with solid female leads. Hunter is confident and fully realized. Weaver and her point of view deliver a sincere and fragile personality. The movie opens with the memorable bathroom attack. The other memorable aspect is Weaver struggling in her home. The investigation and the serial killer are less compelling. This follows the formula and it does it pretty well.

Derivative serial killer thriller in which a murderer sends a message to his chasers, a line from a song by The Police, promising turn a killing into art. Here Sigourney Weaver is a psychologist who suffers agarophobia , mortally afraid to venture out of her apartament and she mutters : "Very witty, this guy. He wants to dazzle us". Holly Hunter and Dermot Mulroney are two cops who pursue mercilessly the ominous, implacable murderer and being advised by another killer, crooner Harry Connick Jr, in prison to hunt him, while imitating famous murders. As the main killer copies known murders of the past, cut by cut, corpse by corpse. Eventually, protagonists coming a face to face with the heinous enemy until a silly and predictable finale.

This thriling film contains grisly killings, some very clever shocks, exploitation, and lots of scary creepings in the dark. The simple plot ,peculiarly tasteless , delivers an opportunist concept, though being subsequently more and more complex, when the nasty serial killer attempts to reproduce the murders of others notorious serial killers as Ted Bundy, Sam's son, Dahmer, Jack the Ripper and Murders by Numbers. There are various flashes of interest between the intriguingly matched stars. The screenwriters carry out to replicate even the feminist structure from Silence Of The Lambs with Holly Hunter and Sigourney Weaver splintering the Clarice Starling/Jodie Foster character. And while consulting convicted psycho Harry Connick at inside prison , how the another killer proceeds to murder. SIgourney Weaver plays a boozing, agarophobic psychologist suffering the effects of an attack by a terrible sicko, being almost hanged drawn and quartered. Weaver gives sometimes overacting, eventually grabs our deep attention along the way. Harry Connick as a Southern psychopath stuck on murder who is convict in prison while advising the police in hunting for another serial murderer who imitates him, he offers the movie's best portratal by a country mile. Will Patton is the obstinate cop, Hunter's ex-lover, unreasonably jealous of the unfortunate cop well played by Delmot Mulroney. And finally William McNamara who provides an extremely nasty madman role, though annoying, as the crowded serial killer and psychopath, a Hannibal Lecter lookalike.

It delivers a frightening and suspenseful soundtrack by the musician Christopher Young, a real expert in creating dark and sinister atmosphere. As well as an evocative and adequate cinematography by prestigious Lazslo Kovacs. This particularly nasty motion picture was well directed by Jon Amiel who keeps the tension high and his camera dwells lingeringly on sadistic details. He has made acceptable movies as Queen of hearts, Tune in tomorrow, Sommersby, The man who Knew too little, Entrapment, The Core. Rating 6.5/10. Decent thriller. Well worth watching for Sigourney Weaver and Holly Hunter fans .

The serial killer genre is one that became popular after "Silence of the Lambs," and since then the only ones that have really stuck out are "Se7en," "Copycat" and "Saw." "Copycat" is about a psychologist who lectures students on serial killers, and one day finds herself to be a victim at one of her speeches. Attacked in the bathroom, she narrowly escapes death and becomes a social recluse in the years that follow -- living through the Internet, anonymously chatting on Internet chat rooms and so on and so forth.

Until the terror begins again, this time involving not only the ex-pschologist (Sigourney Weaver) but also a cop played by Holly Hunter.

"Copycat" was much better than I thought it would be. I originally saw it on TBS years ago; I remember the ads claiming it would be on, but for some reason the rights fell through and it didn't air for another month or so... through this time period I hadn't heard anything about the film, but within the very first few minutes I instantly knew it was going to be much better than the standard "Silence" rip-off.

I may be alone here (and trust me, I know it) but I enjoy this more than "Silence of the Lambs," which kind of bores me at times. "Copycat" is dark and unexpectedly intelligent -- it is also perfectly cast. Weaver is fine (if unexceptional) whereas Hunter's macho-female traits are put into play perfectly by her casting as a cop.

The killer in the movie is played by Harry Connick Jr., and even he does a good job, which is saying quite a lot.

The movie has unexpected twists and is very clever in its own right. It is undoubtedly influenced (heavily) by "Silence of the Lambs" but is successful in the way it adds its own qualities to the mix -- much like "Se7en" this is a serial killer movie cashing in on the success of "Silence," but not necessarily stealing its content.

Very surprised. Catch it if you can.

Contrary to what several users have written, "Copycat" is _not_ "Silence of the Lambs 2". Nor is it a rip-off of "Se7en", or an exploitation flick, or any other negative labels that have been foisted upon it. Rather, it's a gripping, and largely intriguing thriller that succeeds thanks to performances by two confident female leads, competent direction, intelligent writing, and an appropriately foreboding score courtesy of Christopher Young, who's fast becoming one of my favorite film composers.

Sigourney Weaver hits the right notes as the agoraphobic psychiatrist, especially early on, as we see the depths to which she has shut herself off from the outside world, creating her own safe little corner. Holly Hunter, in a role that instantly brings to mind Jane Craig from "Broadcast News", is effective as the investigating detective. Hers is a performance that is three-dimensional and fully-realized.

If there's a weakness in the film, it's the ongoing beef between Ruben and Nico. It's a meritless p***ing contest stemming from one character's jealousy, and could've easily been dropped or retooled. This small gripe, however, didn't deter my enjoyment of the film.

Much credit has to be given to director Jon Amiel ("Sommersby", "Entrapment") for effectively capturing the atmosphere and tension prevalent throughout the film. In addition, writers Ann Biderman and David Madsen deserve credit for a intelligent, well-researched screenplay. No clichés here, just sharply-crafted dialogue. And Christopher Young's inspired score is brilliant; just listen to the theme that plays early on, as Helen calms down after a panic attack.

"Copyat" may not be classic material, but it's a strong entry in a genre that's too often consumed by formulas and gore. Highly recommended.