see how they run 2022 movie review

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Your enjoyment of “See How They Run” will depend on your appreciation for its two most prominent elements. The first is the genre of the classic British murder mystery and the names associated with those who created them and those who parodied and meta-commented on them. And the second is the genre of meta-commentary itself. There are air quotes and winks at the audience in almost every scene. I’m fine with both, so since the movie is exceptionally well cast and stylishly filmed, I thought it was a hoot. But those who are not well-versed in Agatha Christie and the darkly comic British Kitchen Sink-era responses to her mysteries may find it so arch that it will make their fillings ache. Let me put it this way: If you know what The Mousetrap is, and especially if you’ve seen it performed, you’ll get a kick out of “See How They Run.” If you don’t recognize the title “The Real Inspector Hound” or if you are allergic to air quotes, maybe not. Consider yourself warned.

The Mousetrap , a play by Agatha Christie, is the longest-running play in history, opening in 1952 in London’s West End and, except for a pause during the pandemic, running ever since with over 28,000 performances. “See How They Run”—the title also connected to literary mice through the nursery rhyme—takes place around the celebration of the 100 th performance of The Mousetrap , in 1953 London, when an American movie director named Leo Köpernick ( Adrien Brody ) has arrived as a producer is negotiating the film rights to the play.

Köpernick is a briefly anonymous off-stage narrator who tells us he has not seen The Mousetrap but he's sure it's a “second rate murder mystery.” If you’ve seen one, you’ve seen one seen them all, he says. They all begin with “an interminable prologue in which all the key players are introduced." You get a sense of the world they inhabit and then the most unlikable character gets bumped off. Cue the entrance of the "world-weary detective" who pokes his nose around, talks to witnesses, takes a couple of wrong turns, then gathers all the suspects together and points to the least likely. Köpernick is in London because he has been blacklisted in Hollywood, and he tells us he has been hired to make the movie marginally less boring than the play.

In the traditional British mystery, the first murder victim either has no enemies or is loathed by everyone. Köpernick is in that second category. He's murdered backstage, and, on cue, the world-weary, hard-drinking detective arrives, a WWII veteran with a limp. He is Inspector Stoppard ( Sam Rockwell ) and like other names in the film, this one is a meta-reference. The Real Inspector Hound is an early work by Oscar-winner Tom Stoppard , and, like this film, it's about a theatrical murder mystery and the people connected to it. Just to make sure we get it, at one point a character says, “He was a real hound, Inspector!” Other characters are named for Richard Attenborough , who was in the original cast of Mousetrap and played the killer in one of the other films referred to, and to " Downton Abbey "'s Julian Fellowes , who elegantly updated the classic British great house murder mystery in “ Gosford Park .”

In keeping with the mid-century setting of the film, the screenplay is best described as “too clever by half.” This reaches its zenith when everyone somehow ends up at the home of Agatha Christie herself (for casual and non-fans, note that her real-life second husband, Max Mallowan, is played by Lucian Msamati ), though the names and Dame Agatha’s interest in poisons are the only real-life connections.

It all speeds by briskly when it isn’t distracting us with lazy flashbacks and knee-slappers like calling a possible murder “staged” because it is literally on a stage. And the performance and production values are fun for British mystery fans, with Saoirse Ronan , as always, pure joy as the eager young Constable Stalker (those names!) and the cast clearly enjoying having fun with the conventions and archetypes of the genre. There are references to the serial killer film “10 Rillington Place” and, less successfully, to a gruesome real-life murder that may have inspired The Mousetrap . If all of this is sounding like too much work, you should probably stick with the original or with better meta-mysteries like “ Knives Out ” and its upcoming sequel “Glass Onion” and the wildly funny theatrical production The Play that Goes Wrong .

Still, all the stylishness and enthusiasm cannot disguise the fact that the mystery itself never comes close to those concocted by Dame Agatha. Then again, no one else has topped her either.

Now playing in theaters.

Nell Minow is the Contributing Editor at RogerEbert.com.

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See How They Run (2022)

Rated PG-13 for some violence/bloody images and a sexual reference.

Sam Rockwell as Inspector Stoppard

Saoirse Ronan as Constable Stalker

Adrien Brody as Leo Kopernick

Ruth Wilson as Petula Spencer

Reece Shearsmith as John Woolf

Harris Dickinson as Richard Attenborough

Charlie Cooper as Dennis Corrigan

Pippa Bennett-Warner as Ann Saville

Pearl Chanda as Sheila Sim

Sian Clifford as Edana Romney

Jacob Fortune-Lloyd as Gio

David Oyelowo as Mervyn Cocker-Norris

Shirley Henderson as Agatha Christie

Paul Chahidi as Fellowes

Lucian Msamati as Max Mallowman

Angus Wright as Sgt. Bakewell

Tim Key as Commissioner Harrold Scott

Gregory Cox as Major Metcalf

Maggie McCarthy as Mrs. Boyle

Keiran Hodgson as Harley the Motorcycle Messenger

Ania Marson as Mother

Philip Desmeules as Pierre

Laura Morgan as Joyce

Tolu Ogunmefun as Mr. Lyon

Mark Chappell

Cinematographer

Jamie Ramsay
Peter Lambert
Gary Dollner
Daniel Pemberton

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See How They Run Reviews

[It] offers a well-mounted, sparkling murder-mystery supported by a glorious cast and peppered with fun ripostes.

Full Review | Oct 4, 2023

A light-hearted watch packed with charm and a stacked talented cast, we can forgive most of its mistakes because, yes, it is just that delightful.

Full Review | Original Score: 3/5 | Aug 18, 2023

Whatever may not work about the film is redressed by Saoirse Ronan's impeccable work here, and whatever does is only amplified by her presence. Without her, it's a fun bit of Sunday afternoon fluff. With her, it's a total must-see.

Full Review | Original Score: 4/5 | Aug 4, 2023

Saoirse Ronan sparks a very bright light onto the film, showcasing her polished and well-timed comedic chops; but as soon as she’s not on-screen, it falls flat quickly.

Full Review | Original Score: C- | Jul 29, 2023

Ultimately, See How They Run is a solid ride. To those who find the recent influx of meta genre flicks to be exhausting, See How They Run will not come across as charming. It will feel tedious in its insistence that the film is clever beyond imagination.

Full Review | Jul 24, 2023

While it’s no masterpiece, it’s a solid, fun, flashy, meta whodunit with a deliriously enjoyable soundtrack from Daniel Pemberton.

Full Review | Jul 23, 2023

So what we have here is a fizzy, enjoyable, modestly ambitious outing with some finely detailed period set design and visual style quirks that help keep us engaged.

Full Review | Jul 3, 2023

A pure Whodunit... that reintroduces us into the solvent narrative structure just like Knives Out (2019) did recently. [Full review in Spanish]

Full Review | Original Score: 7/10 | Dec 16, 2022

The ending payoff is as predictable as they come, and the movie’s lack of emotional weight ultimately works against it. In a year with several whodunnits, this one may, unfortunately, be the weakest.

Full Review | Original Score: 5/10 | Nov 30, 2022

Thanks to a cleverly constructed screenplay and a dynamic double act in Rockwell and Ronan... See How They Run is sure to both mystify and delight all whodunnit devotees.

Full Review | Original Score: 3.5/5 | Nov 30, 2022

Saoirse Ronan should take a bow. She steals this film and makes me smile.

Full Review | Nov 16, 2022

The type of whodunit that used to be described as a good yarn, back when you could say "simply a good time at the movies" and it wouldn’t sound cheap or unconvincing.

Full Review | Original Score: B | Nov 14, 2022

A whodunit with plenty of suspense where the focus is on the funny interactions of the detectives.

Full Review | Original Score: 4/5 | Nov 12, 2022

See How They Run never portrays itself as a great film in a similar genre, it tells a fan fiction spoof story with conviction and never deviates from its common objective of providing wholesome entertainment.

Full Review | Original Score: 3.5/5 | Nov 11, 2022

If you have a soft spot for period whodunits, then you may have some fun with this stylish, well-cast piece that mostly comes off as an appetizer for The Glass Onion.

Full Review | Nov 10, 2022

Too tepid for too long, even if it tries to make some decisions late to spice it up enough to matter.

Beautiful costumes and setting, with a story told with so much charm.

Full Review | Nov 9, 2022

An absolute delight!

Full Review | Original Score: 3/4 | Nov 6, 2022

With a focus on two unlikely young coppers instead of the pompous potential victims, this riff on Agatha Christie measures up to farcical fun

Full Review | Original Score: 3/5 | Oct 28, 2022

I think it’ll be more successful for you if you’ve only seen three or four other movies.

Full Review | Oct 27, 2022

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‘See How They Run’ Review: Saoirse Ronan and Sam Rockwell Team Up for a Snappy Retro-Kitsch Murder Comedy

A performance of Agatha Christie's long-running stage smash 'The Mousetrap' yields a backstage murder mystery of its own in this most enjoyable all-star comedy.

By Amy Nicholson

Amy Nicholson

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Agatha Christie, master of deduction, was wrong only once. When her play “The Mousetrap” opened in London in 1952, she reckoned it would last eight months. 70 years later, the unkillable production lives on — even Covid only clipped it for 14 months — and yet, the actual plot of the longest-running show in theater history makes most people draw a blank. This is due to two clauses in Christie’s contract: First, every night, the actors order the audience to keep the story secret, and second, every movie producer who wants to turn the play into a film is told they must wait until the end of its run, which at this point may be never.

Popular on Variety

Gauntlet thrown. “See How They Run” is a retro homage that surprises audiences with giggles and suspense. Chappell’s script pits old-fashioned Christie-style chills against the hip gunplay that Köpernick claims will excite Eisenhower-era squares. (Köpernick’s ideas are destined to become the action flick status quo.) In flashbacks, he pitches his take on updating the whodunnit to the unswayable Melvyn (David Oyelowo), a traditionalist who clings so stubbornly to the past that he still pronounces the word “penchant” as though he believes it’s 1066 and England’s official language is French.

