An impressive cast in a derivative whodunnit – newsdubai
The murder mystery genre is one of the most consistently beloved forms of entertainment. TV series, whether it’s a long-running procedural or limited series, movies with all different budget types, and of course the mystery novel – people just can’t get enough of a good old whodunit. We have been inundated with murder mystery movies of varying quality. Ryan Johnson‘s Knives out took the world by storm, so much so that a sequel is coming later this year. Such a tightly packed genre can make certain entries feel tiresome and repetitive – every plot point meant to surprise feels like something we’ve seen many times before. Tom George‘s murder mystery comedy, See how they drive, is an ode to the traditional murder mystery – posh English accents, a cast of insufferable characters and a detective in a felt hat and wool coat. And of course the queen of mystery herself – Agatha Christie. Yes, the film has all the hallmarks of a classic mystery that both feels like a love letter to a Christie-esque tale and actually tries to be itself.
The story takes place in 1953’s London. A stage production of Christie’s play, the mousetrap, what stars Richard Attenborough and his wife, Sheila Sim, celebrating its 100th show. The cast is joined at the party by the trio of men tasked with adapting the play into a film: John Woolf (Reece Scissorsmith), the famous producer behind The African QueenMervyn Cocker-Norris (David Oyelowo, in a gloriously flamboyant way), the pompous playwright came to adapt the script, and Leo Köpernick (Adrien Brody), the arrogant American drunk slated to direct the film. Just when it is established that Köpernick is disliked by almost every other character, he is violently murdered in one of the theatre’s dressing rooms. Enter our detective duo: The tired, also drunken tanned Inspector Stoddard (Sam Rockwell) and the earnest but somewhat dim-witted rookie Constable Stalker (Saoirse Ronan).
Stoddard and Stalker go on a journey of violent threats, script rewrites, illegitimate children and for some reason a lot of mentions of a dentist to finally find the truth. It seems everyone had a bone to pick with Köpernick, which only made the net of potential suspects get wider and wider. As previously mentioned, we are drowning in a sea of endless mysterious stories. At this rate, it takes a pretty remarkable script to keep things fresh and actually surprise an audience with a whodunit. It is particularly difficult when you call back to earlier traditions within the genre, while still playing to the expectations of a modern audience.
See how they driveunfortunately does not meet this standard. It’s charming, it can be funny at times, and it has a phenomenal cast that all seem to be having a great time with it (except maybe Rockwell, more on that later), but it lacks an exciting, shocking, or even decent whodunit. I’m not sure if it’s trying to make a meta-commentary on the state of the mystery genre and one of its adjacent contemporaries, true crime, and I can’t go into detail without spoiling, but it just falls flat. The actual whodunit lacks any bite or “I should have known!” You’re really just left with more of a thought of “Oh… is that it?” It’s never a good sign when you expect another twist because the first one is so satisfying, and that’s what I kept thinking during the big reveal – “Please tell me there is more in this.” Without any spoilers, it’s easy to shock the audience by paying little attention to certain characters who end up playing a bigger role, but it feels like a cheap cop-out to fool the audience rather than a clever and coherent mystery.
The script doesn’t build on the suspense throughout, instead relying on the red herring trope to keep the audience guessing. Of course, you always need one, but a red herring must always give way to an even more exciting truth. Yes, you can’t see the actual whodunit coming, and it ties into an interesting backstory, but it’s kept so hidden from the audience that it doesn’t provide any ultimate payoff. A satisfying, unsuspecting and intriguing mystery is no easy feat, but it’s the central thrust of the narrative, making it easy to let the rest of the film crumble if it doesn’t deliver on what the whole story has been building towards.
Perhaps the biggest disappointment is how little fleshed out the characters are. We barely know any of them, and yes, we need an air of mystery to not give the game away too quickly, but if you don’t let the audience know who they’re dealing with – they don’t care who is behind the murders. Ditto for our core police force. To have a memorable mystery, you need a remarkable detective, and both Stoddard and Stalker lack layers or depth—they feel as flat as the faceless characters they investigate.
From Ruth Wilson to Harris Dickinsonamong the Oscar-winning and nominated headliners, it cannot be denied See how they drive boasts an impressive cast and this type of film sees a shift in Ronan’s usual choice of roles. Of course she has done comedy with Lady Bird, but this is the first time she’s fully leaned into a less serious role, and unsurprisingly, she kills it. Even more impressive when the script gives her little to work with. The jokes she’s given can sometimes feel like they came out of a Christmas cracker – “Which part of France are you from, sir?” she asks a hotel manager, “Belgium” he answers curtly. They get a laugh, but in a more harmless dad-humor kind of way. Either way, Ronan is committed, and it’s just another reminder that there’s literally nothing the actress can’t do.
The great tragedy of the film is Rockwell. Watching him in this role is like a caged animal desperately trying to escape. Rockwell has proven over the past two decades that he is a tour de force of a character actor, and his range knows no bounds. Here he has no scenery to chew on. He is a tired, drunk and boring cop who has seen it all before. Sure, it makes for a fun juxtaposition against Ronan’s sunny and ambitious Stalker, but it takes away from everything we come to Rockwell movies for. Also, the seasoned disgruntled expert versus the doe-eyed rookie is one of the most overused character tropes in the mystery genre. Even though you have two of the most talented actors working today, the characters just don’t come to life like good detectives should.
The standout is undoubtedly Oyelowo, and the British actor is noticeably enjoying being on a lighter diet. He plays the famous author with an air of glamorous arrogance and with a stylish, tasteful flamboyance that calls back to the less masculine icons of classic Hollywood such as Laurence Oliver. For a film about the theatre, Oyelowo happily brings the theatrics, every line rolling off his tongue as smoothly as his hair and moustache. It makes one wonder what might have been if he had played Poirot Kenneth Branagh‘s latest Christie adaptations.
Overall, See how they drive is a derivative amalgamation of too much homage and too little originality. Don’t get me wrong, it’s fun and the perfect movie to take your Nana to, but it’s ultimately pretty forgettable. It kills two hours and is worth checking out just for the cast itself – especially Ronan, as it’s always fun to see such a talented actor try something new. But for the devoted mystery fans who are constantly on the hunt for something fresh and new, keep the search party going.
Evaluation: C
See how they drive hits theaters on September 16.