Nicolas Cage’s Alaskan state trooper hunts down John Cusack’s sadistic serial killer in a dramatisation of the real-life Robert Hansen case in early 1980s Alaska.
Teenage prostitute Cindy Paulson (Vanessa Hudgens) is found by police officers in an Alaskan motel room; handcuffed, badly beaten, and distraught. She claims she was raped by pillar of the community Robert Hansen (John Cusack), so the brass instantly dismiss her accusations. However, after the discovery of a dead girl in the Alaskan wilds, state trooper Sgt. Jack Halcome (Nicolas Cage) reopens Cindy’s case as he suspects that there is a serial killer targeting young prostitutes like her, and that she is the one that got away… But keeping Cindy safe while he builds a case against Hansen without enraging the local PD is complicated for Halcome both by Cindy’s distrust and her pimp (50 Cent) forcing her to work the streets; because Hansen is prowling those sidewalks eager to find the loose end that could unravel his secret life.
This is the second film in as many months about a family man who secretly mass murdered his way thru the 1970s and 1980s, but this is not The Iceman. Hansen dominates his religious wife Fran (Katherine LaNasa) but keeps his true darkness hidden, and we never get any real sense of his inner life. By focusing on the procedural element of Halcome’s investigation Antipodean writer/director Scott Walker produces a cold detachment which feels oddly like Bryan Fuller’s Hannibal TV show. Patrick Murguia’s murky handheld camerawork is of course radically different, but at times you can feel you’re watching a basic cable version of Criminal Minds; a feeling reinforced when overly cautious DA (Kurt Fuller) rubbishes the report by one of the FBI’s new ‘profilers’. And that’s before noticing the supporting TV faces: Dean Norris (Breaking Bad), Michael McGrady (Hawaii Five-O), Brad William Henke (LOST).
At some point Hudgens will stop trying to shock us to shed her Disney image, and we’ll finally be able to judge if she can actually act. But that point is still in the future. Her (flagged as ‘all-the-way’) drugged-up striptease here is mightily uncomfortable, as is the amount of offhand female nudity given that the film ends with a montage of the victims to whom the film is dedicated; mostly sex-workers, which renders such gratuitousness earlier tacky at best. Indeed it’s quite shocking how McGrady’s vice detective tolerates public prostitution, even down to negotiating with the Mob over questioning their hookers who work off-street, so long as things are kept reasonably under control. Differently shocking is Radha Mitchell’s thankless role as Mrs Halcome, who explicitly prioritises keeping one distressed hooker out of her house over catching a prolific murderer. Such considerations only come to mind because the sadism of Hansen is presented to us in vignettes played merely for tension rather than character analysis.
Walker stages a tense chase finale, and a nice tactical gambit from Halcome’s boss (Kevin Dunn), but his film while satisfying lacks true insight.