Written by Nynoska Vazquez-Suazo
In late October, Netflix released The Good Nurse, based on the true story of serial killer Charles Cullen, and the novel by the same title by Charles Graeber. The story follows Amy Loughren (Jessica Chastain), an ICU nurse who develops a friendship with fellow nurse and newcomer, Charles Cullen (Eddie Redmayne). After the death of a patient, detectives start an investigation and Amy soon realizes Charlie is not who she thinks he is.
Adapted for the screen by Krysty Wilson-Cairns (who also co-wrote the screenplay for Last Night in Soho, an amazing psychological thriller starring Anya Taylor Joy) and directed by Tobias Lindholm, the story hooks you. However, while the content is there, unfortunately, it was not executed to its fullest potential.
For being promoted and released during the spooky season, The Good Nurse is underwhelming as a thriller. It begins with a focus on Cullen watching as other nurses try to save a coding patient. This could’ve been a great setup for the film if carried out properly, as it foreshadows more deaths at the hands of this character. However, the film doesn’t pick up the pace to reach a climax, instead, it plateaus. There is no escalation, but rather a never-ending development of characters and their relationships with one another. The discovery of how he is getting to these patients leaves the audience disappointed, as it is simply brushed over.
When Amy meets with an old colleague who also worked with Cullen, the truth is uncovered in a simple conversation. As Amy rushes to the hospital, there is no sense of urgency, there is no moment of shocking realization because it was nonchalantly spoiled in the previous conversation. Even when Amy finds the proof in the storage room, the scene only focuses on it for a split second before shifting focus back to Amy. The how is disturbing and interesting, the discovery of it would’ve made for a powerful climax, but is instead a missed opportunity. Similarly, potential powerful and “chilling” moments are met with indifference, instead seeming out of place or not emphasized enough. Such as when Detective Baldwin (Nnamdi Asomugha) demanded the hospital stop holding evidence, which felt awkward and out of place. Or the moments when Cullen lingered in Amy’s home with her kids after she discovered the truth. There is no sense of fear.
On a visual level, the film is unexciting. The visuals don’t add to the environment and make for an unattractive picture. Cinematographer Jody Lee Lipes chooses to stay in a certain type of framing: close-ups, medium close-ups, and extreme close-ups. You very rarely see the full picture. Expanding the audience’s view can add depth and curiosity, but choosing to sit in a limited visual realm leaves the audience with a sense of closed-mindedness, forcing us to simply watch rather than truly become invested. While the dim lighting can create a more malicious ambiance, it also makes the movie difficult to watch. It prevents the audience from growing fond of the friendship between Amy and Charlie—which is crucial in order to gain the expected shock factor. The ambiance makes Charlie seem untrustworthy from the very beginning, adding to the sense of plateau.
That being said, the use of sound is one of the few elements in The Good Nurse that works. Rather than overtake a scene or seem out of place, it adds to the moment, creating the chilling ambiance and feel the film needs. The acting also makes it worth watching. Both Chastain and Redmayne cut stunning figures and truly embody their characters. The chemistry between them makes for an ideal, wholesome, and trusting friendship. Chastain’s levels of emotion create depth and sincerity throughout. By contrast, Redmayne’s emotional consistency cuts a mysterious figure. Charlie still appears harmless even when reaching breaking points or moments of truth/exposure and it gives Charles a chilling and disturbing aura.
Still, despite its few strengths, while it may be promoted as a R-rated thriller, The Good Nurse is a missed opportunity. The story has the potential to be truly chilling, but the execution takes away the disturbing reality of the real-life events it’s based on. Chastain and Redmayne’s performances are award-worthy and even the most minuscule characters add to the film, but it’s not enough to make it the chilling film it should be.