While the real-life London producers of “The Mousetrap” credit its perennial success to the fact that it’s performed without a drop of irony, George and Chappell give their cast’s deadpan line deliveries a light layer of modern gloss. We’re meant to snort at the subtext when Melvyn introduces his live-in Italian lover (Jacob Fortune-Lloyd) as his, er, nephew, or chuckle when a police commissioner (Tim Key) declares himself a feminist modernizer, and then asks Ronan to fetch him a tea.

Sometimes, the joke is on “The Mousetrap” itself, which is presented as stiff and stagey. Whenever any of the film’s characters attempt to sit through it, they quickly make excuses to leave. A better Wile E. Coyote-style gag takes place in the wings, when a person in peril attempts to fend off the killer by flinging ceramic vases, which turn out to be plaster props that crumble harmlessly. Mostly, though, George and Chappell enjoy watching these artistic hotheads bicker about their differing story-telling philosophies, debates that allow the filmmakers to pluck sample gimmicks — time stamps, close-ups of pistols, country house clichés — and re-insert them into their own movie as a meta-prank.

As the plot quickens, editors Gary Dollner and Peter Lambert divide the screen into two pieces, then three, then four. Their cutting is brisk and fanciful, and, during a standout dream sequence, marvelously illogical. Meanwhile, composer Daniel Pemberton unleashes a jazzy upright bass to climb up and down the scales.

Still, the film is firmly in the pocket of Rockwell and Ronan as the odd pair working to solve the carnage. Rockwell’s shambling detective is all kinetic energy: He drinks, he limps, he slams his coat in car doors, and at one point, skids to his knees. Ronan is so aquiver with nervous excitement that she continually chokes out nonsensical lines that zoom almost under the radar. (She explains that she quit her secretary career for the police academy because she “hates the sight of blood.”) George gets Ronan in such a tizzy that we are poised to see her panic just from the snap of a pencil tip.

Reviewed in Los Angeles, Aug. 31, 2022. Running time: 98 MIN.

Production: A Searchlight Pictures presentation. Producers: Gina Carter, Damian Jones. Executive producers: Katie Goodson, Richard Ruiz.
Crew: Director: Tom George. Screenplay: Mark Chappell. Camera: Jamie Ramsay. Editors: Gary Dollner, Peter Lambert. Music: Daniel Pemberton.
With: Saoirse Ronan, Sam Rockwell, Adrien Brody, David Oyelowo, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Shirley Henderson, Sian Clifford.

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In a grand theater, Inspector Stoppard (Sam Rockwell, in a fedora) and Constable Stalker (Saoirse Ronan, in uniform) examine a clue

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See How They Run turns the world’s most famous whodunit into a big meta gag

Sam Rockwell and Saoirse Ronan stick their heads into the mousetrap and find a star-packed mystery

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This review was originally published to coincide with the film’s theatrical release. It has been updated for the digital platform release.

The Mousetrap , Agatha Christie’s famous stage murder mystery, has never been filmed. When Christie signed the film rights over to producer John Woolf, she stipulated that the film could only be made six months after the play closed on the West End. It never has. Still going 70 years after it opened in 1952, The Mousetrap is the longest-running play in history. So the film never came to be.

That piece of trivia is a plot point in See How They Run , a game little meta-whodunit steeped in London theater lore. It’s also the origin story of the movie itself, if you believe the tale producer Damian Jones spins in the production notes. Jones was considering filming the play, he says, but when he discovered Christie had thwarted him, he saw a way to not just circumvent this obstacle, but to turn it to his advantage: He resolved to create a fictional whodunit about the whodunit, and turn the film rights themselves into one of the cogs in its murderous machine.

See How They Run , written by Mark Chappell and directed by Tom George, turns Christie inside out and upside down, and has a good laugh at the undignified spectacle that process creates. It satirizes the creaking mechanisms of the genre even as it leans on them. It’s an in-joke of a movie, and a pretty good one, enlivened by a terrific cast. But George and Chappell are a little too in love with their own postmodern cleverness, and not concerned enough with constructing as knotty and satisfying a mystery as, say, Rian Johnson’s whetstone-sharpened Knives Out .

A cast of various characters in 1950s formal wear look surprised in glitzy art deco surroundings. One of them is covered in cake.

The setup is wonderfully wicked, though. On the occasion of The Mousetrap ’s 100th performance — in the real world, it has now run more than 27,500 times — the cast, led by Richard “Dickie” Attenborough (Harris Dickinson), assembles for a party. Film producer Woolf (Reece Shearsmith) is there, along with Leo Kopernick (Adrien Brody), an odious, blacklisted Hollywood director Woolf has hired to make the film of the play. Supercilious playwright Mervyn Cocker-Norris (David Oyelowo) is tasked with the screenplay adaptation. Theater impresario Petula Spencer (Ruth Wilson) simmers on the sidelines. Everyone’s a bit testy, for various reasons, and Kopernick and Attenborough get into a fistfight. At the end of the night, Kopernick turns up dead on stage. Can the show go on?

Given the production’s history, there’s a mischievous playfulness to this premise — and that’s before the police turn up. World-weary functioning alcoholic Inspector Stoppard (Sam Rockwell) has been paired with awkward but zealous new recruit Constable Stalker (Saoirse Ronan) to solve the case. They don’t get any help, because the rest of the murder squad is focusing on the real-world, much darker, Rillington Place murders . Compared to those, this theaterland killing is just a bit of fun.

The wit and double-sided delicacy of this detail — underlining the innocuous silliness of the proceedings, while rooting them in a real time and place — is typical of what See How They Run offers, and it’s one of the movie’s principal pleasures. It’s more fun guessing which figures are caricatures of real people and which are cartoonish inventions than it is trying to figure out who the murderer is.

John Woolf (Reece Shearsmith), Petula Spencer (Rita Wilson), and Ann Saville (Pippa Bennett-Warner) look out from behind Woolf’s grand, shiny desk

A couple of late-film cameos play into this warped reality for a hilarious, audacious payoff. The production design walks a similar line, creating a heightened, glitzy 1950s London with a surprisingly authentic texture. (The producers’ opportunism strikes again: The film was shot during the COVID-19 pandemic, which gave the production access to some of London’s grandest theaters and hotels to shoot in, as they were shuttered for lockdown.)

See How They Run works better as an outright comedy than as a murder mystery, although it doesn’t nail either form. Chappell’s script is loaded with tasty barbs, painful puns, and gently mocking characterization. George, a seasoned director of British TV comedy, knows how to set gags up and pay them off. But there’s a halting rhythm to it, and scenes sometimes coast too long in an airless haze in between jokes. Comedy, with its dependence on chemistry among the cast, must have been one of the hardest genres to shoot under pandemic conditions.

The cast ends up with the credit. Ronan, as the charmingly sincere Stalker, executes her comic bits with flawless timing and gets the biggest laughs without ever going broad or breaking character. Stalker’s credulous naiveté starts out as a joke — she notes down anything anyone says, and believes the case closed after every interview — but in Ronan’s hands becomes an endearing kind of heroism.

Inspector Stoppard (Sam Rockwell) and Constable Stalker (Saoirse Ronan) talk in a small blue police car outside the Savoy Hotel

Contrasting her brightness with Rockwell’s jaded, mumbling Stoppard is right out of the buddy-cop playbook, but Rockwell’s amusingly underplayed turn complements Ronan’s perfectly. Stoppard just lets the hijinks happen around him with a shrug, and is somehow funnier for being such a stoic straight man.

Dickinson’s take on Attenborough is a riot, skewering a certain kind of genteel, leading-man fatuousness. The secondary cast is a murderer’s row of British TV and theater pros: people like Sian Clifford ( Fleabag ), Lucian Msamati ( Game of Thrones ), Tim Key (the various Alan Partridge projects), and Shirley Henderson (Harry Potter), who can pull off loving yet savage characterizations in the space of a couple of lines, and make it look effortless.

See How They Run is a lark, a self-referential sendup of theatrical and cinematic artifice. The trouble is, like most larks of its kind, it uses self-mockery as a get-out clause. There’s a voice-over from Adrien Brody as Kopernick, the deceased director, who disdainfully picks apart the cliches and rudimentary constructions of the whodunit genre from beyond the grave, moments before they appear on screen. His own basic Hollywood instincts are similarly mocked one moment and deployed the next. Having a character point out your film’s flaws doesn’t really excuse them. But it doesn’t invalidate the film’s pleasures, either. See How They Run is neither as clever as the creators think it is, nor as stupid as it sometimes pretends to be. It doesn’t have much to say about whodunits other than “Wouldn’t it be funny if they existed inside their own world?” And yes, it turns out, it would.

See How They Run is now available for digital rental or purchase on Amazon , Vudu , and other digital platforms.

Cast & crew
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See How They Run

Adrien Brody, Sam Rockwell, David Oyelowo, Reece Shearsmith, Saoirse Ronan, Pippa Bennett-Warner, Ruth Wilson, Sian Clifford, Pearl Chanda, Harris Dickinson, Jacob Fortune-Lloyd, and Charlie Cooper in See How They Run (2022)

In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered. In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered. In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered.

Mark Chappell
Kieran Hodgson
Pearl Chanda
Gregory Cox
272 User reviews
195 Critic reviews
60 Metascore
4 nominations total

Harley the Motorcycle Messenger

Major Metcalf

Richard Attenborough

Dennis Corrigan

Petula Spencer

Double Bass

Edana Romney

Leo Kopernick

Mervyn Cocker-Norris

Constable Stalker

Inspector Stoppard

Commissioner Harrold Scott
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Production, box office & more at IMDbPro

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Did you know

Trivia Richard "Dickie" Attenborough greets the detectives as "Darling." This was a real-life quirk of Attenborough's which he admitted he would often use if he forgot someone's name.
Goofs At the end, Inspector Stoppard is awarded the King's Medal for police etc. This movie is set in 1953; while Queen Elizabeth ascended to the throne in February 1952, the name of the King's Medals were not changed to Queen's Medals until May 1954, so it is accurate that the award Stoppard received would be called "King's."

