'The Whisper Man' Review
Release Date: 08/28/26 [Netflix]
Genre: Crime. Drama. Thriller.
MPAA: Rated R.
Distributor: Netflix.
The Verdict: A Mistake
Autumn is officially upon us, with the release of another thriller centered on child abductions and serial killers. Last year, Weapons was a surprise treat that drew audiences to theatres. This year, Netflix hopes to keep you at home with the release of The Whisper Man.
Thrillers are my second-favorite film genre. With the star-studded cast of Robert De Niro, Adam Scott, and Michelle Monaghan, I was really excited to sit down, wrap myself in a blanket, and let my skin crawl as the detectives investigated an impossible case full of terrors lurking around suburbia. Most autumn thrillers tap into the oncoming chill that's just around the corner and create an atmosphere that hooks you immediately. The Whisper Man is aware of these tropes, and taps into them - creating a vibe that immediately has you spooked and concerned about where the story will go.
As the film progresses, however, The Whisper Man begins to feel all too similar to other psychological thrillers centered on kidnappings, disappearances, and fear-inducing serial killers. The film’s most interesting element is its focus on the grieving process and how different people cope with it. In the first act, we meet Tom Kennedy (Adam Scott) and Jake Kennedy (Acston Luca Porto), both processing the death of Mrs. Kennedy. Tom, the widower, has left his old life behind to return to the city his wife called home. Jake, a child no older than 8, has taken solace in his imaginary friend, a nameless young girl. This first act, centered on these characters trying to process what they’ve lost and protect what they have, is by far the most interesting segment of the film. And yet, it's the part that's the most disconnected from the thriller plot at the center of The Whisper Man.
Our secondary characters are detective Amanda Beck (Michelle Monaghan) and retired detective Peter Willis (Robert De Niro). Willis was the detective who found the original Whisper Man about 30 years ago and wanted nothing to do with the copycat's return. Beck, a charismatic and seemingly green detective, searches for justice relentlessly - and wants to bring Willis back into the case to find the missing children. This secondary cast of characters is tried-and-true territory for the psychological thriller. Still, it lacks the artistic purpose of Jake and Tom - and when we spend nearly half the runtime with these archetypal detectives, it drags the film’s pacing into the mud.
The other major plot issue is how the mystery plays out. I am deeply frustrated with how interconnected the entire cast's pasts are. None of these characters are interesting enough to warrant such interconnectedness in the film's lore, yet these reveals drive the plot forward. It cheapens the world's depth, and because these characters are so shallow, I was consistently unengaged with the film.
Netflix made a movie you can watch on your phone, yet it doesn't capture your attention enough to stand a chance against the onslaught of other attention-grabbing apps and messages.
I should discuss the other technical aspects of The Whisper Man, since not all of this movie is a waste of time. Peter Deming’s cinematography is consistently off-putting; the way shots are framed creates questions in your mind that you can’t let go of. When we are introduced to Tom and Jake, the framing has them separated in a car - each shot isolating the characters to make them feel more alone; and yet Jake has a surprise visitor. In the background of the shot, in the backseat of the car, a figure sits in a long-sleeve shirt and jeans. At first, it may seem like a continuity error, yet it is a purposeful decision that pulls the audience into Jake's anxieties and mental headspace. The film uses a lot of creative framing choices. The actual serial killer is kept out of frame so we can never know his face. Information is often conveyed silently, with the viewer reading emails, letters, and old police reports alongside the detectives to learn what they learn. None of these are completely new ideas in the psychological thriller genre, but they are effective methods that create the tone one would expect from this type of movie.
The score and soundscape of a thriller are just as important as the cinematography in creating tone, and thankfully, The Whisper Man has a strong foundation. Colin Stetson’s music is full of contrasting strings, and the sound design by Rich Bologna manages to make every moment feel cramped, damp, and lonely. The hum of electrical lights, the snap of nail clippers, the wind and rain on the windows… these elements could be lost in a mix, yet when pulled to the forefront with the muted score, they create something truly terrifying. The atmosphere of The Whisper Man is nothing truly exceptional - but it is deeply affecting, and a shame to be lost on a disjointed and rushed script.
The Whisper Man is a film that could have been great - it has the talent, the craftsmanship, and a familiar premise. It's a film that occasionally goes beyond the familiar in creating characters with real challenges and depth - but once the serial killer gets involved, the film becomes a shadow of every great psychological thriller, doomed by its unoriginal script.
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