'Boston Strangler's' desire to give credit where credit’s due may be noble, but it would have benefited from not dispensing its lessons in such dull, monochromatic fashion. beastobsessed's review:
Boston in the early 1960s was a bleak place courtesy of the Boston Strangler, a mysterious fiend who preyed upon unsuspecting single women of various ages in their apartments. According to, things were in fact so grim that there were no vibrant colors to be found; everything was coated in a drab sheen of muddy browns, greens and grays that were only illuminated by blooming fluorescent lights. It was like living in a septic tank, except darker.
The ostensible idea seems to be that this dire tale requires a palette to match, but the excessiveness of’s visual dreariness is a drag on its action, if in keeping with its narrative monotony. The story of the two female sleuths who fought a culture of misogyny while trying to report on—and uncover the identity of—a serial monster consumed with taking women’s lives, it has one thing to say, and it says it over and over again with a dismal lack of nuance.
McNamara is a chauvinistic boor who can’t imagine that a woman might be competent, and that attitude follows McLaughlin around as she endeavors to figure out who’s taking the lives of innocent women, which continues even after the killer makes the news and receives his infamous nickname.is methodical and somber and, at least initially, intriguing, since the police—epitomized by detective Conley —have few promising leads, much less rock-solid suspects.
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