Max Mallowan : Better make that eight for dinner, Fellowes, and let Agatha know.

Fellowes : Yes, sir.

Max Mallowan : And get a shovel to clear the path.

Max Mallowan : And do we have enough coal?

Fellowes : Yes, sir. Three bags full, sir.

Connections Featured in EE BAFTA Film Awards (2023)
Soundtracks St. Thomas Written by Sonny Rollins Arranged and Produced by Ed Farmer

Technical specs

Runtime 1 hour 38 minutes
Dolby Digital

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‘See How They Run’ review: Saoirse Ronan charms in this mousetrap of a murder-mystery

Movie review.

“See How They Run” is the Saoirse Ronan show. Start to finish. Top to bottom, Now and forever.

The 28-year-old actor dominates the picture more completely than any performer in any movie in recent memory. In the role of a London constable working to unravel a knotty murder mystery, she’s winsome, whimsical, unfailingly chipper and funny. Above all: funny.

With a frankly adorable Scottish accent and big cornflower blue eyes, she creates a character who is a total charmer. Eager, observant, star-struck (the murder victims are from the worlds of the stage and the movies), whip-smart and ever upbeat, her Constable Stalker is tasked to work with a fedora-wearing veteran Scotland Yard inspector named Stoppard (Sam Rockwell) who views her with weary bemusement. It’s 1953, and a woman in a major investigatory role in a high-profile case is just not the sort of thing that was done in those days. But his boss the commissioner insists (in the script’s nod to as-yet unfledged feminism), so Stoppard is obliged to swallow his grumbles and go along.

The character’s name alludes to playwright Tom Stoppard, whose 1968 play “The Real Inspector Hound” is a parody of “The Mousetrap.”

The setting is London’s West End where the 100 th performance of Agatha Christie’s hit stage whodunit “The Mousetrap” is being feted. (The play is still being performed in the West End to this day, making it the longest-running play in theatrical history.)

On scene among the performers and the backstage glitterati is Hollywood director Leo Köpernick played by Adrien Brody. He’s in town to help secure the rights to the play so he can turn it into a movie. He’s crass and cynical beyond all measure. In other words, thoroughly American in the disdainful appraisal of the Brits.

He knows what he is and glories in his crudity. He also provides a running commentary on the goings-on in the early going, from beyond the grave as it were. In murder mysteries of the Christie variety, “The most unlikable character gets bumped off,” he observes, and sure enough off he is bumped before too long. Enter Stalker and Stoppard, and the game’s afoot.

Because Köpernick was such an offensive cad, everyone hated his guts, and so everyone is a suspect: the playwright (David Oyelowo), the play’s haughty impresario (Ruth Wilson), the lead actor (Harris Dickinson) who answers to the name of Dickie Attenborough and was a real-life theatrical figure who played the police detective sergeant in “The Mousetrap” in its opening run. Later in life, he became a prominent figure in film, directing “Gandhi” and “A Chorus Line” among others and acting in ever so many movies, including “Jurassic Park.”

As they’re all suspicious characters, Constable Stalker thinks each in turn has done it. Busily taking down their every word and movement in an ever-present notebook, she chirps to Stoppard that obviously this one did it, then that one. He sags slightly each time, giving her a baleful look until she abashedly admits to jumping to conclusions. It’s a running gag and consistently laugh-out-loud funny.

She’s initially respectful of her veteran partner, but then her admiration cools when it becomes obvious he’s an alcoholic of the quiet, falling-down-drunk variety. Rockwell’s performance is a subtle one and he’s the perfect foil for the sprightly upbeat Ronan. His accent, however, is uncertain, not quite British, not quite American.

In his feature directorial debut, Tom George, a veteran of BBC television comedies working from a screenplay by Mark Chappell, has a light touch. The pace is quick. The interweaving of actual “Mousetrap” period history and fictional elements is deft. And the settings, many of them filmed in actual West End theaters that were closed during the pandemic, are elegant.

A most delightful comedy, thanks above all to Ronan.

With Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, David Oyelowo, Charlie Cooper, Pippa Bennett-Warner. Directed by Tom George. 98 minutes. PG-13 for some violence/bloody images and a sexual reference. Opens Sept. 16 at multiple theaters.

See How They Run review – Agatha Christie spoof scampers through 50s theatreland

This likable whodunnit comedy sees Sam Rockwell and Saoirse Ronan on the trail of high-camp crime in the original production of The Mousetrap

B eing threatened, as we are, with an endless string of ropey yet lucrative Agatha Christie movies with Kenneth Branagh phoning in anuzzer rurbeesh turrrn as the Belgian sleuth, this comedy is a relief. It’s a likably silly and relentlessly camp whodunnit spoof from screenwriter Mark Chappell, centred on Agatha Christie’s long-running play The Mousetrap , and an imagined brutal homicide that took place backstage in its London West End theatre in 1953 – when the production was a mere 100 performances old.

A brash Hollywood director played by Adrien Brody, who is planning to bring The Mousetrap to the screen, is found horribly murdered in the costume department. Sam Rockwell and Saiorse Ronan have a droll sort of platonic police chemistry as the investigating officers: Inspector Stoppard (a nod to Tom Stoppard’s own spoof meta-mystery The Real Inspector Hound) and his overeager assistant with a silly peaked cap, Constable Stalker, possibly a homage to Tarkovsky or to the former deputy chief constable of Greater Manchester John Stalker. Tim Key (normally Alan Partridge’s sidekick on the parody show Mid- Morning Matters) is very funny as the glowering Met police commissioner.

The forces of law and order face the usual pasteboard galère of poutingly resentful suspects among the Mousetrap cast – including young Dickie Attenborough, who really was the Inspector in the original run, and here played very entertainingly by Harris Dickinson. David Oyelowo is Mervyn Cocker-Norris, the highly strung writer who had been tasked with adapting The Mousetrap for the cinema, Reece Shearsmith (who probably deserved a few more funny lines) is the producer John Woolf – another real-life character – and Ruth Wilson is the manager Petula Spencer.

There’s a very entertaining daftness and theatre nerdery to See How They Run (the title sounds uncomfortably like Run For Your Wife) as director Tom George takes the same approach to The Mousetrap that Ken Russell took to The Boyfriend: playing up the artificiality of it all. The comedy is shallow in the right way, and Rockwell’s bleary world-weariness contrasts nicely with Ronan’s saucer-eyed idealism. I think George may also be aiming for a Wes Anderson -ish approach – although not so much that you’d notice, and this may just be the presence of Ronan.

This is a disposable film with no pretensions, entirely without the deadly seriousness with which Agatha Christie is now adapted. I’d like to see Rockwell and Ronan reunited for a complete new detective franchise, our two cop heroes perhaps encountering Dorothy L Sayers and Ngaio Marsh.

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See how they run, common sense media reviewers.

Comic mystery keeps you guessing; drinking, violence, peril.

A Lot or a Little?

What you will—and won't—find in this movie.

Don't jump to conclusions. Typical for whodunits,

Detective trainee demonstrates curiosity, integrit

The film revolves around an actual 1950s Agatha Ch

Shooting, strangling, dead bodies. Some blood, but

Kissing. Talk of infidelity.

A couple of instances of "ass," "bastard," "goddam

Heavy drinking. A couple of characters are drunk,

Positive Messages

Don't jump to conclusions. Typical for whodunits, carries the message that you can't get away with murder.

Positive Role Models

Detective trainee demonstrates curiosity, integrity, and a strong work ethic. Constable Stalker demonstrates perseverance and i ntegrity . While not the main character, the inimitable author Agatha Christie is present, and the screenplay is a love letter to her impressiveness.

Diverse Representations

The film revolves around an actual 1950s Agatha Christie stage production; contemporary actors play the real people performing it at the time. They are all White, but the cast also features a Black writer (who's also possibly gay) and his roommate/partner. An interracial relationship is a workplace romance with an uneven power dynamic. Main character is female; the challenges of women entering male-dominated fields is addressed. The most powerful character is Agatha Christie, an older woman who's one of the most successful and celebrated mystery authors of all time.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Shooting, strangling, dead bodies. Some blood, but it's not gory. Physical fighting with pushing and shoving. Close-up of victim's face in distress as they're being killed.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

A couple of instances of "ass," "bastard," "goddammit," and "horses--t."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Heavy drinking. A couple of characters are drunk, but it's not shown in a favorable light.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that See How They Run , which stars Saoirse Ronan , deconstructs the whodunit by creating a fictional murder mystery while filmmakers work to adapt an actual Agatha Christie play into a movie. It's a brilliant way of introducing the elements of writing a murder mystery. Expect violent moments: Strangling, shooting, and struggles are intense, and there's some blood. There's kissing and drinking (sometimes to excess); language includes "goddamn," "horses--t," and references to infidelity. It's set in the 1950s, and the cast of the play-within-the-film is all White, but filmmakers make nods to diversity in the form of a Black screenwriter, a mother taking on a career in a traditionally male field, and the suggestion of a gay relationship. Classic cinema fans will eat this one up like buttery popcorn, as the real cast of the 1953 West End production, including the likes of legendary actor Richard Attenborough , are made into characters/suspects. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parents say (3)
Kids say (7)

Based on 3 parent reviews

Well made comedy romp.

A great who dunnit., what's the story.

In SEE HOW THEY RUN, a 1953 West End production of Agatha Christie 's The Mousetrap is hosting a Hollywood entourage working to adapt the play into a film. When a murder occurs backstage, a detective ( Sam Rockwell ) and his trainee ( Saoirse Ronan ) work to solve it quickly, before the killer can strike again.

Is It Any Good?

