Serial killer stories have become pretty routine since the 1980s; instead of the certifiably crazy boogeymen who terrorized women throughout earlier film history more modern filmmakers have increasingly turned to regular Joe types, stylistic murderers with intricate plans, often known to the victims, because it is scarier to think that the dude down the street may harbor ill will toward you than some eclectic stranger.  This particular story may seem familiar since it was originally written about thirty years ago when the genre was at its peak.  Now, as well done as it is, The Little Things actually seems kind of quaint.

John Lee Hancock’s film involves a veteran cop, Joe Deacon (Denzel Washington), who embroils himself in a Los Angeles murder investigation for which he has no jurisdiction.  The circumstances remind him of the case that ruined his once-promising career, and he senses a chance to set things right, once and for all.  The lead detective, Jim Baxter (Rami Malek), accepts Deacon’s assistance and comradeship, despite warnings from everyone to keep clear of the disgraced cop.  And when they meet Albert Sparma (Jared Leto), they think they may have their man.  What could go wrong?

What really works is the way that Deacon and Baxter bond.  At first wary of each other, each finds something in the other that brings them closer.  Obsession is a key element; it is already cost Deacon his family, and now the same preoccupation with stopping the killing is wearing Baxter down.  Their relationship is the most worthwhile aspect of this story, and it is genuinely compelling.  Other elements are hit and miss, and the film desperately needs a more satisfying ending than it provides.  But perhaps that is the ultimate point — when tragedies like this take place nothing can end the experience satisfactorily for those forced to endure it.

The three leads — all Oscar winners — are consummate pros, and they provide proper gravitas to this sometimes imbalanced story.  It saves some surprises till late, which kind of works against its effectiveness.  In fact, Hancock’s script leaves some things unspoken, or uses them as red herrings, so not everything is explained or ties together — just like in real life.  This story isn’t as dazzling or amazing as classics like The Silence of the Lambs or The Girl with the Dragon Tattoo (the original one), but even in the wake of dozens of these man-as-monster movies, it still packs a punch.  ☆ ☆ ☆.  16 February 2021.