The Postcard Killings Collection

Jeffrey Dean Morgan

Famke Janssen

Cush Jumbo

Joachim Król

Steven Mackintosh

Naomi Battrick

Ruairí O'Connor

Denis O'Hare

Eva Röse

Lukas Loughran

Dylan Devonald Smith

Sallie Harmsen

Orla O'Rourke

Christopher Pizzey

Tim Ahern

Martin Wenner

Caroline Bartholdson

Daniel Sjöberg

Dana Blacklake

Celine Abrahams

Leander Vyvey

Ben Vinnicombe

Rose Etherington

Jack Wheatley

Lisen Rosell

Dionne Hernemar

Anna Jones

Maryam Grace

Ryan O'Sullivan

Rory Bray

Clare Neave

Alex Field

Tashienna Bookal

Marcus St. Cyr

Ryan Hannaford

Alex Joseph

Effie Digbori

Joacim Landin

Mattias Ng

Sofia Perlgård

Christian Jarder

Colin Gorry

Tracey Edmonds

Andrew Stern

Paul Brennan

Miriam Segal

Danis Tanović

Liza Marklund

James Patterson

Mark Birmingham

Leopoldo Gout

Sean Barton

Rebecca Farhall

Gail Stevens

Pancho Chamorro

Jennifer Williams

Heather Pitchford

Jessica Hurles-Laws

Ellen Brown Furman

Tove Alsterdal

Tena Štivičić

Peter Nelson

Salvatore Totino

Nigel Egerton

Heike Merker

Simon Lacey

Steve Bowen

Bill Robinson

David Banks

David Levin

Christian Mercuri

Josh Reinhold

Paula Turnbull

James Swarbrick

Will Young

John E. Story

Neena Tailor

Norman Merry

Peter Hampden

Doris Schrenner

Marc Gabizon

Markus Aldenhoven

Martin Rushton-Turner

Kia Jam

Richard Raley

Jill Rachel Morris

Adam Hughes

Will Cummins

Choi Ho Man

Katy Covell

Shaun Cobley

Simon J. Willis

Stephen Longstaff

Elizabeth West

Mark 'Rocky' Evans

Darren Holland

Tom Darby-Evans

Stan Fus

Mark Cushman

Clive Miles

Bobby Prince

Roo Maurice

Alan Bailey

Damir Šagolj

Pål Morten Hverven

Paul Dray

Tom Russell

Rob Hughes

Ian Waggott

Paul Hanks

Samir Fočo

Robert Treen

Drama

Thriller

The Postcard Killings

Kjam Media

Good Films Collective

Hindsight Media

James Patterson Entertainment

Lipsync Productions

Kodak Motion Picture

Wild Bunch Germany

Maze Pictures

Capstone Pictures

Germany

United Kingdom

United States of America

Generally I like these crime-dramas, which I is why I also watched CSI and Criminal Minds when they were on. However, this adaptation of the James Patterson/Liza Marklund novel has some editing problems and sloppy dialogue. There were a couple okay scenes that did surprise, otherwise it kind of plods along at a slow pace. If not for Jeffrey Dean Morgan, this would've been tough to sit through. **2.75/5**

Big fan of Jeffrey Dean Morgan, but this isn't a good film.

<em>'The Postcard Killings'</em> should be full to the brim with vigour and vitality as the plot involves a mystery that takes the characters across Europe. Unfortunately, it's extremely dull from start to finish. It's not anything necessarily terrible, it's just the uneventful feel to things hampers this 2020 release hard.

Morgan gives a solid performance, though I kinda wanted more from him - at times he kinda felt miscast, if I'm honest. I'm not fully sure if that's the case or not though. The support cast are fine if forgettable, the minor standout behind Morgan is Naomi Battrick; who I recall seeing in a few early episodes of television show <em>'<a href="https://en.wikipedia.org/wiki/Jamestown_(TV_series)" rel="nofollow">Jamestown</a>'</em>, which I found to be equally as uninteresting as this.

This needed a quicker pace and more action, without that it's a disappointment.

CinemaSerf

When a young girl is murdered on her honeymoon, her devastated detective dad "Kanon" (Jeffrey Dean Morgan) joins in the investigation. It doesn't take long for him to discover - with the aid of Swedish journalist "Dessie" (Cush Jumbo) - that this is not an unique crime, even though the perpetrator leaves the bodies as if they were features in a famous work of art. Meantime, the young Naomi Battrick and Ruairi O'Connor are travelling thorough Europe on a train when they encounter the burly, tattooed "Pieter" (Dylan Devonald-Smith). Might they be in the same danger? The story has quite a few twists and turns, and were it in better hands with a better cast then it might have been, well, better... As it is, though, the more interesting aspects of the plot are seriously undercooked; it takes far too long for us to get going and the quality of the acting and the dialogue - pretty much across the board - is nothing special. Some nice scenery, I suppose, but despite his tragedy I just couldn't warm to "Kanon" nor to his underused wife "Valerie" (Famke Janssen). It's a standard television movie that passes the time, but nothing more.

Filipe Manuel Neto

**When the main problem is knowing too much too soon...**

Serial killers will always be fodder for movies, good and bad. It's not worth quoting examples, anyone reading this has probably seen at least ten movies about serial killers. This is one more, based on original Scandinavian material that I've never seen, but I'd like to see it, and I'll try to find it. Honestly, I hope it's better than the movie I just saw...

The film is not bad. Don't get me wrong. It has a good base premise: murders that imitate famous works of art all over Europe, with the father of one of the victims desperately trying to catch the culprit. But it's not at all original, it does the same things that we're tired of seeing in established films, and it doesn't manage to go beyond the usual recipe to offer us something that makes it stand out. And there is a huge problem that partially ruins the film: we discover the identity of those who are killing people too soon and, from there, it is only worth watching the film to see how the police will hunt down their target.

Jeffrey Dean Morgan is a very solid and competent protagonist, able to commit himself and give the character the consistency and anguish that it demands. Undoubtedly, the actor's performance is a bonus in the film. Despite being heavily criticized, I think Famke Janssen wasn't that bad. She does have depressing moments and sometimes goes overboard, but she gives us a relatively satisfying job, and doesn't have many opportunities to really fail. Joachim Krol seems to be out of place and lost. Naomi Battrick is quite good, taking into account that she is not a frontline actress and has handled a character who demands a certain charisma and attitude; Ruairi O’Connor, honestly, cannot say he is happy, he erases himself even in scenes where he is more visible.

Technically, it's a regular film without great merits, but it doesn't fail too much either: the European settings and landscapes, always pleasant no matter how commonplace they may be, are joined by standard cinematography and ordinary work on the costumes. Some well-crafted effects and a lukewarm soundtrack make for a cohesive and functional, if forgettable, whole.