This is one of the cleverest murder mysteries to hit the big screen. That's because, as it tells you how a whodunit works while you're simultaneously trying to solve a whodunit, it makes your brain soar into super-active thinking. And yet, you'll still never guess who did it. The project's genesis stems from the realization of why one of Christie's most successful works -- the play The Mousetrap -- was never adapted into a film. Notable producer John Woolf ( The African Queen , Oliver! ) had secured the rights, but there was one limiting clause: "production can begin six months after the play closes." And it so happens that The Mousetrap has played in the West End continuously since 1952, so production has never been viable. Jumping off from that point, the film starts in 1953, shortly after the contract was signed, when those involved assumed it would eventually close. Woolf (Reece Shearsmith), his screenwriter, and his director are in London naively getting their pre-production underway, only to have the theater production interrupted by its own murder mystery.

Because of this setup, viewers will realize that the characters are intentionally "types," like "the world-weary detective" and "the female rookie." But they're made three-dimensional through fantastic writing, excellent performances, and top-notch direction and editing. Having real life icons Attenborough and Christie as characters adds to the fun, as well as to the mystery. Could a real-life famous actor be the killer? In many ways it feels like director Tom George has created the most exciting fan fiction of all time, a smart comedy, and a master class in creative writing all in one.

Talk to Your Kids About ...

Families can talk about the elements of a murder mystery. How does See How They Run compare to other whodunits you've seen?

Would you classify this as historical fiction or fan fiction? Why?

How does Constable Stalker demonstrate perseverance and i ntegrity ? Why are those important character traits?

"Don't jump to conclusions" is a recurring message -- both for Constable Stalker and for the audience trying to solve the mystery. Why is this good advice in real life?

Movie Details

In theaters : September 16, 2022
On DVD or streaming : November 1, 2022
Cast : Saoirse Ronan , Sam Rockwell , Adrien Brody
Director : Tom George
Inclusion Information : Female actors
Studios : Searchlight Pictures , Disney
Genre : Comedy
Topics : Book Characters
Character Strengths : Curiosity , Perseverance
Run time : 98 minutes
MPAA rating : PG-13
MPAA explanation : some violence/bloody images and a sexual reference
Last updated : July 11, 2023

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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clock This article was published more than 1 year ago

‘See How They Run’: An Agatha Christie-adjacent whodunit, with laughs

The murder mystery-comedy is set in the 1950s, against the backdrop of the long-running play ‘the mousetrap’.

While fans of the murder mystery genre count the weeks until the release of “Glass Onion: A Knives Out Mystery,” the eagerly anticipated sequel to 2019’s twisty, sharply funny “ Knives Out ,” they can take the edge off their appetite with “See How They Run.” Starring Sam Rockwell and Saoirse Ronan as a pair of odd-couple Scotland Yard officers investigating a theater-world murder in 1950s London, this larky meta-whodunit both subverts and pays homage to “The Mousetrap,” Agatha Christie’s famously long-running play. After opening in London’s West End in 1952, “Mousetrap” has been running continuously — except for a pandemic-induced break — for more than 28,000 performances.

The popular show has, almost as infamously, never been made into a movie. Hold that thought. It figures somewhat prominently here, and for reasons other than the fact that you can’t stream it on Amazon before watching “See How They Run.” Though after seeing the new movie, you may want to.

As “See How They Run” gets underway, the “Mousetrap” cast and crew — which, in a nod to verisimilitude, includes characters based on “Mousetrap” stars Richard Attenborough (Harris Dickinson) and his wife, Sheila Sim (Pearl Chanda) — are celebrating the show’s 100th performance. An obnoxious but entirely fictional Hollywood director named Leo Köpernick (Adrien Brody) is in town to discuss a film adaptation with the British movie producer John Woolf (Reece Shearsmith) and would-be screenwriter Mervyn Cocker-Norris (David Oyelowo), when Leo turns up dead. Woolf, like several other characters in “Run,” is based on a real person; Cocker-Norris, whom Oyelowo renders with an amusingly priggish persnickety-ness, is not.

“Life imitates art,” reads a headline in a newspaper. But in some ways, “See How They Run” is a case of art imitating life.

In reality, death isn’t why the play was never adapted for the screen; there’s a far more fascinating explanation, which I’ll leave for “See How They Run” director Tom George and writer Mark Chappell to reveal, in one of the film’s deliciously ironic twists.

Called onto the case are Rockwell’s jaded, slightly boozy Inspector Stoppard and Ronan’s aptly named Constable Stalker, a dogged if untested police rookie who writes down everything she observes in her notebook — including this advice from the more experienced Stoppard: “Do not jump to conclusions.” Stoppard’s name echoes the playwright Tom Stoppard, whose one-act play “The Real Inspector Hound,” like this film, parodies the cliches of a “Mousetrap”-style stage mystery.

To that end, “Run” includes several suspects, all of whom have legitimate motives to do Leo in, including creative differences and secrets they’d rather keep hidden. It helps that this victim was widely disliked. It also helps the multilayered nature of this very loosely fact-adjacent film that the backstory of “The Mousetrap” itself is loosely based on true events. That’s another thought to hold in the back of your mind while watching the film, which is, true to form, larded with flashbacks and the occasional on-screen title detailing the passage of time.

And yet “do not jump to conclusions” is pretty good advice for audiences, too, as the red herrings pile up in “See How They Run.” The colorful characters of Stoppard and Stalker loom large here, as detectives so often do — Hercule Poirot , Jane Marple — in such fare. But even larger is the shadow cast by Christie’s 1952 play, which provides a fun backdrop, if one rendered irreverently, for this diverting puzzle within a puzzle.

“It’s just like one of [Christie’s] confections!” observes one character with seeming delight, as the film heads toward its antic climax. Maybe not just like, but close enough.

PG-13. At area theaters. Contains some violence, bloody images and a sexual reference. 98 minutes.

See How They Run Review

09 Sep 2022

See How They Run

See How They Run is built on a simple but delicious premise: a whodunnit buried inside an actual whodunnit, in this case Agatha Christie’s The Mousetrap . It not only gives Tom George’s film many genres to satirise — it’s a backstage drama, crime potboiler, police procedural all wrapped up in a farce — but it allows for a knowing, self-referential quality that brings the conceits and conventions of the murder-mystery to the fore. It doesn’t completely work, but it’s fast, funny and frequently stylish, topped off with great work by Sam Rockwell and especially Saoirse Ronan .

Mark Chappell’s screenplay does a nifty job of affectionately embroidering the story’s madcap malarkey with real nuggets pulled from British film and theatre lore. Chief among them is the little-known fact that Christie (embodied briefly by Shirley Henderson ) inserted a clause into her Mousetrap contract that decreed no film version could be made until six months after the play had ended its theatrical run. The detail gives a plausible motive for a host of engaging characters to sabotage either the stage or film version via the murder of movie director Leo Köpernick ( Adrien Brody , who also narrates) backstage at the Ambassadors.

The real joy of the film is the rapport between the investigating plods, Sam Rockwell’s cynical Stoppard and Saoirse Ronan’s newbie WPC Stalker.

On the theatrical side we have impresario Petula ‘Choo’ Spencer ( Ruth Wilson ), actors Richard Attenborough (a terrific Harris Dickinson , who gets the young Dickie’s voice down pat) and Sheila Sim (Pearl Chanda). Among the movie suspects are mogul John Woolf ( Reece Shearsmith , playing the actual producer of The African Queen ), his wife Edana Romney (Sian Clifford) and celebrated (read: overrated) screenwriter Mervyn Cocker-Norris ( David Oyelowo ). The cast attack the mayhem with gusto but the whodunnit element ultimately loses its grip, the revelation of the killer less than satisfying.

There’s a knowing, meta quality to the screenplay — a bemoaning of flashbacks as a hoary device crash-cuts to a title-card “Three Months Earlier” — and sometimes it feels too winky-winky. As such, See How They Run works best when it’s leaning into old-school wordplay, visual whimsy and strong gags (“Which part of France are you from?” “Belgium”). Debutant feature director Tom George cut his teeth on lo-fi BBC Three mockumentary This Country — Charlie Cooper shows up as a dimwit usher — but elevates his ambition here. There are shades of Wes Anderson in the stylisation ( The Grand Budapest Hotel looms large) and hints of Edgar Wright in the emphatic cutting but George makes it his own, neatly evincing ’50s London’s different atmospheres and moving things along at a fair old lick.

But the real joy of the film is the rapport between the investigating plods, Sam Rockwell’s cynical Stoppard (there’s a running joke about coppers named after playwrights) and Saoirse Ronan’s newbie WPC Stalker. Rockwell brings grizzled, Walter Matthau-type charm to the inspector but it’s Ronan who shines brightest as an over-eager, by-the-notebook constable, star-struck by the suspects and taking everything at face value. They make such an enjoyable duo, in fact, that the further investigations of Stoppard and Stalker would be very much welcome.

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See How They Run review: a charming but slight whodunit

The opening narration of See How They Run , which comes courtesy of Adrien Brody’s ill-fated Leo Köpernick, doesn’t just tell you what kind of movie it is. Brody’s sardonic voice-over also makes it clear that See How They Run knows exactly what kind of a story it’s telling, and so do its characters. As Köpernick is killed by an unknown assailant in See How They Run ’s prologue, Brody’s voice even dryly remarks: “I should have seen this coming. It’s always the most unlikable character that gets killed first.”

In a less charming film, See How They Run ’s streak of self-aware comedy would wear thin quickly. However, the new film from director Tom George is able to, for the most part, strike the right balance between tongue-in-cheek humor, mystery, and genuine sweetness. The film is a lean, not-particularly-mean whodunit, one that lacks the acidic strain of humor present in some of cinema’s other great murder mysteries, including 2019’s Knives Out , but which still boasts the kind of playful spirit that is at the heart of so many of its notable genre predecessors.

See How They Run also features what all whodunits must: an ensemble of memorably cartoonish, over-the-top characters. In specific, the film places its attention on the disorganized crew of actors, writers, and producers that are at the center of a production of The Mousetrap , the hit Agatha Christie play . At the start of See How They Run , a group of Hollywood creatives are in the midst of trying to adapt The Mousetrap and that’s, well, where the fun begins.

