Copycat: 8 Ways It Still Holds Up Today

Copycat (1995) was one of the first thrillers released in the wake of Se7en and it, unfortunately, did not come close to meeting that film’s massive success. Instead of its name being indicative of its standing, Copycat has itself gone on to inspire other novelists and filmmakers.

The plot follows serial killer expert Dr. Helen Hudson (Sigourney Weaver) as she comes face to face with the type of man she’s studied. She pulls through but becomes extremely agoraphobic as a result. Before long, there’s a copycat killer imitating the crime scenes of various “famous” killers. Assisting Dr. Hudson in her survival is San Francisco Inspect M.J. Monahan (Holly Hunter).

The Vertigo-Inspiring Cinematography

Copycat benefitted from some memorable and creative cinematography by László Kovács. The camera’s movements around Dr. Hudson’s lavish yet fortified apartment are flowing and hypnotic.

When Hudson looks out the door, it becomes blurry with a dizzying, wavering lack of focus. It’s just one aspect contributed by Copycat‘s production team that makes it stand out amidst the glut of 90s thrillers. Furthermore, some really interesting things are done with unconventional angles in the film, particularly in its nail-biter of a third act.

Holly Hunter’s Performance

Copycat came out the same year Holly Hunter led director Jodie Foster’s Home for the Holidays. It’s a toss-up which performance is better, so suffice it to say both are outstanding. Like Foster in fellow 1990s serial killer film The Silence of the Lambs, Holly plays a southern law enforcement officer. In this case, an Inspector with the San Francisco Police Department.

Monahan is also much more than a tough cookie and a crack shot, though. The character feels like the type of person anyone would want by their side in the middle of a jam. It’s believable that she would end up being able to save Dr. Hudson, even if it doesn’t come easily.

Sigourney Weaver’s Performance

Sigourney Weaver gives an award-worthy performance as Dr. Helen Hudson. A less-smart movie would have made her a damsel in distress to the homicidal Peter Foley. However, she’s tough as a nail. Even if the opening scene hadn’t shown Dr. Hudson giving a speech on criminal psychology, it would be obvious from Weaver’s performance throughout the remainder of the film that Hudson is well-versed in the area.

Weaver is also almost fully responsible for how accurately agoraphobia is presented in the film. Anyone with an agoraphobic relative or who is agoraphobic themself will relay that the movie is fairly spot-on for severe cases (particularly when initiated via trauma).

The Opening Scene

Dr. Helen Hudson is certainly one of Sigourney Weaver’s most badass characters, and she also has a great deal of depth. This is shown in the first scene alone.

The film opens with Dr. Hudson giving a (guest) lecture on criminal psychology. It’s clear that, for one, she’s been in the field for a while and, two, she’s extremely proficient and well-respected. Unfortunately, one of the many individuals she’s studied over the years, Daryll Lee Cullum, is present. He kills a police officer and nearly does the same to Dr. Hudson, but is arrested. This act is what sets the entire narrative into motion, and it’s done very well.

The Villain(s)

Copycat is a movie with a lot of sources of tension. First, there’s the main antagonist: Peter Foley. He’s a killer copying several publicized serial murderers’ most famous crimes. This includes Daryll Lee Cullum, who attacks Dr. Hudson at the beginning of the film.

Lee Cullum stalked Dr. Hudson into the lecture hall’s bathroom.  He kills a police officer (which Foley replicates) and attacks Dr. Hudson, which Foley also copied. Besides the two villains, there’s also a well-done bit of romantic tension between Inspector Monahan, Inspector Goetz (Dermot Mulroney), and Inspector Nicoletti (Will Patton).

The Portrayal Of Agoraphobia

While Sigourney Weaver’s Ellen Ripley and Dana Barrett are her most famous characters, Dr. Hudson’s agoraphobia helps make her quite memorable. Again, it’s Weaver who does the heavy lifting with the agoraphobia-related plot points, and not once does her performance strain credibility.

This is an important asset in Copycat‘s corner, as many films tend to have either a condescending or outright inaccurate view of mental health conditions. In this thriller, agoraphobia is both a character trait (as opposed to a gimmick) as well as a crucial part of the narrative.

The Third Act

Copycat‘s intense third act alone pushes it up towards Sigourney Weaver’s best movies. Inspector Goetz has already been killed, leaving Inspector Monahan a little shaken.  She’s trying to figure out the identity of the copycat killer alone. After another murder and a failed attempt to catch the killer, Monahan ends up at Dr. Hudson’s.

All of this is intercut with Foley replicating Cullum’s crime. Because of how well that editing is done, this scene becomes all the more nail-biting and convincing in its brutality.

The Subtle Complexity Of Hunter’s Character

Inspector Monahan seems to always be in control. She’s never condescending, either, even when giving orders. She’s surrounded by men, some of whom are vying for her attention, yet has no problem staying professional.

This is in spite of having feelings for Inspector Goetz, whose death wounds Monahan deeply. But it also further fortifies her steely reserve. Holly Hunter brings physical and emotional toughness to the role, displaying some of the tenacity seen in her Broadcast News character, Jane Craig.

About The Author

Ben Hathaway
(300 Articles Published)

Ben Hathaway is a Senior Writer (Lists) for Screen Rant. A former Therapeutic Day Treatment counselor, Ben is now a career writer. When not working, he is writing and self-publishing (on Amazon) novels under the name Scott Gray. In his spare time, he’s reading on the porch or watching every film under the sun. Ben can be contacted at [email protected].

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