This hunt-for-a-serial-killer-on-the-loose-in-Europe reminded me at times of The Snowman, a terrible 2017 whodunit. Thankfully this film, based upon a book by James Patterson and Liza Marklund, and partially written by Miss Marklund, is a whole lot better and more compelling. Its subject matter is certainly abhorrent and disturbing, but the film handles the violence with care, delivers some nice surprises and boasts some good performances.

Danis Tanović’s film follows New York City cop Jacob Kanon (Jeffrey Dean Morgan, perfect for the role) as he learns his just-married daughter has been murdered in London. Many cop movies have taught us that a father is certainly not objective enough to investigate the murder of his daughter, yet Kanon summons the distance necessary to uncover clues in other cities as he, Scotland Yard and Interpol, and possibly other agencies, work to stop a strange art-related killing rampage that crisscrosses Europe.

Each killing is preceded by a postcard to a journalist, and one of them, Dessie Lombard (Cush Jumbo) becomes especially close to Kanon as they track the killer. This movie is a bit light on suspense, but it nails police procedure and provides a couple of nice surprises as the body count rises. It is stylishly staged and photographed, also somewhat reminiscent of the Lisbeth Salander films, especially toward the snowy conclusion.

Its best asset is Jeffrey Dean Morgan’s powerful performance as a father who cannot grieve until he finds the maniac who has murdered and defiled her daughter and her new husband. His tortured soul anchors the drama and uplifts it at the same time. The story isn’t always as logical or effective as it could have been, but it maintains strong interest throughout and is occasionally revelatory. ☆ ☆ ☆. 19 November 2020.