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Yahoo
3 days ago
- Entertainment
- Yahoo
One of Netflix's Most-Watched Movies Right Now Is This Underrated 1995 Thriller
Thrillers are more popular than ever. Just look at the top-ranked movies streaming on Netflix any given week, and you'll find at least one of them hovering near the top. It's not hard to understand why — just like riding a rollercoaster, we like to put ourselves in a simulation of danger without facing any real consequences. This week is new, but already, Netflix has a new thriller on its most popular movies list. (Well, it's not really new — it was actually released 30 years ago.) Copycat, a suspense movie about a serial killer mimicking the crimes of past infamous murderers, stands the test of time. It hasn't dated one bit, and it could be released today with minimal changes and still make sense. Copycat is a favorite film here at Watch With Us, and we're sharing a few reasons why you should put it on your Netflix queue right now. Dr. Helen Hudson (Sigourney Weaver) is a world-renowned criminal psychologist who specializes in profiling serial killers. Like Wolverine, she's the best there is at what she does, but she's been forced into early retirement by a past attack by a deranged fan, Daryll Lee Cullum (Harry Connick Jr.). You can't blame her — Daryll Lee killed two police officers in front of her before almost killing her. 10 Greatest Thrillers of the 1990s, Ranked Don't cry too hard for Helen — she's spending her time in her palatial San Francisco home playing chess with strangers online and barely managing a severe case of PTSD and agoraphobia with a steady diet of pills and liquor. Her brilliant mind isn't idle, though — she can't help but notice that a recent string of murders is all connected due to their eerie — and deliberate — similarities to the Boston Strangler's crimes twenty years ago. Her observations soon grab the attention of two detectives, M.J. Monahan (Holly Hunter) and Reuben Goetz (Dermot Mulroney). Together, they try to solve the mystery of this copycat killer as he or she claims other victims while mimicking other famous murderers like Son of Sam and Jeffrey Dahmer. We've seen plenty of serial killer movies before. In 1995 alone, there was an avalanche of them, with David Fincher's Seven with Brad Pitt and Morgan Freeman being the most successful and critically acclaimed. But Copycat one-ups its peers by being a thriller about serial killers — what drives them, how they execute their crimes and why we're so fascinated with them. Copycat uses an entertaining premise to subtly point a finger at the audience. Why is it enjoyable to watch people get killed? And why do we get a kick out of watching detectives try to figure out the mystery before they, too, are threatened? Copycat also subverts convention by being a thriller where the reveal of the killer doesn't really matter. This isn't an Agatha Christie mystery where learning the killer's identity is the climax of the movie. Instead, Copycat divulges who the killer is around the midpoint of the film without much fanfare. Toward the end, you realize the killer's always been there, lurking in the background and watching the police try to catch someone who is in the same room with them. It's an ingenious move on the part of the writers, Ann Biderman and David Madsen, to not only show who the killer is but to get us closer to them once we know who they are. We get to see up close how they operate and how little value they hold for human life. That's what makes Copycat so effective — it gives a human face to evil and makes us watch helplessly as they do despicable things to innocent people. Thrillers rely on their scores more than most other genres, and Copycat's music is top-notch. Composed by Christopher Young, the score immediately sets the mood in the opening credits, suggesting a plunge into danger that won't let up for another two hours. Later on, when various people are running from and to the killer, Young pumps up his score, giving the action on screen an increased urgency and desperation. The music itself is scary — it suggests you're the one being chased instead of just watching a chase unfold. Watch the opening scene in the above clip and hear how Young uses volume to give pacing and depth when Helen is first attacked in a woman's bathroom, then held prisoner as her life literally hangs by a thread. It's a masterful use of music, and it makes Copycat better because of it. What makes Copycat worth watching, both in 1995 and 2025, is the two lead performances by Weaver and Hunter. As Helen, Weaver isn't afraid to make her academic a bit of an asshole. She's cranky, rude and a bit smug, and she resents being dragged into the serial killer business even though that's what she's best at doing. Weaver doesn't make her entirely unlikeable, though. There's just enough vulnerability there to understand why Helen behaves like she does and why catching this killer is just part of an endless cycle of violence she's a part of — and has profited from in the past. After all, what do you think paid for that gorgeous San Francisco home, anyway? Hunter's M.J. is more sympathetic, since we see her struggling to be heard and taken seriously in a profession dominated by men who don't take her seriously due to her size. (Holly Hunter's height is 5'2'.) It's not unlike what Jodie Foster's Clarice Starling had to endure in The Silence of the Lambs, but Hunter's M.J. is tougher and more persistent — she shrugs off being made the butt of a joke at work because she has a killer to catch. 