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Review: Netflix’s ‘Mindhunter’ Is More Chatter Than Splatter Review: ‘Mindhunter’ on Netflix Is More Chatter Than Splatter
(1 day later)
When I saw that Netflix planned a drama about serial-murder investigations executive-produced by David Fincher — the director of “Seven” and “Zodiac” — my gut reaction was: Stop, you’re killing me.When I saw that Netflix planned a drama about serial-murder investigations executive-produced by David Fincher — the director of “Seven” and “Zodiac” — my gut reaction was: Stop, you’re killing me.
TV in the past several years has been obsessed with serial killers: “Dexter,” “Hannibal,” “The Following,” “The Fall,” “Aquarius,” Season 1 of “True Detective.” The criminal-genius trope has become an easy instant recipe — just add slaughter — for transgressive TV ambition. And Mr. Fincher’s “House of Cards,” also for Netflix, has not exactly been a model of subtlety.TV in the past several years has been obsessed with serial killers: “Dexter,” “Hannibal,” “The Following,” “The Fall,” “Aquarius,” Season 1 of “True Detective.” The criminal-genius trope has become an easy instant recipe — just add slaughter — for transgressive TV ambition. And Mr. Fincher’s “House of Cards,” also for Netflix, has not exactly been a model of subtlety.
But “Mindhunter,” whose first season appears Friday, is more academic than sensationalistic, at least in the two episodes made available to critics. Mr. Fincher may have shot one of cinema’s most famous head-in-a-box scenes, but “Mindhunter” thus far is more interested in the process of getting inside skulls than the process of removing them.But “Mindhunter,” whose first season appears Friday, is more academic than sensationalistic, at least in the two episodes made available to critics. Mr. Fincher may have shot one of cinema’s most famous head-in-a-box scenes, but “Mindhunter” thus far is more interested in the process of getting inside skulls than the process of removing them.
The drama begins in 1977, the year David Berkowitz was arrested for the Son of Sam murders. Holden Ford (Jonathan Groff), a hostage negotiator for the F.B.I., is growing troubled by a trend that he sees in the field: criminals whose actions are irrational, who therefore can’t be entreated with reason.The drama begins in 1977, the year David Berkowitz was arrested for the Son of Sam murders. Holden Ford (Jonathan Groff), a hostage negotiator for the F.B.I., is growing troubled by a trend that he sees in the field: criminals whose actions are irrational, who therefore can’t be entreated with reason.
When one negotiation goes awry, Ford’s supervisor reassures him that he did everything by the book. So Ford goes looking for another book. He takes an interest in sociology on crime as a response to dysfunction in the larger community. The post-Watergate, post-Vietnam malaise, goes the theory, yields more inexplicable crimes. As Ford puts it: “The world barely makes any sense, so the crime doesn’t either.”When one negotiation goes awry, Ford’s supervisor reassures him that he did everything by the book. So Ford goes looking for another book. He takes an interest in sociology on crime as a response to dysfunction in the larger community. The post-Watergate, post-Vietnam malaise, goes the theory, yields more inexplicable crimes. As Ford puts it: “The world barely makes any sense, so the crime doesn’t either.”
The sociologists he meets distrust the G-man poking around campus, but that’s nothing next to the suspicion from agents at the bureau. They put up a moral resistance to learning how murderers think; bad guys, they believe, are just bad. (A similar dynamic played out this year in Discovery’s “Manhunt: Unabomber,” in which old-school agents refused to accept the idea that their quarry was highly educated.)The sociologists he meets distrust the G-man poking around campus, but that’s nothing next to the suspicion from agents at the bureau. They put up a moral resistance to learning how murderers think; bad guys, they believe, are just bad. (A similar dynamic played out this year in Discovery’s “Manhunt: Unabomber,” in which old-school agents refused to accept the idea that their quarry was highly educated.)
Mr. Groff (“Looking”) plays Ford as room-temperature placid yet intense. There’s something compellingly off about him; he’s a milk-drinking straight arrow with a monomaniac streak that runs him afoul of department politics. As astute as he is with the criminal mind, basic social cues seem to elude him.Mr. Groff (“Looking”) plays Ford as room-temperature placid yet intense. There’s something compellingly off about him; he’s a milk-drinking straight arrow with a monomaniac streak that runs him afoul of department politics. As astute as he is with the criminal mind, basic social cues seem to elude him.