See How They Run knows that no whodunit is complete without a memorable detective. Consequently, the film provides not just one, but two lead investigators in Inspector Stoppard (Sam Rockwell), an alcoholic but intelligent police detective, and Constable Stalker (Saoirse Ronan), a rookie cop who is desperate to learn every lesson she can from her seasoned superior. The two characters are brought together in the film’s first act by the murder of Brody’s Leo Köpernick, an exiled Hollywood director who had been hired to helm an adaptation of The Mousetrap .

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See How They Run then follows its lead pair as they question a wide range of suspects, nearly all of whom are introduced in the film’s opening minutes. The list of possible culprits includes: Petula Spencer (Ruth Wilson), the original producer behind The Mousetrap ; Richard Attenborough (Harris Dickinson), the lead actor in the stage production; Sheila Sim (Pearl Chanda), Attenborough’s wife and an accomplished actress in her own right; John Woolf (Reece Shearsmith), a philandering movie producer who wishes to capitalize on The Mousetrap ’s success; and Mervyn Cocker-Norris (David Oyelowo), the snobby writer who was hired to pen Woolf’s in-development adaptation.

While these characters are all bound together by See How They Run ‘s central Christie play, the film does struggle to give each of its performers their due. Wilson, for instance, makes a striking impression as Petula, an unyielding producer who wishes to keep The Mousetrap running in London for as long as possible, but Mark Chappell’s script doesn’t give her much to do throughout See How They Run . The same can be said for Dickinson and Chanda, both of whom turn in reliably charming performances despite their characters feeling like little more than background players for much of the film’s runtime.

Of the film’s cast of suspects, it’s Oyelowo who makes the biggest lasting mark with his outsized performance as the insecure, easily offended writer who frequently clashed with Brody’s egomaniacal Köpernick. For his part, Brody gets to continue his recent career resurgence by turning in another likably sleazy performance as the victim at the center of See How They Run ’s story. He does that despite the fact that the film is ultimately less concerned with its victim and suspects than it is with its charming detective duo.

To See How They Run ’s credit, it’s not hard to see why it’s more interested in focusing on the unlikely partnership that forms between Ronan’s Stalker and Rockwell’s Stoppard than any of the haughty characters they’re investigating. Rockwell and Ronan have each spent the past few years proving time and time again that they’re two of our most charming working actors, and See How They Run doesn’t pass up the chance to take advantage of that fact. Rockwell turns in a surprisingly sleepy but confident performance as Stoppard, a man who is haunted less by his wartime experiences than he is by his failed marriage.

The actor moves through See How They Run like a man on autopilot, which not only makes it easy to feel empathy for Stoppard, but also allows his moments of insight to be that much more impactful. Ronan, meanwhile, shines as Stalker, a chatty and impulsive young detective whose eagerness to get to the bottom of Köpernick’s murder leads her down a number of unfortunate detours. Like Oyelowo, Ronan isn’t afraid to go big in See How They Run. She brings an over-the-top exuberance to her performance as Stalker that feels, at times, like it was designed for a movie directed by Wes Anderson, whose obvious influence on See How They Run feels inescapable.

Fortunately, unlike so many of the Anderson imitators that have been released over the years, See How They Run manages to succeed on its own merits while still feeling deeply indebted to the Grand Budapest Hotel and French Dispatch director. Mark Chappell’s script also keeps the film moving at a pleasingly brisk pace, one that heightens the film’s lighthearted tone and sense of humor without ever pausing long enough to let it get lost in its own cleverness. The film does make a few critical missteps in its final act by both rushing toward a resolution that is less satisfying than it rightly should be and by too heavily foreshadowing the biggest beats of its climax.

These mistakes aren’t damaging enough to sink See How They Run though. The film’s infectiously joyous spirit helps make up for its shortcomings, which come together to form an admittedly minor but still enjoyable homage to the murder mystery genre itself. As its opening narration informs you, See How They Run knows what steps its viewers expect it to follow, and it manages to hit nearly all of its necessary beats with enough panache and style to pack a tangible, if not necessarily bruising punch.

See How They Run hits theaters on Friday, September 16.

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Over the course of its tight 95-minute runtime, the film sends its characters spiraling down their own rabbit holes of paranoia and desperation until there’s nothing left for them to do but blame each other for the difficult situations they’ve found themselves in. For that reason, Bodies Bodies Bodies tends to be at its best and most biting when it isn't operating as a standard slasher movie, but rather as a kind of nightmarish new take on Clue for the TikTok generation.

Sometimes it seems like all of the most interesting movies are skipping theaters entirely. Even the Knives Out sequel, Glass Onion: A Knives Out Mystery, is going directly to Netflix. But this fall, there's at least one murder mystery/comedy that is still coming to theaters: Searchlight Pictures' See How They Run. Since Searchlight falls under Disney's 20th Century Studios banner, this film could have easily been sent straight to Hulu. But once you see the first trailer below, you'll understand why Searchlight and Disney feel confident enough to give See How They Run a proper theatrical run.

SEE HOW THEY RUN | Official Trailer | Searchlight Pictures

Flux Gourmet exists in its own strange world, one where concepts like “good taste” and “bad taste” do not seem to exist.

Written and directed by cult British filmmaker Peter Strickland, the new film plays squarely by its own rules from start to finish, digging deeper and deeper into a world where performance art, food, sexual politics, and shame-inducing bouts of excessive flatulence (yes, you read that correctly) all intersect. Rarely, if ever, does Flux Gourmet stop to explain itself, and while another director might have chosen to make the film’s cast of characters the members of an underground movement, Strickland chooses to let them play in the sun above ground.

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DVD & Streaming

See How They Run

Comedy , Crime , Mystery/Suspense

Content Caution

In Theaters

September 16, 2022
Sam Rockwell as Inspector Stoppard; Saoirse Ronan as Constable Stalker; Adrien Brody as Leo Köpernick; Ruth Wilson as Petula Spencer; Reece Shearsmith as John Woolf; Harris Dickinson as Richard Attenborough; David Oyelowo as Mervyn Cocker-Norris; Charlie Cooper as Dennis the Usher; Shirley Henderson as the Dame; Pippa Bennett-Warner as Ann Saville; Pearl Chanda as Sheila Sim; Paul Chahidi as Fellowes; Sian Clifford as Edana Romney; Jacob Fortune-Lloyd as Gio; Lucian Msamati as Max Mallowan; Tim Key as Commissioner Harrold Scott

Home Release Date

October 5, 2022

Distributor

Focus Searchlight

Movie Review

Murder is big business.

Just ask Agatha Christie, grand dame of the English murder mystery. Just ask the ushers for her very own 1953 stage sensation The Mousetrap .

Murder She Wrote ? Murder She Earned is more like it.

But as The Mousetrap’ s actors and producers toasted the play’s 100 th performance, Christie wasn’t the only one making a killing.

The stage production was such a success that a movie was in the works. Sure, the rights stipulated that filming couldn’t begin until the West End play had been shuttered for at least six months. But no matter: The public is fickle, and they’d soon be moving on to other distractions. The days of every stage production are numbered, just as sure as those of an unlikeable Christie character are.

But the track from stage to screen rarely runs as smoothly as the Orient Express. And Leo Köpernick, the hot-shot Hollywood director contracted to bring The Mousetrap to American movie houses, had some changes in mind. More sex! More violence! More everything!

Perhaps Leo’s desire to twist a cherished piece of stagecraft was the reason why, a few hours later, he was found dead—killed, it seems, by … a sewing machine. Though dispatched in the theater’s wardrobe area, his body had been dragged on stage and positioned on the couch.

“Staged, as it were,” quips the young, enthusiastic Constable Stalker.

But Leo had made other enemies for other reasons. Then again, perhaps the killer had not been after Leo as much as The Mousetrap itself—a desire, perhaps, to shut down the play for the sake of the movie, or perhaps to extinguish the movie for the sake of the play.

But whatever the motive, a murderer is afoot. And it’s up to Stalker and her world-weary superior, Inspector Stoppard, to bring the ruffian to justice.

Murder may be big business. But it’s a bloody business indeed.

Positive Elements

It’s been said that the murder mystery is one of the most moral forms of storytelling: It may take a couple hundred pages or so, but ultimately the killer is brought to justice. Order overcomes chaos, good overcomes evil, and everyone has a nice spot of tea.

But, of course, for a mystery to find its tidy conclusion requires quite a bit of work. And that work lands, in this case, on Inspector Stoppard and Constable Stalker.

Stalker is certainly the more enthusiastic officer. The single mother wants to solve the crime and bring its perpetrators to justice in the worst way—even if she sometimes goes about solving the mystery in the worst ways herself. She can let her zeal get the best of her sometimes.

Thankfully, Inspector Stoppard curbs the young officer’s more spontaneous instincts, leavening them with introspective thought. He encourages her not to jump to conclusions (and Stalker, the ever-conscientious note-taker, writes “DON’T JUMP TO CONCLUSIONS” in her notebook). Ultimately, the two shepherd the case to a satisfying conclusion.

Spiritual Elements

Not much, though we do hear a reference to “theatrical purgatory.” We also hear a rendition of Hank Williams’ rendition of “I Saw the Light,” which is littered with spiritual references.

Sexual Content

Agatha Christie wasn’t one to put a lot of unnecessary titillation in her work, and this homage/spoof to her and her work follows suit—to a point. While certainly intimate relations are potential motives for murder, we don’t see those intimacies play out explicitly on camera.

That said, movie producer John Woolf does canoodle with his assistant, Ann. (We see them lightly flirt and embrace on screen, and Woolf talks about divorcing his current wife.) Mervyn Cocker-Norris, The Mousetrap’s would-be screenplay writer is in a relationship with another man (it’s suggested) named Gio. (Given the 1953 setting, Mervyn unconvincingly tells others that Gio is his “cousin”.) We learn that Inspector Stoppard’s wife cheated on him; he only learns of the affair when his wife ends up pregnant with another guy’s baby.

