Review: See How They Run
Amongst the many films that have hit theatres in recent months, See How They Run is a relatively under-the-radar love letter to theatre and the classic whodunit. Tom George’s directorial debut bolsters a star-studded cast and a flashy Westend setting that, with a short 98-minute runtime, is a clever, fast paced and guaranteed entertaining watch.
The two leads, Constable Stalker (Saoirse Ronan) and Inspector Stoppard (Sam Rockwell), are called into action following a murder at a party for Agatha Christie’s The Mousetrap’s 100th showing. From here, as they interview the cast and crew of The Mousetrap and chase potential leads, the mystery slowly unfolds while taking some strange but somewhat predictable twists and turns. However it is clearly a film that does not take itself too seriously, often delving into an almost meta-commentary by poking fun at its use of flashbacks to tell the victim’s story and its over-the-top final act being hinted at early on. Along the way, the two leads run into various real-life characters such as the producer John Woolf (Reece Shearsmith) and Richard Attenborough (Harris Dickinson) who is a particular highlight with his off the cuff self-indulgent witticisms during a ‘serious’ police investigation. The climax of the film is a nod to many Agatha Christie stories as the supporting cast, including a humorous portrayal of Christie herself, gather in a single room before the murderer is revealed in front of them.
Image credit: Instagram @seehowtheyrunmovie
Despite this, many of the film’s best and most memorable moments owe themselves to the chemistry between Saoirse Ronan and Sam Rockwell. Ronan must be highly commended for her great comedic timing and bringing joyful energy to her by-the-book, if a bit naïve, Constable Stalker. She perfectly contrasts the drunken Inspector Stoppard to whom Rockwell brings a light-hearted vulnerability and an at least passable English accent. Adrien Brody’s bold and self-proclaimed ‘most unlikeable character’, Leo Kopernick, works exceedingly well against the uptight eccentricity of the likes of Mervyn Cocker-Norris (David Oyelowo), Petula Spencer (Ruth Wilson) and John Woolf with special mention to Tim Key’s Police Commissioner whose comedic deliveries get a chuckle every time.
The presence of Wes Anderson’s influence can be felt all over, from the framing of the glamorous 1950s Westend to the tightly packed dialogue – which only works in the film’s favour – as you find yourself taking in all it has to offer – all the funny character moments and a well-crafted set and story.
It is impressive work from Tom George, best known for his work on the BBC sitcom This Country, who evidently directs with a lot of passion and love for cinema, proving more than capable of tackling a feature length film. Ultimately, Tom George and writer Mark Chappell get the simple things done well. They give the actors plenty of space to have fun with their roles, and, in tandem with a witty script and eye-catching cinematography, the result is hard not to love.
Header image credit: Instagram @seehowtheyrunmovie