11 Must-Watch Thrillers on Netflix Right Now (May 2025) What's fascinating about Copycat is that the movie doesn't make its two female characters like each other. There are no phony scenes of them bonding or getting to know one another — they're strictly coworkers, at least for the moment, and they have a job to do. They get on each other's nerves and don't see eye to eye on a lot of things, but their main goals are the same — find the killer and stay alive. Copycat can be deep, but it's first and foremost a slick, entertaining thriller that delivers the goods. The violence is disturbing for all the right reasons, and the acting, directing and production values can't be beat. It's a great thriller to watch on a summer's eve when it gets just dark enough to make you wonder what's lurking in those shadows. Copycat is now streaming on Netflix.
The Review Geek
3 days ago
- Entertainment
- The Review Geek
Copycat (1995) Ending Explained – A chilling look at fear, obsession and legacy
Copycat Plot Summary Copycat is a tense psychological thriller revolving around the capture of a sadistic serial killer prowling around LA. The movie centers on Dr. Helen Hudson (Sigourney Weaver), a renowned criminal psychologist and expert on serial killers. Her inspiring and thought provoking talk in the middle of a student lecture hall about serial killers, leads into an unexpected and traumatic attack by deranged killer Daryll Lee Cullum (Harry Connick Jr.) Although Helen survives this encounter, it causes her to become severely agoraphobic and she retreats into isolation. Years later, a series of murders begin in San Francisco, mimicking the methods of infamous serial killers. Detectives M.J. Monahan (Holly Hunter) and Reuben Goetz (Dermot Mulroney) enlist Helen's help to profile the killer – but can they do so before it's too late? Who is the killer? The midway point of the movie unravels the true killer, as Helen works with the police to try and find this man. Her assessment of a 20-35 year old white male rings true, as the murderer is revealed to be Peter Foley (William McNamara). This unassuming man, who lives at home with his wife , is revealed to have a whole basement used as his 'funhouse'. For him, this spree is a twisted art project—a way to gain legacy and recognition by building on the 'work' of murderers past. Who does the killer focus on last? As we build toward the climax of the movie, Foley becomes fixated on Helen, using her computer to send a program that taunts her and even a video to show his latest victim. However, it soon becomes clear that he not only views her as a final target, but also someone who will truly understand what he's doing. Foley's murders are staged with clinical precision, something we see from the various crime scenes across the movie. Each of them echo a notorious killing from history. His obsession escalates to a note left for Helen, whom he eventually kidnaps and attempts to recreate her near-death experience from years prior—symbolically tying up his murderous 'tribute.' How does Foley cover his tracks? While this is going on, M.J. and the police storm Foley's house when they learn of his identity. They arrive too late. Foley's wife is dead, the house is in flames, and any evidence is lost with it, leaving the police reeling. What happens during the showdown? Foley takes Helen to the same university bathroom where she was attacked by Cullum, recreating the moment in horrifying detail. He ties her up with a noose around her neck, tip-toeing on the toilet basin. He intends for her to hang herself as a final symbolic kill in his copycat series. Helen, terrified but composed, uses her knowledge of criminal psychology to stall for time and emotionally manipulate Foley. She laughs, kicks off her other shoes and buys time for Detective Monahan. She races against the clock, following the trail of clues Foley has left behind but winds up part of Foley's sick game. How does Helen confront her fears? Managing to escape when Foley shoots Monahan in the chest, she faces her fears and heads up onto the rooftop. She stumbles across to the edge of the rooftop, calling for help, before turning and facing down this killer. Earlier on, she had to face Cullum at home on the computer, and she struggled to even look at the monitor. She was clearly still suffering from the effects and wanted to try and bury it. However, speaking to Cullum, who taunts her and asks for her panties as a 'souvenir' in exchange for info, seems to help shake something inside her. She's no longer a prisoner to the fear that once defined her. Instead, she