After suffering a personal tragedy, and desperate for justice, Jacob Kanon, a veteran New York City police detective, embarks on the search for a twisted killer who is leaving a bloody trail of elaborate murders across Europe.

Credits: TheMovieDb.

Film Cast:

• Jacob Kanon: Jeffrey Dean Morgan
• Valerie Kanon: Famke Janssen
• Dessie Lombard: Cush Jumbo
• Inspector Klaus Bublitz: Joachim Król
• Detective Inspector Rupert Pierce: Steven Mackintosh
• Marina Haysmith / Sylvia Randolph: Naomi Battrick
• Simon Haysmith / Mac Randolph: Ruairí O’Connor
• Simon Haysmith: Denis O’Hare
• Detective Sergeant Agneta Hoglund: Eva Röse
• Detective Evert Ridderwall: Lukas Loughran
• Pieter Holl: Dylan Devonald Smith
• Nienke Holl: Sallie Harmsen
• Nancy: Orla O’Rourke
• Charles Hardwick: Christopher Pizzey
• Bill Brown: Tim Ahern
• Matts: Martin Wenner
• Female Detective: Caroline Bartholdson
• Male Detective: Daniel Sjöberg
• Young Helsinki Reporter: Dana Blacklake
• Airline Representative: Celine Abrahams
• Detective Hunziker: Leander Vyvey
• José Fernández: Ben Vinnicombe
• Young Sylvia: Rose Etherington
• Young Mac: Jack Wheatley
• Tilda: Lisen Rosell
• Jihan: Dionne Hernemar
• Sky News Reporter: Anna Jones
• Kimberley Stevensen – London Murder Victim: Maryam Grace
• Thomas Stevensen – London Murder Victim: Ryan O’Sullivan
• Anthony Santos – Madrid Murder Victim: Rory Bray
• Donna Santos – Madrid Murder Victim: Clare Neave
• Munich Murder Victim #1: Alex Field
• Munich Murder Victim #2: Tashienna Bookal
• Johannas Meltz – Belgium Murder Victim: Marcus St. Cyr
• Andrin Rinker – Belgium Murder Victim: Ryan Hannaford
• Zeeburg Murder Victim #1: Alex Joseph
• Zeeburg Murder Victim #2: Effie Digbori
• Police Officer / S.W.A.T. (uncredited): Joacim Landin
• Swedish Police Officer (uncredited): Mattias Ng
• Swedish Police Officer (uncredited): Sofia Perlgård

Film Crew:

• Screenplay: Andrew Stern
• Producer: Paul Brennan
• Producer: Miriam Segal
• Director: Danis Tanović
• Original Film Writer: Liza Marklund
• Producer: James Patterson
• Line Producer: Mark Birmingham
• Producer: Leopoldo Gout
• Editor: Sean Barton
• Casting: Rebecca Farhall
• Casting: Gail Stevens
• Set Decoration: Pancho Chamorro
• Production Design: Jennifer Williams
• Hairstylist: Heather Pitchford
• First Assistant Director: Jessica Hurles-Laws
• Screenplay: Ellen Brown Furman
• Original Film Writer: Tove Alsterdal
• Original Film Writer: Tena Štivičić
• Producer: Peter Nelson
• Director of Photography: Salvatore Totino
• Costume Designer: Nigel Egerton
• Makeup Designer: Heike Merker
• Original Music Composer: Simon Lacey
• Executive Producer: Steve Bowen
• Executive Producer: Bill Robinson
• Executive Producer: Jeffrey Dean Morgan
• Executive Producer: David Banks
• Executive Producer: David Levin
• Executive Producer: Christian Mercuri
• Executive Producer: Josh Reinhold
• Executive Producer: Paula Turnbull
• Executive Producer: James Swarbrick
• Executive Producer: Will Young
• Executive Producer: John E. Story
• Executive Producer: Neena Tailor
• Executive Producer: Norman Merry
• Executive Producer: Peter Hampden
• Executive Producer: Doris Schrenner
• Executive Producer: Marc Gabizon
• Executive Producer: Markus Aldenhoven
• Executive Producer: Martin Rushton-Turner
• Executive Producer: Kia Jam
• Executive Producer: Richard Raley
• Executive Producer: Jill Rachel Morris
• Production Manager: Adam Hughes
• Second Assistant Director: Will Cummins
• Supervising Art Director: Choi Ho Man
• Casting Associate: Katy Covell
• Steadicam Operator: Shaun Cobley
• Sound Recordist: Simon J. Willis
• Boom Operator: Stephen Longstaff
• Script Supervisor: Elizabeth West
• Gaffer: Mark ‘Rocky’ Evans
• Key Grip: Darren Holland
• Production Coordinator: Tom Darby-Evans
• Location Coordinator: Stan Fus
• Location Manager: Mark Cushman
• Location Manager: Clive Miles
• Unit Manager: Bobby Prince
• Hair Supervisor: Roo Maurice
• Property Master: Alan Bailey
• Still Photographer: Damir Šagolj
• Stunt Coordinator: Pål Morten Hverven
• Post Production Supervisor: Paul Dray
• Colorist: Tom Russell
• Sound Re-Recording Mixer: Rob Hughes
• Foley Artist: Ian Waggott
• Foley Artist: Paul Hanks
• Sound Effects Designer: Samir Fočo
• Visual Effects Supervisor: Robert Treen
• Special Effects: Colin Gorry
• Producer: Tracey Edmonds

Movie Reviews:

• JPV852: 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**
• r96sk: Big fan of Jeffrey Dean Morgan, but this isn’t a good film.
• ‘The Postcard Killings’ 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 ‘Jamestown‘, 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.