Download Film The Copycat

Copycat is a 1995 American psychological thriller film directed by Jon Amiel and starring Sigourney Weaver, Holly Hunter, and Dermot Mulroney. The score was composed by Christopher Young.

Helen soon realizes that the copycat killer has been following the list of serial killers in the same order that she presented them in her university lecture the night she was attacked. The two work to figure out where and when he will strike next. At the police station, Inspector Nicolette places his gun in his desk drawer but forgets to lock it, allowing a suspect to grab it and take Reuben hostage. The suspect attempts to leave but is shot by M.J. in the brachial nerve, only to get back up, shooting and killing Reuben. M.J. is left to continue searching for the serial killer alone.

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What happens there turns Hudson agoraphobic, and she spends the next 13 months hiding in her apartment and drinking too much, so afraid of the world she has to use a broom to pull the newspaper through the front door. Cullum is soon behind bars, but another killer - the copycat - is at work in town, and when Hudson realizes what he's doing, she contacts the police officer in charge of the investigation.

That would be M. J. Monahan (Holly Hunter), the most interesting character in the film. Played by Hunter with aspects of the TV producer she played in "Broadcast News," M. J. is a piece of work. A petite woman in rooms that are usually full of big men, she is friendly, cheerful, warm and confiding, and uses first names as if she were the third-grade teacher.

The suspense proceeds along fairly predictable lines. Cullum, who is in jail, seems to have contact with the copycat killer. And of course one of the copycat's targets is going to be Helen Hudson, who walks through her darkened apartment and takes showers and performs all of the other suspense cliches that somehow still retain their power. She also spends an inordinate amount of time hanging half-strangled in a bathroom, both at the beginning and at the end of the movie. Notice both times that when the cops burst in, they tend to let her just hang there while they're looking for their quarry.

SAN JOSE- United States Attorney Kevin V. Ryan announced that, as part of the ongoing prosecution arising out of Operation Copycat, four individuals were sentenced today and one more pleaded guilty, bringing the total number of convictions to thirty-two. Since July 14, 2005, thirty-seven individuals have been criminally charged as part of the ongoing investigation into online "warez" sites. Thirty-two of those individuals, including two film critics, have been convicted since September 26, 2005.

The first film critic convicted under Operation Copycat, Paul Sherman, of Malden, Massachusetts, entered a guilty plea on May 22, 2006 before U.S. District Court Judge Ronald M. Whyte in San Jose. According to the plea agreement, Mr. Sherman, a freelance film critic for the Boston Herald and other publications, admitted selling advance copies of over one hundred movies to a known warez supplier between May 2002 and June 2005. For details on the previous 30 convictions, click here for the June 20, 2006 press release.

I really think it would be an interesting idea for a new Scream film if it started off like normal where a Ghostface killer/killers starts murdering people and the main group of characters begin trying to survive and figure out who the killer(s) are...

But then another copycat Ghostface killer also starts killing people for their own reasons. The copycat ghostface killer uses the already ongoing killing spree to hide his murders assuming that as long as they are not caught, their murders will be blamed on the original ghostface killer(s).

This idea of a copycat plays into the series theme of people reprising what is essentially the same killer. All of the killers from Scream 2 onwards ARE copycats of Billy and Stu and so I think it would be fascinating to see what happens when two independent killers try a killing spree at the same time and get in each others way.

The original killer(s) might be annoyed that a copycat is ruining what is supposed to be THEIR killing spree or they might think "If I kill the copycat before anyone finds out who they are then people will think all of their kills are my kills and my body count will be even higher."

I also at some point want to see two Ghostfaces have a fight with each other (in full costume). Imagine if Ghostface goes to kill someone and so he hunts them down and then right when he's about to murder them, the copycat Ghostface turns up. And so the two killers fight each other instead.

Or imagine if at one point in the film, the original ghostface killer (not in costume) is attacked by the copycat and the original killer is able to subdue and apprehend the copycat. The copycat is either killed or arrested. This makes the original killer look completely innocent and so when they carry on killing afterwards, nobody suspects them.

I really do think there are some amazing possibilities with a story like this. For example, you could keep the audience in the dark from knowing there is a copycat at all for the entire film, only revealing it at the end. So for the entire film, the audience just believes it is a normal Scream film with one set of killers (without knowing that the killers know there are 2 distinct groups of killers). Imagine how crazy it would be when at the end of the film one killer reveals themself but then another ghostface also turns up and so the main characters think they have to be working together but it turns out they aren't.

