Keira Knightley is convincing in director Matt Ruskin’s “Boston Strangler” as Loretta McLaughlin, a wife, and mother who works in the lifestyle section of the city’s Record-American newspaper. Side by side with her partner Jean Cole (Carrie Coon). She discovers a connection behind the recent gruesome murders in the area, in which women are strangled in their underwear and tied around their necks with a noose. Loretta and Jean are the first to pursue and publicize the connection through the newspaper. And they are aware of the importance of this information to women throughout the greater Boston area.
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Writer and director Ruskin tells and shows Keira Knightley this story as a kind of newspaper noir, as a main personality trait. While this film carries only the pale undertones and less of the film’s outright edginess. Ruskin’s homage to Loretta McLaughlin and Jean Cole can still entertain viewers due to feats of journalistic competence as well as daring.
The movie “Boston Strangler” narrows as it goes along, starting with the way Jean is positioned on the sidelines as a sympathetic and well-experienced trainer. But the plot has some pretty interesting parts, including the time when Loretta and Jean denounce the Boston police in the newspaper, and how they mismanaged the investigation and left Boston’s innocents in dangerous darkness. Soon enough, Loretta has her first experience of creepy male voices calling her house anonymously, annoying her husband (Morgan Spector). And when she puts one of her children to sleep, she sees a figure outside her window.
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However, as the murders continue, the plot evolves with some more intriguing circumstances, such as a film about women in a predominantly male space, while investigating a crime about women in danger. But aside from a strong scene with Loretta walking into a possible den of danger, the film misses the preoccupation with her facing immediate danger from a murderer or anyone supporting the police. Rather, this is more about someone believing so much in case they risk missing the mark in their family life, but “Boston Strangler” has no room for that.
Ruskin’s script brings the common sense of watching reporters plow through tough, dead-end spots. There’s a strong, dark, sentimental soundtrack and an absence of a different visual style that becomes more and more evident with each familiar sequence. Even the Boston Strangler cut scenes are too close to the reenactments to offer an air of unsettling.
The film wants to be as simple as it can be, and there’s every reason to think that more time with everyone could help flesh out its themes. But Ruskin has the mellow tone of Alessandro Nivola, who plays a Boston cop who admits to being worn down by the case but begins to see purpose in supporting Loretta’s tenacity. Already, Chris Cooper as Loretta’s boss has such a clichéd role that it could have been played by almost anyone.
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The emotional resonance of this production is low, even for how “Boston Strangler” casts another spotlight on revolutionary Boston journalism. In the end, even Knightley has only so much room to build a distinctive arc of dedication that lasted for years and altered Loretta’s personal life. Ruskin manages to pay homage to the hard work of Loretta McLaughlin and Jean Cole but is less successful in fleshing out the overall story.