turns it into strength. Facing this horrific ordeal again that has haunted her for the past thirteen months has made Helen stronger, and this time she laughs in the face of pure evil. Is Foley stopped? Monahan arrives just in time to stop the murder, shooting Foley first in the shoulder, and then several times in the chest. This is a significant moment and a beautifully foreshadowed one too. Early in the movie, Reuben and M.J. were on a training exercise and Reuben fired wildly, shooting a target multiple times. M.J. though, shot the target once and explained this is enough to incapacitate them. Unfortunately, this arrogance and lack of fear (something Helen also calls Monahan out for in the film) costs Reuben his life. During a skirmish involving Chinatown residents, Reuben is shot by a crazed man who holds him at gunpoint. Although Monahan shot him in the shoulder to drop him to the ground, he still shot Reuben dead. In the ensuing confrontation, she fatally shoots Foley and makes no mistake about her shots. She fires multiple times and eventually shoots him in the head. It's also worth noting too that Monahan is genuinely scared during this encounter, reinforcing that fear can keep you alive. How does Copycat end? Helen is saved, and the nightmare ends—at least for now. The experience forces Helen to confront her deepest fear and take steps, however small, toward reclaiming her autonomy. In the film's final moments, we cut to the prison once more where we see Cullum writing a note to more of his 'disciples'. He turns and looks at the camera, hinting that Foley is just one of many foot soldiers he has at his disposal looking to take up the mantle of serial killings. Fear, obsession, and legacy The movie serves as a chilling portrayal of how easily disenfranchised men—especially white men aged 20–35—can lose their way and become radicalized by ideology in a desperate need to become famous. Copycat doesn't end with comfort—it ends with a warning. The final scenes inside the prison reframe the narrative: this wasn't just one man's descent—it's part of a wider cultural sickness. This moment not only reinforces what Helen said earlier in the lecture hall, it also warns about the pursuit of greatness—and how our culture has become obsessed with death and murderers. It's a theme that feels even more relevant today, 30 years on from the film's release. Foley himself even mentions to Helen that more books have been written about Dahmer than Abraham Lincoln. The movie doesn't offer any easy answers on how to solve this problem, but its final moments certainly give plenty to chew on.
The Age
7 days ago
- Entertainment
- The Age
Harry Connick Jnr: ‘I saw a billboard of a Victoria's Secret model and I married her'
This story is part of the June 15 edition of Sunday Life. See all 15 stories. Harry Connick Jr is a musician best known for winning multiple Grammy Awards. Here, the 57-year-old talks about losing his mother at a young age, how he first noticed his future wife, and working with some 'amazing' women. I lost my mother, Anita Livingston, to ovarian cancer when I was 13. Mom was a bright, 'woody' woman – she didn't really follow the norm. She was sensitive and communicative. When I was five, I wanted to run away from home. Rather than convince me to stay or tell me I was being silly, Mom said, 'Sorry to hear that.' As I went out the front door, she was right behind me with her suitcase. She said, 'You're right. I don't like it here either. Let's go.' I started crying and told her I didn't want to run away. When it was time to lay down the law, Mom did, but she always made sure we had the power to make our own decisions. My memory of her is frozen in time. She'll always be young to me. Mom became a lawyer in the mid-1950s. She ran for the position of Louisiana Supreme Court justice when she was diagnosed with cancer, against seven men. Because she was a public figure, they found out she had cancer and used that against her. She was emotionally strong, and I am proud of her ability to win that election. My paternal grandmother, Jessie Connick, died in 1985, several years after my mom. She was a great cook and had eight kids during the Depression. She was quiet, but maintained a deep Catholic faith. My sister, Suzanna, is three-and-a-half years older than me. I was a pain in the rear-end growing up. She was studious and I was an attention-seeker. We are incredibly close now. She spent 38 years in the military. She's a hero and I look up to her. I would notice girls at school, but they didn't notice me. I had a crush on a girl in the sixth grade; she was sweet and smart. I couldn't work up the courage to tell her. I saw her in New Orleans 20 years ago; I recognised her face, and got the courage to tell her I had the biggest crush on her as a child. She replied, 'I had the biggest crush on you, too.' My mother was aware I loved music from the age of three. I played the piano for the first time when my dad, Harry, was running for political office. He opened his campaign quarters and Mom got a piano in there for me to play.