Or you could let the audience know mid way through that there is a copycat killer by having a confrontation between the copycat and the original ghostface which none of the main characters see. That way the audience knows but the main characters are unaware.

Copycat (1995) is an American psychological thriller, starring Sigourney Weaver, Holly Hunter, Dermot Mulroney, Will Patton and Harry Connick Jr. The film was directed by Jon Amiel, with a score composed by Christopher Young.

San Francisco-based criminal profiler and psychologist Dr. Helen Hudson (Weaver) becomes entangled in the deadly mind game of a vicious copycat serial killer, Peter Foley (William McNamara). Due to the horrific attack Helen suffered in her past, she is now an agoraphobe confined to her apartment. The killer uses this against her in his murderous attempts to become a famous serial killer. Detectives M.J. Monahan (Hunter) and Reuben Goetz (Mulroney) have the challenge of trying to capture the killer before he kills again.

Touchstone Pictures, a subsidiary of Walt Disney Studios, said by Friday all copies of the film will be shown without a scene where high school athletes lie down in the middle of a highway to toughen their responses. The R-rated comedy starring James Caan is currently being shown in 1,200 movie theaters nationwide.Advertisement

'While the scene in the movie in no way advocates this irresponsible activity, it is impossible for us to ignore that someone may have recklessly chosen to imitate it,' said David Ward, the film's writer and director, in a statement issued by Touchstone's New York office.

This film doesn't hold up quite as well as I would have liked. My political perspective has changed so much since I was a teenager and my understanding of film as well. What I found instead of the flashy thriller that creeped me out with the bathroom hanging scenes is a Hitchcock/de Palma-influenced flashy copaganda thriller that takes a little too much time lingering on naked dead women.

As long as we can prove your work has been stolen, you should receive statutory damages and/or actual damages, depending on whether your work has been copyrighted or not. If your film has not been copyrighted, we can sue for actual damages (though these are a bit more challenging to accurately calculate). If your film has been copyrighted, we can sue for statutory damages, which can award you anywhere between $750-$30,000 (but up to $150,000 in some cases).

Something I look forward to every single year, Film at Lincoln Center's annual week-long "Scary Movies" series, is hitting here in New York this forthcoming weekend -- check out the entire stellar run of films at this link here. While I'm most excited for Ari Aster's "Director's Cut" of Midsommar, which runs half an hour longer than the one we saw in theaters, they're mixing up showings of brand new flicks and old under-screened classics in ways that really set my toes to tingle.

Remember video stores? That's where I picked this up one evening and was very happy I did. I guess it did ok at the box office, but this film was a big favourite at the video store.

Weaver is always good value, and Hunter was a bonus.

Nice choice.

The way I look at it, Copycat was so great that it completely changed her opinion on scary movie. I guess it changed her life, if you will. Not like some major type of change, but it changed her perspective on a film genre, made her realize the excitement in being scared (by a movie), and the joy of late showings with packed theaters...but it still took her a good ten years to not be terrified of public restrooms, and she still has occasional residual fear to this day.

I apologize for the ramble, but I guess what I'm trying to get across is this: If one single film has the power to (1) immediately invoke a fear or phobia in a viewer, (2) completely change t a viewer's negative outlook on an entire genre, even convincing them that they now like the genre and want to explore it further, and (3), be the root of long-lasting fears and/or paranoia that are intense for quite some time, yet still cause feelings of unease and disquiet nearly 25 years later, then I would say it's an incredibly affecting movie.

Not to mention script, performances, locations, directing and editing, a film score that enhances the film. And I also love that there are minimal jump-scare--Every scare is there for a reason, not just tossed in to make an audience jump.There are several scenes that most would consider jump scares--finding the finger, the red dress on the bed, the intruder in the house--which I would tend to agree with: Those scenes DO make the viewer jump, and while there is suspenseful music leading up to the scare, the scares themselves are intentional, natural, and add to the story. The building up of suspenseful strings suddenly goes quiet to enhance the suspense and dread we feel, just like the characters in the movie, as we await the big reveal of whatever thrill has been left for us. be457b7860