He finds help in agent Bill Tench (Holt McCallany), a behavioral-science specialist. The series becomes a kind of scholarly buddy-cop tale, Tench, serving as skeptic and human-language interpreter as they crisscross the country interviewing cops and convicts for research.He finds help in agent Bill Tench (Holt McCallany), a behavioral-science specialist. The series becomes a kind of scholarly buddy-cop tale, Tench, serving as skeptic and human-language interpreter as they crisscross the country interviewing cops and convicts for research.
One unsettling encounter is with Ed Kemper (Cameron Britton), a necrophiliac murderer (popularly known as “The Co-Ed Killer”) who eluded capture until he turned himself in. In the flesh, he’s a garrulous, polite creep who discusses the mechanics of his crimes as dispassionately as he does the fine points of a prison egg-salad sandwich.One unsettling encounter is with Ed Kemper (Cameron Britton), a necrophiliac murderer (popularly known as “The Co-Ed Killer”) who eluded capture until he turned himself in. In the flesh, he’s a garrulous, polite creep who discusses the mechanics of his crimes as dispassionately as he does the fine points of a prison egg-salad sandwich.
Apart from a grisly early scene, there’s little onscreen violence. The talk is ghastly enough. In the title sequence, images of death flicker briefly on screen over the meticulous loading of a reel-to-reel tape machine. Mr. Fincher, who directed four episodes, gives “Mindhunter” that restrained sensibility: micro-eruptions of primal blood through a facade of clean meticulous order.Apart from a grisly early scene, there’s little onscreen violence. The talk is ghastly enough. In the title sequence, images of death flicker briefly on screen over the meticulous loading of a reel-to-reel tape machine. Mr. Fincher, who directed four episodes, gives “Mindhunter” that restrained sensibility: micro-eruptions of primal blood through a facade of clean meticulous order.
“Mindhunter” was created by the playwright Joe Penhall, who wrote the first season with Jennifer Haley; the executive producers include Mr. Fincher and Charlize Theron. It’s based on the memoir “Mindhunter: Inside the F.B.I.’s Elite Serial Crime Unit” by John Douglas and Mark Olshaker, and it can be stiff downloading the book’s ideas into dialogue.“Mindhunter” was created by the playwright Joe Penhall, who wrote the first season with Jennifer Haley; the executive producers include Mr. Fincher and Charlize Theron. It’s based on the memoir “Mindhunter: Inside the F.B.I.’s Elite Serial Crime Unit” by John Douglas and Mark Olshaker, and it can be stiff downloading the book’s ideas into dialogue.
The series is very much a boys’ club early on. Hannah Gross has some screen time as Ford’s girlfriend, Debbie Mitford, a grad student whose flirt-talk includes “What do you think about Durkheim’s labeling theory on deviancy?” Anna Torv will eventually co-star as a behavioral psychologist.The series is very much a boys’ club early on. Hannah Gross has some screen time as Ford’s girlfriend, Debbie Mitford, a grad student whose flirt-talk includes “What do you think about Durkheim’s labeling theory on deviancy?” Anna Torv will eventually co-star as a behavioral psychologist.
Still, the series’ linking of irrational times and unspeakable acts resonates with today’s stories of mass shootings and a widening gyre of chaos in the headlines. “Mindhunter” doesn’t aestheticize or elevate the likes of Kemper. But the notion that killers like him can be figured out and foiled is like placing a bet on reason over chaos.Still, the series’ linking of irrational times and unspeakable acts resonates with today’s stories of mass shootings and a widening gyre of chaos in the headlines. “Mindhunter” doesn’t aestheticize or elevate the likes of Kemper. But the notion that killers like him can be figured out and foiled is like placing a bet on reason over chaos.
I say all this with what has become the usual caveat for a Netflix show. Streaming dramas nowadays take so long to establish their premises that I don’t know if the two episodes I’ve seen are representative or just setup. It’s possible “Mindhunter” may settle into a more predictable monster chase. Let’s hope not; the chase after ideas here is more interesting.I say all this with what has become the usual caveat for a Netflix show. Streaming dramas nowadays take so long to establish their premises that I don’t know if the two episodes I’ve seen are representative or just setup. It’s possible “Mindhunter” may settle into a more predictable monster chase. Let’s hope not; the chase after ideas here is more interesting.