The Boston Strangler offers a lot of good. It is a solid drama that centers on two women fighting against great odds to tell the truth.
However, at the heart of it, it is a means of advocating for the voiceless, and that's what Loretta McLaughlin and Jean Cole did. [commentating on the state of journalism](https://screenrant.com/boston-strangler-keira-knightley-female-journalists-ode/) and police investigations. It is pulling from the events that took place in the 1960s and 70s, and the information developed after Albert DeSalvo’s confessions. Written and directed by Matt Ruskin, Boston Strangler follows Loretta McLaughlin (Keira Knightley) and Jean Cole (Carrie Coon) and how they uncovered the story of a serial killer in Massachusetts. The film won’t attempt to dissect the mind of the killer who terrorized women and murdered 13 or more. [Boston Strangler](http://screenrant.com/tag/boston-strangler/) is not a film that bemoans the state of society that breeds serial killers.
Writer-director Matt Ruskin's 'Boston Strangler' explores the infamous string of 1960s murders from the perspective of two reporters .
And it’s a story about the business of news — the circulation stunts, the headlines, the sensationalism. With each lead and breakthrough, Knightley subtly shows the roil of beneath-the-surface emotions; as a professional, Loretta can’t tip her hand, and as a woman, she feels more alive to be doing work that matters to her and was long denied her. Her tireless work ultimately uncovers a jaw-dropping connection among several of them that involves a facility for the criminally insane and the high-powered attorney F. She finds a more collaborative attitude in a homicide detective, Jim Conley (Alessandro Nivola), who’s willing to trade information about the case with her. About the same age and both married and raising kids, the two have a lot in common, communicated in a few deft scenes of crisp dialogue and loaded glances. This is a story of sisterhood that’s not about sloganeering but about the very basic matter of being taken seriously. The story belongs to Loretta McLaughlin (Knightley) and Jean Cole (Coon). Within the gray streets and the drab, smoky newsroom, this is a story of life against death, fueled by the rage and wisdom of tough dames seeking answers in a man’s world, entering places where women aren’t invited: the paper’s crime desk, the police precinct, the local watering hole. “Kid,” he tells her, “you’re not covering a homicide.” Raring to go, she offers to pursue the story on her own time. This time around, the investigator played by Fonda has just one scene and a couple of lines; the center instead belongs to the two female reporters who broke the story and, in the process, put the Boston PD on notice. Shot in and around Boston, the Hulu film is subdued and gripping, its intensely desaturated palette and Paul Leonard-Morgan’s dread-drenched score conveying the panic and gloom that held a city in a cursed spell for a year and half. A select group of upstanding male detectives puzzle over the lurid details of the crimes and wax psychological about the perp.
Two underestimated women reporters battle sexism as they set out to solve the serial murders that struck fear into Boston in the early 1960s in this low-key ...
The movie’s final breaths strike an unintentional down note rather than an uplifting, empowering one as seemingly intended: Loretta, having learned from Jean’s advice to accept an imperfect work-life balance, debates walking into her home, where her husband is waiting, and instead heads to a local bar to join Jean. Paul Leonard-Morgan’s score is haunting and foreboding, making the hairs on the back of our neck prickle. It makes a searing indictment of the sloppy, sexism-laced police work that might’ve resolved the case, and pays tribute to the two women who broke the investigation wide open. The death toll continues to rise, persons of interest (played by David Dastmalchian and Ryan Winkles) slip through their hands and the cops’ glaring mistakes begin to surface. But after her first front-page story draws the ire of Boston Police Commissioner McNamara (Bill Camp), Jack assigns Loretta a seasoned partner: Jean Cole ( [Carrie Coon](https://variety.com/t/carrie-coon/)), whose connections and quick-witted know-how will garner better results. [Keira Knightley](https://variety.com/t/keira-knightley/)) is a lifestyle reporter at the Record American, a newspaper continually scooped by its competitors.
Keira Knightley and Carrie Coon step into the shoes of investigative reporters in Boston Strangler (on Disney+ March 17), based on the U.S. serial killer ...
One of the many losses suffered as the medium of film has ceded ground to streaming television is the elegant procedural—the kind of movie that deals with ...
Albert DeSalvo was long thought (by some) to be the sole perpetrator of these 13 crimes, and yet Boston Stranger, and its central characters, aren’t quite satisfied with that conclusion. And it does so without exploiting the real loss and horror at the center of its story. For much of its run, Boston Strangler is straightforward, tracking an escalating citywide panic about these unsolved (and ongoing) murders toward the capturing of a prime suspect. Ruskin is careful to add layers of texture to his handsomely mounted film, trying to locate the actual people at the center of a storm of headlines and gruesome happenings. Look to Boston Strangler, a new film debuting on Hulu on March 17, which borrows from (or gives a nod of respect to) Zodiac’s playbook to investigate, in fictional form, its titular ghoul. Thus there is a ceiling to break through while she attempts to crack the case, an added element of stakes and tension that gives Boston Strangler a more poignant depth than had it simply been a grimy murder mystery.
At times, sturdy crime thriller Boston Strangler feels less like a movie and more the solution to an exam question. How does a filmmaker respond to the ...
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'Boston Strangler' Review: Keira Knightley & Carrie Coon As The Journalists Who Broke One Of The Most Notorious Crime Cases Of All – And Finally Get The ...
Very fine Is [Alessandro Nivola](https://deadline.com/tag/alessandro-nivola/) as a rather tired key homicide detective on the case who reluctantly shares his stored-away evidence and DeSalvo’s taped confession with Loretta after she confronts him on his role as consultant on a movie set — it’s not explicitly stated as 1968’s The Boston Strangler — filming a scene where the actor playing him elicits the confession. [Keira Knightley](https://deadline.com/tag/keira-knightley/)) and Jean Cole ( [Carrie Coon](https://deadline.com/tag/carrie-coon/)), the two Record-American staff reporters who teamed to reveal the true facts and unasked questions, an angle completely ignored in Fox’s 1968 version (ironically the studio seems to be making up for the shortcomings of that movie with this one). [Bill Camp](https://deadline.com/tag/bill-camp/) as the sexist and in-denial Police Commissioner, Rory Cochrane and James Ciccone as other detectives and a briefly-used David Dastmalchian as DeSalvo and Luke Kirby as Bailey. Ironically the husbands in this instance — James (Morgan Spector), who is married to Loretta, and Jean’s hubby (Stephen Thorne) — are relegated to the kinds of brief home-life scenes usually reserved for wives in past Hollywood movies, the supportive but frustrated spouse waiting for their significant other to stop working and just come home. A 1964 movie called The Strangler with Victor Buono was “inspired” by the sensationalized events, and there also was a 1968 William Goldman book and subsequent movie with Rod Steiger, No Way to Treat a Lady, clearly inspired by the case. [Boston Strangler](https://deadline.com/tag/boston-strangler/) involved 13 sexual assaults and murders in the Boston area between 1962 and 1964.