The filmmaking itself is extremely interesting, with its contrasting use of shadow and light focus and blurring of Dahmer and the choice of camera angles which often distance us from Dahmer, giving us the same predatory perspective he would later use himself. From the opening, the choice of framing of both Dahmer and others, leads to a fragmentation of the body, only giving us glimpses of eyes, legs, bodies linking the intertwining of Dahmer's obsession of sexualisation and objectification of his future victims. Alongside his performance, the ideas of objectification and identification with Dahmer are the best feature of this film. On the whole, Ross Lynch's performance of Dahmer is to be lauded he doesn't become a stereotype at any point, unlike the rest of the cast. However, this is the film's greatest weakness in we can never be sure of its ultimate intention. Whether this is due to Backderf's guilt of his treatment of Dahmer, an emotion we glimpse in his character towards the end of the film, or if it is an attempt by Meyers to make a profound statement on human psychology and the latent murderer in any of us, is unclear.

Throughout the film there is a distinct struggle by the director (Marc Meyers) to reconcile his views of Dahmer as serial killer, with the sympathic portrayal of him by his former friend. We follow Dahmer through his troubled home life, burgeoning deviant behaviour, as well as his relationships with his 'friends' (more like bullies), whom he gains through odd behaviours, such as faking fits in school. The source material, written by John (Derf) Backderf, provides an insight into the High School years of this his (then) friend, Jeffrey Dahmer, who is most infamous for his serial killing spree of his male lovers and also his cannibalistic tendencies. Based on the graphic novel of the same name, My Friend Dahmer, attempts to take a new perspective on the 'serial killer' film.

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