Sydney Morning Herald
7 days ago
- Entertainment
- Sydney Morning Herald
Harry Connick Jnr: ‘I saw a billboard of a Victoria's Secret model and I married her'
This story is part of the June 15 edition of Sunday Life. See all 15 stories. Harry Connick Jr is a musician best known for winning multiple Grammy Awards. Here, the 57-year-old talks about losing his mother at a young age, how he first noticed his future wife, and working with some 'amazing' women. I lost my mother, Anita Livingston, to ovarian cancer when I was 13. Mom was a bright, 'woody' woman – she didn't really follow the norm. She was sensitive and communicative. When I was five, I wanted to run away from home. Rather than convince me to stay or tell me I was being silly, Mom said, 'Sorry to hear that.' As I went out the front door, she was right behind me with her suitcase. She said, 'You're right. I don't like it here either. Let's go.' I started crying and told her I didn't want to run away. When it was time to lay down the law, Mom did, but she always made sure we had the power to make our own decisions. My memory of her is frozen in time. She'll always be young to me. Mom became a lawyer in the mid-1950s. She ran for the position of Louisiana Supreme Court justice when she was diagnosed with cancer, against seven men. Because she was a public figure, they found out she had cancer and used that against her. She was emotionally strong, and I am proud of her ability to win that election. My paternal grandmother, Jessie Connick, died in 1985, several years after my mom. She was a great cook and had eight kids during the Depression. She was quiet, but maintained a deep Catholic faith. My sister, Suzanna, is three-and-a-half years older than me. I was a pain in the rear-end growing up. She was studious and I was an attention-seeker. We are incredibly close now. She spent 38 years in the military. She's a hero and I look up to her. I would notice girls at school, but they didn't notice me. I had a crush on a girl in the sixth grade; she was sweet and smart. I couldn't work up the courage to tell her. I saw her in New Orleans 20 years ago; I recognised her face, and got the courage to tell her I had the biggest crush on her as a child. She replied, 'I had the biggest crush on you, too.' My mother was aware I loved music from the age of three. I played the piano for the first time when my dad, Harry, was running for political office. He opened his campaign quarters and Mom got a piano in there for me to play.
ABC News
11-05-2025
- Entertainment
- ABC News
Andrea Lam: Piano Diary
Fresh from the hit ABC TV series 'The Piano', which she co-hosts with Harry Connick Jr, star Australian pianist Andrea Lam steps into the spotlight with her own album Piano Diary , this week's Feature Album on ABC Classic. With this deeply personal selection of piano favourites, Lam shares the music that means the most to her, from the sublime beauty of Bach and Chopin to the spectacular fireworks of contemporary composers and mellow Gershwin favourites. The piano, says Lam, has been her most constant companion, through life's changes and adventures, its highs and lows. 'Saying goodbye to my grandfather. Indescribable depths of love after having my child. Overwhelming feelings that come with moving to a new country. Isolation from a worldwide pandemic. Nostalgia for childhood. Times you just want to yell at the world or squeal with joy. These are some of the moments when I have turned to the piano; the moments I most needed art. This album is a diary of those moments, from childhood to adulthood, and the music that gave solace, hope, inspiration, challenged and transported me to a different place: my very own Piano Diary.'
