SkullHunter

SkullHunter (2024) is a rich British crime thriller, set mostly in London, directed by James Albert Solly. SkullHunter is Solly’s fourth feature film, standing strong with a runtime of just over 2 hours. Stephen Murphy plays a man named John Gates. Gates is a cripplingly obsessed detective whose quest to find a link between a series of murder cases gradually takes its toll, tearing apart his life. 

Murphy masterfully plays the tragic figure; his characterisation effectively brings forth Gates’ corrupt morals and his overall drive to bring justice to the victims by whatever means necessary. Gates’ moral conundrum makes viewers question whether his actions go too far, and whether bringing justice could cause more harm than good.

The film is stylised with a crisp, retro-neon look. Many scenes include Sets which are dotted with old-school technology, such as the inclusion of retro home computers, which were big hits in 1980s Britain. Added details like this give the film a distinct time stamp, immersing viewers into the world of the past that the film takes place in. As well as this, the use of neon lighting creates a moody feel, especially in the film’s darker moments, allowing the purple, blue and red tones to take stage, adding a deep sensuality to the viewing experience.

Aside from colour and set design, SkullHunter is impressively experimental visually. There is a strong focus on symmetry, expressed in the mise-en-scéne in many scenes. This is particularly poignant in the artful opening and several dream sequences, where a kaleidoscope effect is enacted, creating a hypnotic feel. The heavy use of mirroring and reflection gives many scenes in the film a fantastical look, as well as linking well into the themes of the film, as John Gates must look into himself and reflect on the impact of his actions and his past.

Whilst SkullHunter incorporates dream sequences, the film also gives the reality-based scenes an abstract, otherworldly feel. This is, as mentioned, through the use of neon, but is also seen in the dedication to German-expressionism, in strong use of dark shadows and an emphasis on silhouette. This obstruction of light distorts the look of the scenes, clouding key characters' faces, obscuring what viewers can see. Through emphasising visually distorted scenes which are not dream-strained, the film effectively blends fantasy and reality, highlighting Gates’ decline into insanity as he struggles to distinguish between the two of them.

SkullHunter’s overall look allows it to fit in with other key influential British crime dramas. Its darkness expresses similarities to the longstanding success Broadchurch (2013-2017) and the Scottish Netflix Hit, Dept Q (2025-). The film also shares similarities with Dept. Q in its incorporation of lightly comedic moments, challenging the crime genre and allowing contrast from the film’s gritty themes.

Alongside its artful sequences and light comedic relief, SkullHunter is overall a grizzly watch, particularly through its portrayal of violence. Fans of thrillers such as David Fincher’s Zodiac (2007) and Seven (1995) will appreciate the film’s dedication to gore and psychological disturbance. Solly’s audience can only expect more gruesome films going forward, as he begins to establish his artfully dark aesthetic as a filmmaker.