Anyone in the mood for a serial killer movie just like they used to make back in the nineties? Of course, if you’re a Netflix executive that’s something of a silly question – because they seem to think that everyone’s really for a 90s throwback serial killer movie at least once every two months; and so the latest example that’s come down the pipe arrives in the shape of James Ashcroft’s fittingly moody The Whisper Man.
Pitting a surprisingly starry cast against a child-abducting serial slayer, The Whisper Man is the latest Netflix offering from AGBO, the production house formed by the Russo Brothers, that seems to deal in predominantly creating middle of the road streaming thrillers destined to get swallowed whole by the algorithm the second they drift out of the Netflix “Most Watched” list. Can the assembling of Robert De Niro, Adam Scott, Michelle Monaghan and Michael Keaton manage to raise the tone of this film from a whisper to a scream?
A few years back, the Whisper Man was a serial killer who had the disturbing habit of kidnapping young boys from broken homes and eventually strangling them to death after keeping them prisoner for a few days. However, while the man responsible was eventually identified as Frank Carter and was arrested, years later Detective Amanda Beck seems to think that a copycat has once again struck New Jersey. But while she starts her investigation after the discovery of the body of a young boy, widowed, alcoholic writer, Tom Kennedy, has moved to the area with his son in order to try a piece his life back together. However, making it exceedingly difficult is the fact that 8 year-old Jake has been deeply traumatised by his mother’s passing and relies heavily on imaginary friends in order to cope with his trauma.
However, all the imaginary friends in the world aren’t enough to save him when this new version of the Whisper Man comes calling, and makes good on the promises of the creepy rhyme that described his predecessors exploits when he abducts Jake right out of his new house. Obviously distraught, Ted ploughs into his experience of writing crime novels to try and solve the mystery, but while he does so, Beck opts to seek the help of former Detective Inspector Pete Willis who caught the original Whisper Man back in the day.
As both parties come at this time sensitive case from different angles, they have to try and pick through what is tangible and what is distraction. Can Willis trust anything Frank Carter has to say after he visits the murderer in jail? Does serial killer enthusiast Norman Collins have anything to do with the crimes other than wanting to bag a ghoulish momento? However, soon it’s revealed that Kennedy and Willis have more in common than we first thought and their connection could and up being the key that unlocks this case.
I don’t think anyone was expecting The Whisper Man to reinvent the wheel of serial killer movies, not when the likes of David Fincher has done it numerous times with such masterpieces as Se7en and Zodiac. But even if we were to take those movies out of the equation, Ashcroft’s slickly moody thriller doesn’t actually have much to add even when lined up to similar, more modern depress-fests like Denis Villeneuve’s masterful Prisoners. However, while The Whisper Man comes with precious little originality, it does have star power and moody visuals to spare, which ends up making a Hell of a lot of difference. I mean, who doesn’t want to watch a grizzled De Niro get back on the trail of a killer, especially if it gets him in a room with a malevolent Michael Keaton. Yep, this movie doesn’t do anything particularly new, but what it does do, is do things right.
Everyone here has strictly (and understandably) got their po-faces locked on and set to frown, but it’s actually amusing that after Hokum, Adam Scott seems to be intent on cornering the market of emotionally repressed writers with parental issues. His brow continuously furrowed even before his mop-haired son vanishes into thin air, he seems to be the film’s poster child when it comes to its main themes – failed fathers. Similarly, Monaghan has smothered that naturally perky attitude in order to deliver the pained and lined Detective that’s discovered that a string of copycat murders has been dumped in her lap. Like everyone else, she strictly adheres to the quiet, restrained nature of the film as her resigned being mirrors her muted surroundings, but even at the age of 83, no one can do internalised temperance quite like De Niro. As rumbled and unassuming as an unironed pair of corduroy trousers, old Bobby could do this sort of thing in his sleep, but thankfully, the film gives him plenty to do to avoid testing that theory.
Dramatic face-offs against old adversaries is hardly a new thing when it comes to serial killer flicks, but watching De Niro match his wrinkled wisdom against Michael Keaton’s leathery mania is actually a match-up for the ages. In fact, while their time together is predictably limited, it also manages to provide almost all of the moments that succeed in dragging the film out of the derivative rut it frequently finds itself in. That’s not to say that anyone here (including Ashcroft) is doing a bad job – its just that in its mission to invoke serial killer movies of decades past, The Whisper Man frequently forgets to do much that’s actually innovative. However, I will say that other than watching De Niro and Keaton verbally spar, watching Midnight Mass’ Hamish Linklater seemingly channel the spirit of Tom Noonan to weaponize the creepiness of his serial killer fanboy is yet another highlight.
Seemingly made for those who either can’t get enough of 90s era of serial killer movies, or people who has never seen one in their life (pretty strange demographic, I’m sure you’d agree), The Whisper Man may downplay its macabre thrills with a suitably morose tone, but it’s also undeniably solid. Ashcroft keeps a steady hand on the wheel which allows his absurdly reliable cast to do their thing. However, I have to say that despite the fact the creators of AGBO have selection of billion dollar hits under their belt courtesy of their time spent in the MCU, I can’t help but notice that that the films they continue to oversee end up being a little overfamiliar. While that may be perfect to ensnare someone scrolling through their watch list, it’s a real shame that the production company picks solid and slick over original every single time.
The best thing about The Whisper Man is that it has everything a lover of brooding serial killer thrillers could possibly want – however, the worst thing is that that’s all you get. Come for the cast and the prospect of watching Robert De Niro and Michael Keaton get in each other’s heads, but ultimately this is one reliably solid entry that (whisper it) lacks the killer instinct.
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