Here’s How They Run The Review: Charming and Tasteless Whodunnit Is In Love With His Own Genre

Here’s How They Run The Review: Charming and Tasteless Whodunnit Is In Love With His Own Genre

See how they work it’s not meant to be profound or important, it’s just a film passionate about the whodunnit genre, which it often talks about but says little about concern. A comedic murder mystery period piece around a production and film adaptation of the Agatha Christie play the mousetrap, See how they work won’t let you forget it’s about adaptation. While it’s not an excavation of the difficulty of moving art between media, it at least manages to be funny in doing so.

See how they work it’s the kind of movie that surprises you with how seriously it delivers on its promise, hitting its mark with exactitude. It’s the kind of movie in which characters comment on the absurdities of the plot in the mocking, dry space between breaking the fourth wall and demeaning with sarcasm. It’s far more palatable than the bright-eyed but exasperated false cynicism that has become commonplace in some sustaining franchises, but its commitment to intelligent observation still almost undermines the genuine intelligence in the structure.

Saoirse Ronan leads the charge as the serious and exuberant Constable Stalker, a rare woman in this version of Scotland Yard from 1952. Ronan is supremely charming as the inexperienced and enthusiastic officer alongside the adept but difficult Inspector Stoppard (Sam Rockwell). The two are tasked by their dry and uninterested commissioner to find out who murdered the scoundrel of an American film director (Adrien Brody) imported to work on the film. This leads to interviews with the play’s director (Ruth Wilson), the effusive but private writer who adapts the play for the screen (David Oyelowo), the anxious film producer with a challenged marriage (Reece Shearsmith), an usher ( Charlie Cooper) and the cast of the play, which includes fictionalized versions of Sheila Sim (Pearl Chanda) and Richard Attenborough (Harris Dickinson).

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See how they work it also includes a late entry by Agatha Christie (Shirley Henderson) and a version by her second husband, Max Mallowan (Lucian Msamati). I don’t know much about Mallowan, but early 20th century British archeology is hardly known for its enlightened racial perspective. It’s not healthy for some to be so outraged by black casts in fantasy spaces that refuting bigotry turns into free marketing for the world’s biggest media companies, but it’s not quite that. This is a black British man portraying a historic white Englishman who helped the empire excavate artifacts from the Middle East. If it were a more serious movie, it would be a more serious offense. In this one, it’s ironic at best, with Msamati’s portrayal adding an inadvertent wrinkle to Mallowan bossing his butler like any other member of the British elite. At worst, it is an attempt at inclusion generating a careless recollection of the past. I felt similar dismay around Adrian Lester as Lord Randolph in Mary Queen of Scots— it’s nice to see blacks and browns reinserted into parts of history from which we were uprooted, but being imprecise or thoughtless about it can bring more problems.

Still, See how they work it’s narratively accurate, calling its shot so far it’s easy to miss the prediction. A fan of the confused wonder that I am, I laughed more than I rolled my eyes at the end. The sniff test for the effectiveness of a whodunnit is whether the film gives us the tools to solve the mystery. This one yes. It also allows us a lot of wrong guesses and red herrings. There’s only one moment in a chase that particularly strained my suspension of disbelief, but its circumstances are well set up. See how they workThe scope of is a mix of ambition and rudiment, lovingly deconstructing the murder mystery genre before heading down the path for which it became a spotlight. His humor is delivered from conflicting expressive personalities (with Oyelowo’s flamboyant eccentric being the most memorable character after Ronan), a tone that is knowing without blinking to the end, and a combination of situational jokes in physical comedy and dialogue punctuated by edition.

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See how they work is the debut of TV director Tom George. This is one of those moments when the artwork feels too much like a love letter and not enough like a definitive statement. Sometimes a movie doesn’t allow you to exist within it because it repeatedly calls attention to the fact that it is a movie. Still, it’s more subtle on a moment-by-moment basis than the action comedies of the year, though it’s neither narrow nor unapproachable. Despite effectively creating character conflicts and jokes around the confusing business of moving life onto the stage and then moving it from stage to screen, See how they work looks like it’s missing some punch. It’s certainly smart, but almost too much. There aren’t many comedies set in post-war Britain this year, so this makes her stand out, but all too often draws attention to her influences – which might make you wonder why you’re not watching one of these. .

Director: Tom George
Writer: Mark Chappell
Starring: Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, David Oyelowo
Release date of: September 16, 2022

Kevin Fox Jr. is a freelance writer with a masters in history, who loves video games, film, TV and sports, and dreams of liberation. He can be found on Twitter @kevinfoxjr.

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