A Constant Visual Feast

The best part of Boston Strangler is the accents. The reason the accents are so good, or, maybe put better, noteworthy, is that they hardly track at all; nobody here is trying to outdo their peers by dropping their Rs and picking them up with their As. That’s refreshing. 

Less so is the rest of the movie, outside of the perspective and the emphasis put on the two women who actually did the work and made the most tangible advances in the case of the Boston Strangler; I think this works, and is even vital, and I’m glad Matt Ruskin chose to go that route. I just wish he’d made his movie look nice instead of murky. Ah, well. It’s the style nowadays.

You can read my full review over at Paste Magazine.