Boston Strangler escapes the exploitive constraints of true crime obsession by focusing on the real-life journalists who first connected the murders and broke the story about the serial killer. While the film is formulaic and familiar at times, the stacked cast, easy pacing, and effective display of rampant sexism keep it entertaining. 

As someone who has always had an interest in true crime but wants to be respectful to the victims of crimes, the subgenre of journalism films focused on true crimes has become a favorite. Audiences can easily follow along without feeling too uneasy about consuming the real-life crimes portrayed on screen. Boston Strangler focuses on Loretta McLaughlin (Keira Knightley) and Jean Cole (Carrie Coon), the two Record American staff reporters who joined forces to connect the murders as the work of a serial killer and break the story of the killer they named as the Boston Strangler. The film is much more focused on the journalism than the crimes themselves as we follow McLaughlin and how she was always steps ahead of the all-male detectives and rival male reporters. Boston Strangler confirms again why it is not only important but imperative to have women covering cases that deal with women at their center.

McLaughlin, who at the time was a lifestyle writer for the paper, became fascinated from reports of multiple women being murdered in almost identical style. Unable to get her editor Jack (Chris Cooper) to approve her transition to the crime desk, she set out on her own time to conduct research on the crimes. Once she put together the connection, her editor was more than pleased to make it the front page story – before any other paper in town. The paper’s scoop soon goes south as the police complain and tell Jack the paper is going to be very embarrassed when they find out there is no proven connection; however, the editor quickly asks what from the story was incorrect but is met with no response. With more murders taking place, Jack assigns Cole, the top female reporter that they have, to join McLaughlin on the case.

Through her persistent reporting paired with Cole’s experience as an investigative reporter, McLaughlin begins to piece together not just who might be behind the killings but who might be helping them almost get away with it (unintentionally or not). The reporters set out looking for a suspect and come away with a greater understanding of how the determination of this serial killer moves forward certain institutions. At what point are papers printing these stories not to inform the public but to sell papers? At what point are the police forcing confessions to close up cases? The thought of these issues unnerves both McLaughlin and Cole throughout their investigation.

Boston Strangler takes a similar approach to its main characters as the focus of the film She Said did last year. We see the effect of their case on their personal lives with glimpses of their home lives. However, unlike She Said, this film has the husbands almost sidelined. James (Morgan Spector), who is married to McLaughlin, and Cole’s husband (Stephen Thorne) are consigned to the kinds of brief breakfast and dinner scenes typically reserved for wives in past 1960s films. McLaughlin’s husband starts out supportive but becomes frustrated with his wife’s new hours, as he needs to return to the office, and eventually the misogyny McLaughlin faces in the workplace finds its way to her at home as well. 

Given the film takes place in the 1960s, the misogyny themes run rampant throughout the film. When the editor of the paper asks ‘who will care about these nobodies’ at the beginning of the film in regard to the first victims of the serial killer, it becomes clear this is a focus of what the film is trying to say. Not only do women still to this day consume media on a more regular basis, but the true crime audience is mostly women as well. Women are more likely to be the victim of crimes discussed in popular media leading to women wanting to be aware of attacks in their areas, which leads to habitual reading. There are a few scenes with McLaughlin looking over crime scene reports and photos throughout the film. As time goes on, her reaction gets more and more muted as the brutal images become more routine for her. While the film avoids sensationalism at the expense of the victims, Boston Strangler always lets the audience know how gruesome the crimes were. 

Boston Strangler escapes the exploitive constraints of true crime obsession by focusing on the real-life journalists who first connected the murders and broke the story about the serial killer. While the film is formulaic and familiar at times, the stacked cast, easy pacing, and effective display of rampant sexism keep it entertaining.

Grade: B

Oscars Prospects:
Likely: None
Should be Considered: None

Where to Watch: Hulu

Kenzie Vanunu
she/her @kenzvanunu
Lives in LA with her husband, daughter and dog. Misses Arclight, loves iced vanilla coffees.
Favorite Director: Darren Aronofsky
Sign: Capricorn