Leo is presented as a first-class cad. He tells us that British women “go wild for an American accent and a promise of a pair of nylons.” (Constable Stalker seems to at least half-confirm that assertation; She holds up a bit of hosery in his hotel room as he an the inspector search for clues, and she gasps in appreciation.) Leo also flirts with a married woman. His “little black book” is filled with apparent paramours, and we learn that Leo fathered a child out of wedlock.

Inspector Stoppard occasionally is shown in his underwear. And Leo accidentally includes a drawing of an apparently naked woman (shown from the back) in a storyboard presentation.

Violent Content

“The modern audience will walk out in protest if we don’t give them at least one violent death in the opening frame!” Leo shouts at Mervyn.

Fittingly, then, we see one violent death in the opening frame.

Leo’s fight with his killer takes longer than a standard stage intermission, with the murderer first thwacking the guy with a ski. “It was all downhill from there,” Stalker later notes, and so it was. The camera turns away before Leo receives the fatal sewing-machine blow, but we do see his bloodied, dead body on stage later. We’re told that someone apparently tried to rip Leo’s tongue out.

To avoid spoilers, we’ll make the rest of this section somewhat perfunctory. But we see people punched, strangled, poisoned, rolled into carpets, shot, thwacked with snow shovels, beaned with sandbags and pushed into cakes. Threats are hurled. Fires are set. Scripts are ripped.

Crude or Profane Language

Miss Marple would not approve. Two s-words are uttered, along with a smattering of other profanities, including “a–,” “b–tard”, “h—” and variations of the British profanity “bloody.” God’s name is misused about 10 times, at least twice pairing it with “d–n.”

Drug and Alcohol Content

Champagne flowed during The Mousetrap 100 th performance celebration, but champagne wasn’t strong enough for Leo. So he stuffs a bit of money into an usher’s pocket and says, “Why don’t you scare me up a real drink, kid?” (We later see that the usher has returned with a bottle of Scotch.)

While on the case, Inspector Stoppard lies to Stalker—telling her that he’s going to the dentist when, in fact, he’s going to a nearby pub. (He drinks at least two glasses of gin while there.) Later, he and Stalker go out to another pub to discuss the case. Stoppard gets seriously plastered, and Stalker has to drive him home and help him to his apartment.

Woolf—who produced The African Queen some years before—tells a story about how both stars (Humphry Bogart and Katharine Hepburn) refused to brush their teeth with water while filming in Africa: The quality of the water was poor, so they brushed their teeth using bourbon instead.

We see characters drink wine, martinis and a bevy of other alcoholic beverages. Stoppard tries to conceal his own drinking with mints. Someone is described as having been as “intoxicated as a newt.”

Other Negative Elements

Lying is a part of most murder mysteries, and so it is in this one. Lies are told about a great many things, and not just about murder. You could say that the film is filled with death and denial. (Get it? De Nile ? Never mind.)

We hear that Leo was blacklisted as a suspected communist.

Yes, murder is big business. In entertainment, it’s always been big. Even the classical Greek playwright Aeschylus saw a winner in losing one’s life—penning a trio of plays (the Oresteia) centering on a pair of noteworthy murders.

But those ancient Greeks never showed people getting killed on stage. As the ill-fated Leo Köpernick could tell us, we live in different times.

Still, for a movie centered on murder, See How They Run feels like a winking return to those dainty murder mysteries of Edwardian Britain (and the movies they inspired). This is far more Agatha Christie than Quentin Tarantino, far more parlor room than oubliette. It’s gentler than the well-regarded 2019 whodunit Knives Out , kinder than this year’s needlessly bloody remake of Death on the Nile . It has its problems, to be sure: The sexual plot points, the frequent drinking, the bloody bodies on the floor. But in context, this spoofish murder mystery feels paradoxically innocent.

You could argue that Agatha Christie herself was responsible for making murder—at least fictional murder—respectable. More than 2 billion copies of her books have been sold, making her the most popular author of all time. The real-life play The Mousetrap ? Yep, it’s still going, with more than 28,500 performances under its belt. Outside a respite forced by the COVID epidemic, it’s been in continuous production since 1952.

Why no Mousetrap movie, then? Well, the author really did have a clause saying that the play had to be out of production for six months before one could begin. Hollywood is still waiting for its chance.

Agatha Christie showed the world that even murder stories don’t need to be needlessly bloody to work. And perhaps this latest wave of whodunits will convince more contemporary directors of the same. Death, it seems—at least this peculiar brand of death—has a life of its own.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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See How They Run (2022) Review

Who did it.

See How They Run

It’s becoming increasingly difficult to avoid the Siren’s song of Sam Rockwell . Even if the film ends up a disappointment, he usually delivers. Now we have the chance to see how he fares in 1953 London in with See How They Run . Oh, and it’s a murder mystery too. They’re coming back!

See How They Run cleverly functions as a partial takedown of the murder mystery/Agatha Christie formula. Immediately, we’re given a narration (from self-described “big shot Hollywood director Leo Köpernick, played by Adrien Brody ) that pokes fun at the genre: specifically “whodunits.” Very quickly we’re introduced to an inspector (Rockwell) and his young film-loving constable partner ( Saoirse Ronan ). Their team anchors the story with their investigation of the grisly set of killings, which deal with members of a meta-inspired murder mystery play.

See How They Run plays out in reverence to the source material of Christie, while throwing in its own barbs and jabs, and recreating the events before the murder as our duo survey various crime scenes and points of interest. Throughout, Rockwell’s quiet demeanour plays well off of Ronan’s astuteness and excitement. Ronan never really over plays her hand, and her quirks are both believable and fun to watch. It’s endearing how very quickly he starts to acclimate with her way of doing things and they become a team without much fuss (they still bump heads, but not in a grating way).

“At a breezy hour and thirty-eight minutes, See How They Run manages to sidestep many of the very tropes they make fun of.”

The film gives the pair enough quirks to really ingratiate themselves with the audience, especially in the tight running time it has to work with. Everyone else, however, isn’t left with as much to do. I get that murder mysteries, especially with ensemble casts, can be risky (even with the success of Knives Out ), but this could have shined as a miniseries: where we get more time to absorb this world and the people in it.

The whole meta-commentary is grating at times. At one point a character says “no…no flashbacks…they’re crass, lazy, and interrupt the flow of the story.” Cue a See How They Run flashback. It’s cute at the beginning when Brody does it to juxtapose his character’s personal feelings of how trite the genre is, but it also becomes a crutch for cheap laughs and a substitute for personality.

At a breezy hour and thirty-eight minutes, See How They Run manages to sidestep many of the very tropes they make fun of. There’s some slapstick and dry humour that will delight those of you out there who enjoy subversive mystery flicks, but the mystery itself isn’t going to garner much excitement.

Final Thoughts

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See How They Run

A kind of meta- The Mousetrap , See How They Run plonks itself down on the sofa alongside the other representatives of the whodunit revival – the likes of Knives Out and Kenneth Branagh’s adaptations of Agatha Christie. In essence it’s Agatha Christie’s venerable long-running play subjected to mock trial by a thousand in-jokes, some knowing, others oblique. If a slightly more cerebral Sunday afternoon movie is what you’re looking for, this could be for you.

The film comes at The Mousetrap sideways because the Agatha Christie estate will not sanction any film version of the play until its London West End run is over (it’s been running since 1952 and shows no sign of exhaustion). The plot nods to that detail – it features a womanising director (Adrien Brody) trying to turn The Mousetrap into a movie after its 100 th performance. Also up for examination are the director’s swishy writer (David Oyelowo), a tough theatrical impresario (Ruth Wilson), a movie producer (Reece Shearsmith), plus actors Richard Attenborough (Harris Dickinson) and his wife Sheila Sim (Pearl Chanda) – Attenborough and Sim were the first to play Detective Sergeant Trotter and Mollie Ralston, owner of the guesthouse where The Mousetrap ‘s murder is committed.

As it soon has here. No spoilers, but the death is an ironic one and it couldn’t have happened to a more deserving person. It’s followed swiftly by the arrival of two cops, the keen-as-mustard movie-loving Constable Stalker (Saoirse Ronan) and disillusioned boozer Inspector Stoppard (Sam Rockwell). In classic mismatched-buddy, odd-couple style, the two set off to find out whodunit, she too keen and he not half keen enough.

There’s good comedy value in this relationship. It is the heart of the movie, leaving the mechanics of the whodunit to trail along behind. Ronan and Rockwell both slightly overplay for comic effect, her relentless prattle, his dry silences and sideways looks. Ronan relies on her native Irish accent, while Rockwell takes an interesting new approach for an American playing a Brit – under -enunciating, almost mumbling – and it works. You can’t quite place Inspector Stoppard, by region or class (a game Brits never stop playing).

What a great cast this is. Even further down the cast list – Charlie Cooper, Tim Key, Sian Clifford – there’s a lot of quality. But all of them, big or small, feel a touch underused. There’s a hole in the middle of this movie where character development might have been. Of course there’s never really any character development in Christie, so maybe that’s a touch unfair. But even so, as Stoppard and Stalker question one suspect/possible future victim after another in the central section, there is a distinct lack of cut and thrust.

Instead of thick characterisation there are jokes. Inspector Stoppard’s name is a reference to playwright Tom Stoppard, who wrote the Christie-spoofing The Real Inspector Hound . The dénouement, when it comes, takes place in a country house in a room rigged to look just like the set of The Mousetrap . As we all know, the identity of the real killer should always be revealed, Poirot-like, by the Inspector. Mark Chappell’s wry, dry screenplay has a bit of fun with that too, as he does with the introduction towards the end of Agatha Christie herself (played by Shirley Henderson).

