'See How They Run' Review: Once Upon a Time in the West End
See How They Run
PG-13: Some violence/bloody images and a sexual reference
Runtime: 1 Hr and 32 Minutes
Production Companies: DJ Films
Distributor: Searchlight Pictures
Director: Tom George
Writer: Mark Chappell
Cast: Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, David Oyelowo
Release Date: September 16, 2022
In Theaters Only
In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after the film’s Hollywood director is killed. When world-weary Inspector Stoppard (Sam Rockwell) and eager rookie Constable Stalker (Saoirse Ronan) takes on the case, the two find themselves thrown into a puzzling whodunit within the glamorously sordid theater underground, investigating the mysterious homicide at their peril.
The murder-mystery genre has made a Rocky-style comeback. After Kenneth Branagh’s modern adaptation of Agatha Christie’s classic novel Murder on the Orient Express made bank in 2017, many filmmakers came out of the woodwork with whodunnit features, primarily within the realm of comedy. Flicks such as Knives Out and Bodies Bodies Bodies passionately homaged the genre Christie popularized. They were so damn great that they lept and bounded over Branagh’s features.
Now there’s a new kid on the block with Tom George’s directorial debut feature, See How They Run, a meta whodunit comedy that utilizes Agatha Christie’s The Mousetrap as a basis for an original story.
See How They Run attempts to differentiate itself from other recent comedic mysteries through its revisionist meta on the primary approach. Screenwriter Mark Chappell delved into a British history textbook to construct a vibrant version of the ‘50s. Like the style of Once Upon a Time in Hollywood, Chappell meshes historical figures with original fictional characters who coexist so fluently that it might make a young Gen-Z’er think the fictitious folks were real. Chappell’s screenplay walks the fine line between tributing the grandmother of all murder mystery plays and deconstructing the tropes of the whodunit motif with grace.
Murder victim/director Leo Köpernick’s (Adrien Brody) disembodied voice-over takes witty jabs at the genre right before his murder kicks off the plot. Given the subject matter, Chappell often pokes fun at Christie's play and the genre in a welcoming, wholesome manner. In a time where many self-aware narratives are cynical, bordering nihilistic, it's refreshing to have something with a light-hearted nature.
Though the mystery is within the confines of Christie’s play, the story focuses on opposites assigned to the case: calm and deadpan alcoholic Inspector Stoppard (Sam Rockwell) and enthusiastic rookie Constable Stalker (Saoirse Ronan). A mystery is always as good as its detectives, and the two are an enjoyable riot. They share a good-natured “tortoise and the hare” dynamic that never goes over the top. Stalker’s giddiness and love for the arts opposed to Stoppard’s unenthused solemnity make for easy chemistry.
Rockwell is fine as the gravely Stoppard, shining best when depicting his alcoholism. I prefer this alcoholic Rockwell over the racist cop from Three Billboards (I mean, duh?). However, the real showstopper is Saoirse Ronan. Stalker’s upbeat nature allows Ronan to deliver fast-paced, zippy lines with a liveliness that garners laughs. While this role differs from most others in her filmography, Ronan displays a comedic edge that should be explored in future projects.
See How They Run’s direction and dry humor is reminiscent of Wes Anderson's flicks. If anything, it’s 67% Anderson, with all the missing components being the lack of symmetry in blocking. George and Chappell try to channel a grounded atmosphere, letting its quirky demeanor come in only when necessary. George’s familiar direction elevates the engagement factor, primarily with the use of split-screen during multiple sequences. To add authenticity to the period, it incorporates the post-WWII effect on Britain within and outside the entertainment industry with a thoughtful weight.
The comedy fails to live up to its best potential, being more chuckle-worthy than gut-busting. The humor is on the light side, and while its comedic factor could’ve given us more, its dry humor is delightful. Wow, that’s a first: Describing a murder mystery as “delightful.” That’s the power of cinema.
The emulation of Wes Anderson’s style is a turn-off. It can be distracting, especially when most of its ensemble gets too whimsical with their performances. The characters within the Mousetrap don’t get the spotlight as much as they should. The runtime is surprisingly short, and the mystery is coming from inside the house. Many of the castings of real-life figures are damn good, the best being Harris Dickinson as young Richard Attenborough, who gets the most screen time.
Boasting grand comedic performances by Saoirse Ronan and Sam Rockwell, See How They Run is a delightfully breezy, meta whodunnit comedy that gets to have its cake and eat it, too. Tom George's emulation of Wes Anderson and Paul King's quirky, dry humor with a charmingly light tone might be far too familiar for some, but it’s enough to solve the case. See How They Run is perfect for a Sunday brunch matinee.
