After his daughter recently passed away, former New York City detective Jacob Kanon (Jeffrey Dean Morgan) struggles to cope with this tragic event. The answers he so desperately yearns for evade him, making the situation all the more difficult to deal with. The Postcards Killings is the story of an unknown serial killer targeting individuals throughout Europe and leaving a trail of blood in their wake. Kanon takes it upon himself, as a result of the engaged police departments’ deficiencies, to look for answers and to solve the series of murders before there are more victims. In order to supplement his investigation, Kanon recruits a local journalist, Dessie Lombard (Cush Jumbo), who has been unwillingly thrown into the string of murders, to help him avenge his daughter’s death.
Morgan has recently been known for his portrayal of the hard-nosed Negan in AMC’s The Walking Dead. To fans of the show it’s hard to picture Morgan in a vulnerable state, making it difficult to appreciate those moments throughout The Postcard Killings. Sadly, as talented as Morgan is, the scenes in which he looks broken down and vulnerable feel forced and unnatural, leading to those particular instances being difficult to accept and identify with. Aside from these issues, Morgan plays arrogance, intensity, and anger with great precision, bringing to life this headstrong character that entices viewers and who is the driving force behind The Postcard Killings.
The setting of the film is incredibly important. As Kanon travels throughout Europe trying to solve these series of murders, it becomes clear how alone he feels. The setting, regardless of where he is in terms of location, is dark and/or rainy or snowy. The setting feels dreary and unrelenting, forcing viewers to feel isolated in a similar fashion to Kanon. The connection that the unyielding setting of The Postcard Killings creates makes up for the difficulty viewers have with appreciating Morgan’s Kanon in his aforementioned vulnerable moments. What Morgan is unable to provide in terms of emotion, the crew thoroughly makes up for. The fact that the set crew is able to make up for Morgan’s shortcomings shows just how intelligent and collaborative the cast and crew were during the making of this film. While they understand that not everything about the film will be perfect, they also understand that there are roundabout ways to rectify the issues at hand.
The Postcard Killings initially appears to move too quickly and reveal too much, leaving little mystery and potentially leaving viewers underwhelmed with the second act. However, even as the twists and turns present themselves to viewers, one right after another, and viewers become complacent with what is taking place, director Danis Tanovic and the slew of writers (seven of them to be exact) find new and interesting ways to keep their audience engaged and intrigued. Even when viewers are able to figure out some of the mystery, there is more that lies beneath the surface. The Postcard Killings wisely reveals this aspect of itself early on, enticing viewers and giving them a reason to stick around, even in the film’s dullest moments.
The Postcard Killings feels like it initially gives too much away, but as the film moves forward, everything needs to be reevaluated, giving it a new, deeper meaning. Casting directors Rebecca Farhall and Gail Stevens surround Morgan with a cast that is able to express themselves in each and every moment, bringing to life the struggles of losing a loved one, repressing one’s past, and accepting love in all shapes and sizes. From beginning to end, even in the slowest moments, The Postcard Killings engages viewers and pulls them into Kanon’s story of loss and desperation.
Directed by Danis Tanovic. Written by Andrew Stern, Ellen Furman, Liza Marklund, Tove Alsterdal, Tena Stivicic, etc. Starring Jeffrey Dean Morgan, Famke Janssen, Cush Jumbo, Joachim Król, Steven Mackintosh, etc.
⭐⭐⭐⭐⭐⭐⭐½/10
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