Tom George’s direction avoids flashiness – there’s some split-screen stuff at one point but that’s as tricksy as things gets. It’s a sedan chair of a movie, a gentle josh presenting 1950s London as a comforting place – the pubs Stoppard frequents look like ones worth seeking out. There’s a glimpse of The Ivy restaurant, a West End institution once the haunt of Noel Coward and Laurence Olivier. This is Money London dusting itself down as the Second World War receded into history.

Peer really hard and there is darkness here but it’s buried beneath a layer of cosiness and familiarity. It’s nice. Nothing wrong with nice.

See How They Run – Watch it/buy it at Amazon

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Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – See How They Run (2022)

September 15, 2022 by Robert Kojder

See How They Run , 2022.

Directed by Tom George. Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Charlie Cooper, Pippa Bennett-Warner, Pearl Chanda, Sian Clifford, Jacob Fortune-Lloyd, David Oyelowo, Shirley Henderson, Paul Chahidi, Lucian Msamati, Angus Wright, Tim Key, Gregory Cox, Maggie McCarthy, Keiran Hodgson, Ania Marson, Philip Desmeules, Laura Morgan, and Tolu Ogunmefun.

In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered.

See How They Run so caught up in deconstructing the whodunit genre that it forgets to have endearing characters or a compelling mystery. Worse off, director Tom George (using a script from Mark Chappell) doesn’t offer anything of substance with characters harping on about these clichés.

The groundwork for this approach is laid out in tedious narration by Adrien Brody’s egotistical and confrontational director Leo Köpernick, a filmmaker blacklisted from Hollywood now living in West End London during the height of popularity for Agatha Christie’s stage play The Mousetrap . Leo has been hired by producer John Woolf (Reece Shearsmith) to helm a cinematic adaptation of the megapopular play still drawing packed crowds. However, he doesn’t exactly have a high appreciation for the story or murder mysteries in general, making enemies with his collaborative screenwriter Mervyn Cocker-Norris (David Oyelowo), and other industry types.

Leo is ticked that no one dies in the first ten pages, explaining that a modern audience will get bored and exit the theater. Additionally, he wants the film to end with action and chaos. The guy is high on his own supply and actively wants to dumb down storytelling, and the genre, which one would presume would make him out to be a villain. By his admission, there’s not much to like about his personality, which, in conjunction with the self-referential meta narration, means that it’s no surprise he dies first.

Inexplicably, See How They Run seems to side with Leo, as nearly all of his questionable ideas make it into this whodunit. It’s hard to tell if the film believes it’s clever or funny bringing up narrative devices like flashbacks or “three weeks later” graphics only to deploy them on screen immediately, but whatever the case may be, it’s a startlingly terrible attempt at tongue-in-cheek presentation.

It’s as if the filmmakers are trying to make a movie for someone who has never seen a whodunit before because that’s the only explanation for how this movie talks down to its audience like they are drooling idiots entirely oblivious of the genre’s fundamentals. The script uses these characters as ciphers to openly talk about the genre under the impression it’s revolutionary and brilliant when, in reality, there is not a single thoughtful observation on the construction of these stories.

After establishing Leo’s heat with various characters, he turns up dead on the stage for The Mousetrap . This prompts the involvement of Inspector Stoppard (Sam Rockwell) and Constable Stalker (Saoirse Ronan), with the former being a seasoned veteran albeit with a limp (one of the film’s oh-so-smart observations is that the heroic detective typically always has an injury and a tragic past) and the latter a rookie with field aspirations.

There’s also something annoying about naming a character “Stalker,” presumably because she is obsessed with solving the case. Not only is it lame, corny, and insulting to the character, but the script doesn’t even deserve the cheery effort Saoirse Ronan brings to this role. It’s nothing more than a cringe stand-in for an enthusiastic audience member jumping to conclusions with each new suspect and interview, thinking they have everything figured out.

Together, they interrogate persons of interest as See How They Run sprints up its ass, limply deconstructing the genre, all while these characters go woefully underwritten, fading into the background even when they are on the screen. Not that it would solve all the movie’s problems if the killer were challenging to pinpoint, but that, too, is obvious.

The period details are aesthetically pleasing, as is some of the crafty cinematography from Jamie Ramsay, and the score from Daniel Pemberton is the only aspect driving momentum, but it’s all superficial to a genuinely pointless and irritating exercise in meta construction. At one point, a character says audiences only remember the last 20 minutes of a movie; no one will remember anything about See How They Run 20 minutes after it’s over.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd , or email me at [email protected]

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Screen Rant

See how they run review: ronan & rockwell charm despite dry, lifeless script.

Relying heavily on whodunnit tropes, See How They Run is a little too stale and unfunny for its own good.

The murder mystery genre will always be a source of entertainment for audiences. With films like director Kenneth Branagh’s adaptation of Agatha Kristie’s 1937 novel, Death on the Nile , it’s not difficult to imagine why. Later this year, viewers can watch Rian Johnson’s follow-up to his Knives Out story, Glass Onion , which follows detective Benoit Blanc taking on another shocking death among a group of friends. With these entries, whodunit stories in Hollywood show no signs of slowing down. Tom George returns to directing, attempting to take on the genre with humor and flair. Relying heavily on whodunit tropes, See How They Run is a little too stale and unfunny for its own good.

In the West End of 1950s London, a production crew from a popular stage play readies for their 100th show. This celebration marks their journey towards making the movie version of their smash-hit production. Unfortunately, the commemoration of their would-be joyous occasion comes to an unexpected halt when their director Leo Köpernick (Adrien Brody) is murdered. Ready to take on the case is none other than the world-weary Inspector Stoppard (Sam Rockwell) and his enthusiastic rookie Constable Stalker (Saoirse Ronan). Already amidst a world of drama and unknowns, the two find themselves thrown for a loop when the mysterious homicide evolves into what appears to be a hunt for the cast.

Related: 10 Light Hearted Whodunits To Watch Before See How They Run

Director Tom George’s attempt to revive the genre falls flat in execution, eliminating what makes whodunits great in the first place. The characters are so thinly written that it is difficult to care about anything concerning them. Their introductions come as simple voice-overs from Brody’s Köpernick, in which he offers a quick fact or two about each suspect or potential victim. Unfortunately, this approach doesn’t give viewers a chance to see the characters in action, nor does it enable them to draw their own conclusions about who may have killed the victim. It’s a waste and takes away from what would typically be a fun and engaging viewing experience.

The humor throughout See How They Run is extremely dry and fails to bring about any sort of delight from the story. Perhaps this was intentional, but it's hard to believe that it'll land among the masses. In one particular sequence, for example, screenwriter Mervyn Cocker-Norris (David Oyelowo) scoffs at flashbacks and time-jump title cards within murder mysteries. Then, without hesitation, the screen pans to a "3 weeks later" title card and jump. This type of dry and contrived humor is prevalent throughout George’s feature, and viewers will see it all coming a mile away. The worst part is the execution, which is odd and doesn’t deliver the comedy that it intended.

Aside from the forced humor, See How They Run doesn't shy away from making fun of itself or the genre to which it belongs. Somehow, it’s still bland and boring as certain sequences and twists are predictable by nature. Whodunits should naturally draw in attention from viewers by concept alone. But after a phenomenal early sequence, much of the film goes downhill from there. That’s not to say that everything in George’s feature doesn’t work. Truthfully, the costuming and set designs are key components that accentuate the dynamic within the film. Even when the script starts to lose its early momentum, the setting in which the film is framed enables cinematographer Jamie D. Ramsay to put his best foot forward to capture the mood of the genre with beautiful photography.

Saoirse Ronan and Sam Rockwell also hold this script together because of their performances. However, they might have made for a more fascinating pair had the script given their characters any sort of personality. They play off each other well with the dialogue they’ve been given. But despite giving their best efforts, their performances could not lift this film out of its bind. Brody's character said it best about whodunits earlier in the film: "You've seen one, you've seen them all." But it's hard to pinpoint the last one in the genre that came off as lifeless and unfunny as this one.

See How They Run is in theaters on September 16. The film is 98 minutes long and rated PG-13 for one sexual reference and some violence/bloody images.

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‘We Grown Now’ Review: A Child’s Eye View

Minhal Baig’s third feature follows two boys living in a public housing complex in Chicago as they cope by building their own dream worlds.

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Two boys stare out at a cityscape beyond a chain-link fence.

By Manohla Dargis

The two boys in the gauzy nostalgia piece “We Grown Now” are total charmers. They’re also worryingly vulnerable, something you clock soon after the movie opens. Set in 1992, it takes place primarily in Cabrini-Green, at the time a public housing development in Chicago. There, the boys frolic and dream amid cinder block walls. Every so often, they wander outside to the concrete playground and to a jumble of old mattresses that the local kids use as cushioning. One boy likes to vault through the air and onto the mattresses; he likes to fly.

The two boys are around 10 years old, and the closest of friends. They live in the same broken-down tower building, one of several in the complex, where sometimes they hang out in an abandoned apartment. There, they like to talk and stare at the stained and cracked ceiling, conjuring up visions from it the way they might do under the sheltering dome of the sky. Malik (Blake Cameron James) turns out to be an especially dreamy child, a pint-size philosopher who lives with his loving mother (Jurnee Smollett), doting grandma (S. Epatha Merkerson) and sister (Madisyn Barnes), a typical if benign sibling thorn in his side.

For his part, Malik’s best friend, the more prosaically drawn Eric (Gian Knight Ramirez), lives with his older sister (Avery Holliday) and their father (Lil Rel Howery), a kindly fount of praise and disappointment. The friendship between Eric and Malik — the child performers are dear — is one of the truest parts of the movie, and it’s easy to fall quickly into step with them as they wander Cabrini, head to school and one day briefly escape from their routine. Bored one day while in class, the boys jump on a train and eventually make it to the Art Institute of Chicago, where they roam its galleries, at one point pausing before Walter Ellison’s striking painting “Train Station,” a 1935 canvas that depicts a segregated terminal.

Their interest in the painting is easy to believe: It’s beautiful, arresting and at once familiar and mysterious (as the child of a former museum guard, I can relate). At the same time, like so much of this movie, the scene also feels forced, partly because the writer-director Minhal Baig’s expressionistic reveries don’t always fit with the issues she recurrently invokes. When the boys run through the museum, the other patrons remain frozen in place, as if they were in a different dimension. Yet when Malik connects the painting to his grandmother’s home in Mississippi, he opens a window onto a profound history that’s too heavy for this otherwise fanciful scene. He also sounds more like a filmmaking conceit than a child, however wise.

This is the third feature movie that Baig has directed, and it certainly has qualities to appreciate. As she demonstrated in her second , “Hala” (2019), about a Pakistani American teenager navigating the divide between her parents’ lives and her blossoming desires, Baig knows how to create sympathetic characters. You’re immediately invested in Malik and Eric, who together have formed a private world that, like the museum, exists apart from real life, its pressures and its dangers. The sound design is particularly effective at conveying the little bubble that the children have created for themselves. The babble of outside voices and music in Cabrini never seems to stop flowing, but you never really hear what anyone says.

At one point, the real world does catastrophically pierce the boys’ bubble when a near-army of police descend on the complex in the wake of a shooting, ransacking homes and turning residents into suspects. This violence gives the story dramatic tension, creating a crisis in Malik’s life when his mother considers moving elsewhere. The police raid also widens his (and the movie’s) horizons when he learns that his grandparents moved to Cabrini to escape the violence in their Southern hometown. Some of this is effective, even if too many of Baig’s filmmaking choices — the honeyed cinematography, the score’s agitated violins and Malik’s preternaturally knowing voice-over — finally overwhelm the story’s fragile lyrical realism.

We Grown Now Rated PG for images of police violence. Running time 1 hour 33 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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On The Run (2022) Streaming: Watch & Stream Online via Prime Video

By Ayesha Asif

On The Run (2022) is a film by Claudia Gerini that follows the story of Emma, an online therapist obsessed with treadmill running as a way to cope with her traumas. The film follows the events after her estranged sister reappears, changing her life for good.

Here’s how you can watch and stream On The Run (2022) via streaming services such as Prime Video.

Is On The Run (2022) available to watch via streaming?

Yes, On The Run (2022) is available to watch via streaming on Prime Video.

Emma’s life includes working as an online therapist for her clients and running on her treadmill to cope with the haunting traumas of her past. One day, her younger, estranged sister reappears, disrupting the quiet monotony of her world. Emma must now cope with the traumas triggered by the arrival of her sister and work on healing their relationship.

Stefano Pesce, Caludia Vismara, and Claudia Gerini, among others, star in the film.

Watch On The Run (2022) streaming via Prime Video

On The Run (2022) i s available to watch on Prime Video. Users can access high-quality video content including Amazon Originals as well as third-party content by subscribing to a membership plan.

You can watch via Amazon Prime Video by following these steps:

Go to Amazon Prime Video
Select ‘Sign in’ and ‘Create your Amazon account’
$14.99 per month or $139 per year with an Amazon Prime membership
$8.99 per month for a standalone Prime Video membership

Amazon Prime is the online retailer’s paid service that provides fast shipping and exclusive sales on products, so the membership that includes both this service and Prime Video is the company’s most popular offering. However, you can also opt to subscribe to Prime Video separately.

On The Run (2022) synopsis is as follows:

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NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.

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See How They Run 2022 Movie Review And Trailer
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See How They Run movie review (2022)
Consider yourself warned. The Mousetrap, a play by Agatha Christie, is the longest-running play in history, opening in 1952 in London's West End and, except for a pause during the pandemic, running ever since with over 28,000 performances. "See How They Run"—the title also connected to literary mice through the nursery rhyme—takes ...
'See How They Run' Review: An Agatha Christie Mystery Spoof
The whodunit comedy "See How They Run" is set backstage in a 1950s London production of the long-running Agatha Christie play "The Mousetrap.". With a sprightly wit and an all-star cast to ...
See How They Run
Rated: 3/5 • Aug 18, 2023. Rated: 4/5 • Aug 4, 2023. In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is ...
See How They Run review
See How They Run ponders that cornerstone - or millstone - of the Christie legacy, her tourist bucket-listed play The Mousetrap, focusing on 1953 plans to turn it into a movie despite Christie ...
See How They Run
See How They Run is sure to both mystify and delight all whodunnit devotees. Full Review | Original Score: 3.5/5 | Nov 30, 2022 Betty Jo Tucker ReelTalk Movie Reviews
'See How They Run' Review: A Snappy Retro-Kitsch Murder Comedy
'See How They Run' Review: Saoirse Ronan and Sam Rockwell Team Up for a Snappy Retro-Kitsch Murder Comedy Reviewed in Los Angeles, Aug. 31, 2022. Running time: 98 MIN.
See How They Run review: Agatha Christie's most famous ...
The Mousetrap, Agatha Christie's famous stage murder mystery, has never been filmed. When Christie signed the film rights over to producer John Woolf, she stipulated that the film could only be ...
See How They Run (2022)
See How They Run: Directed by Tom George. With Kieran Hodgson, Pearl Chanda, Gregory Cox, Harris Dickinson. In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered.
See How They Run Review
See How They Run is a humorous whodunit at the expense of Agatha Christie mysteries, always lovingly done and well-acted enough to elevate its rather easily detectable agenda.
'See How They Run' review: Saoirse Ronan charms in this mousetrap of a
Movie review "See How They Run" is the Saoirse Ronan show. Start to finish. Top to bottom, Now and forever. Amen. The 28-year-old actor dominates the picture more completely than any performer ...
See How They Run review
See How They Run review - Agatha Christie spoof scampers through 50s theatreland ... Wed 7 Sep 2022 11.00 EDT Last modified on Thu 8 Sep 2022 11.45 EDT. Share. ... See How They Run is in UK ...
See How They Run Movie Review
A couple of characters are drunk, Parents Need to Know. Parents need to know that See How They Run, which stars Saoirse Ronan, deconstructs the whodunit by creating a fictional murder mystery while filmmakers work to adapt an actual Agatha Christie play into a movie. It's a brilliant way of introducing the elements of writing a murder mystery.
Review
September 13, 2022 at 8:00 a.m. EDT. Sam Rockwell, left, and Saoirse Ronan in "See How They Run." (Parisa Taghizadeh/Searchlight Pictures) ( 3 stars) While fans of the murder mystery genre ...
See How They Run Review
by Ian Freer |. Published on 07 09 2022. Release Date: 09 Sep 2022. Original Title: See How They Run. See How They Run is built on a simple but delicious premise: a whodunnit buried inside an ...
See How They Run review: a charming but slight whodunit
In a less charming film, See How They Run 's streak of self-aware comedy would wear thin quickly. However, the new film from director Tom George is able to, for the most part, strike the right ...
See How They Run
In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered. When world-weary Inspector Stoppard (Sam Rockwell) and eager rookie Constable Stalker (Saoirse Ronan) take on the case, the two find themselves thrown into a puzzling whodunit within the glamorously sordid theater underground, investigating the ...
See How They Run
See How They Run. PG-13; Comedy, Crime, Mystery/Suspense; Content Caution. Heavy Kids. Medium Teens. Light Adults. ... 2022 Director. Tom George Distributor. Focus Searchlight Reviewer. Paul Asay. Movie Review. Murder is big business. Just ask Agatha Christie, grand dame of the English murder mystery. Just ask the ushers for her very own 1953 ...
See How They Run (2022)
See How They Run, 2022. Directed by Tom George. Starring Sam Rockwell, Saoirse Ronan, Reece Shearsmith, Adrien Brody, David Oyelowo, Ruth Wilson, Charlie Cooper, Sian Clifford, Harris Dickinson ...
See How They Run (2022 film)
See How They Run is a 2022 comedy mystery film directed by Tom George, written by Mark Chappell and produced by Damian Jones and Gina Carter. The film stars Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, and David Oyelowo.. See How They Run was theatrically released in the United Kingdom on 9 September 2022 and in North America on 16 September 2022 ...
See How They Run (2022) Review
Genre: Mystery. Cast: Sam Rockwell, Harris Dickinson, Adrien Brody. MPAA Rating: PG-13. Review Score: 7. It's becoming increasingly difficult to avoid the Siren's song of Sam Rockwell. Even if ...
Review
A kind of meta-The Mousetrap, See How They Run plonks itself down on the sofa alongside the other representatives of the whodunit revival - the likes of
See How They Run (2022)
See How They Run, 2022. Directed by Tom George. Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Charlie Cooper, Pippa Bennett-Warner, Pearl ...
See How They Run Review: Ronan & Rockwell Charm Despite Dry, Lifeless
Sam Rockwell and Saoirse Ronan in See How They Run. Aside from the forced humor, See How They Run doesn't shy away from making fun of itself or the genre to which it belongs. Somehow, it's still bland and boring as certain sequences and twists are predictable by nature. Whodunits should naturally draw in attention from viewers by concept alone.
'We Grown Now' Review: A Child's Eye View
The two boys in the gauzy nostalgia piece "We Grown Now" are total charmers. They're also worryingly vulnerable, something you clock soon after the movie opens. Set in 1992, it takes place ...
On The Run (2022) Streaming: Watch & Stream Online via Prime Video
On The Run (2022) i s available to watch on Prime Video. Users can access high-quality video content including Amazon Originals as well as third-party content by subscribing to a membership plan ...
see how they run
Sam Rockwell and Saoirse Ronan star in See How They Run trailer The British 'whodunit' features a cast of suspects and victims including Adrien Brody, David Oyelowo, and Ruth Wilson amber

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See How They Run Reviews

‘See How They Run’ Review: Saoirse Ronan and Sam Rockwell Team Up for a Snappy Retro-Kitsch Murder Comedy

Amy Nicholson

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Reviewed in Los Angeles, Aug. 31, 2022. Running time: 98 MIN.

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‘See How They Run’: An Agatha Christie-adjacent whodunit, with laughs